Richard III (Criterion Collection) (1955)

Those who criticize Laurence Olivier and Alan Dent -co-authors of the screenplay -for taking certain liberties with Shakespeare's play should also criticize Shakespeare for taking certain liberties with the historical material on which he often relied so heavily. In this instance, Holinshed's Chronicles of England, Scotland and Ireland, Vol. 6, and various Tudor Historians. In my opinion, such quibbling is a fool's errand. This much we do know about the historical Richard III. He was born in 1452 in Fotheringay Castle, Northamptonshire, the youngest son of Richard, Duke of York. He was created Duke of Gloucester by his brother, Edward IV, in 1461, accompanied him into exile (1470), and played a key role in his restoration (1471). Rewarded with part of the Neville inheritance, he exercised vice regal powers, and in 1482 re-captured Berwick-upon-Tweed from the Scots. When Edward died (1483) and was succeeded by his under-age son, Edward V, Richard acted first as protector, but within three months, he had overthrown the Woodvilles (relations of Edward IV's queen), arranged for the execution of Lord Hastings (c.1430-83), and had himself proclaimed and crowned as the rightful king. Young Edward and his brother were probably murdered in the Tower on Richard's orders, although not all historians agree. He tried to stabilize his position but failed to win broad-based support. His rival Henry Tudor (later Henry VII), confronted him in battle at Bosworth Field (August 22, 1485), when Richard died fighting bravely against heavy odds. Though ruthless, he was not the absolute monster Tudor historians portrayed him to be, nor is there proof he was a hunchback.

Cleverly, this film begins with the final scene of Henry IV, Part III, the coronation of Edward IV (Cedric Hardwicke). Locating himself at a strategic distance from the throne, the Duke of Gloucester (Olivier) carefully observes those around him. He shares with those who see this film or read the play his most private thoughts and feelings, many of which are as deformed as his body. Gloucester's "winter of discontent" will soon end. With a systematic tenacity unsurpassed by any other of Shakespeare's villains, Gloucester's coronation as Richard III (his own "glorious summer") will be the fulfillment of his royal ambition. The acting throughout the cast is outstanding. I do not recall another film in which Olivier, John Gielgud (George. Duke of Clarence), and Ralph Richardson (Henry Stafford, Duke of Buckingham) all appeared together, joined by Claire Bloom (Lady Anne Neville) and Stanley Baker (Henry Tudor). Special note should also be made of Otto Heller's cinematography which is integrated seamlessly with their performances. It is a pleasure to have this film now available in a DVD format, one which offers much sharper images and much clearer sound. Other special features of this DVD version include high-definition digital transfer; newly discovered footage; a commentary by playwright and stage director Russell Lees and John Wilder, former Governor of the Royal Shakespeare Company; 1966 BBC interview with Olivier hosted by Kenneth Tynan; a 12-minute television trailer; a theatrical trailer; and an essay by film historian Bruce Eder.

Only two of Orson Welles' Shakespeare films rival "Richard III" for the title of greatest Shakespeare movie ever made. That said, Olivier's film may contain the most sheerly enjoyable performance any actor gave on film. His Duke of Gloucester is the definitive performance. Elia Kazan once said Olivier had a certain girlish quality, and that quality is used in the film: His Richard is seductive--a prancing, charming monster whose voice sounds like "honey mixed with razor blades." But one look into his black eyes, framed by false hawk nose, violently angled eyebrows and fright pageboy wig, will tell you that he's also stone-cold pure evil. Richard enacts all our homicidal, plotting fantasies as he cheerfully knocks off all his stuffy relatives and rivals.

Olivier emphasizes the black comedy and wittiness of Shakespeare's play, which he cut and refashioned into a star vehicle for himself. Though Sirs Gielgud, Richardson and Hardwicke co-star, they don't make much of an impression. (Blame that on Shakespeare too) Interestingly, Olivier later regretted not having cast Orson Welles as Buckingham.

You experience two major innovations concerning the filming of Shakespeare: the first is Olivier's old custom of using extremely stylized, artificial sets, thereby making Shakespeare's stylized, artificial verse fit in with the settings. The second is the source of Olivier's triumph: he delivers his soliloquys directly to the camera. This daring move destroys the fourth wall and takes true advantage of what the movies offer. He becomes our friend and confidante and we become complicit in his mounting evil. The production values are top-notch: we get deliriously vibrant technicolour, William Walton's pompous, irresistible music of pageantry, and the book-of-hours sets. And through those sets Olivier's camera subtly glides and skulks like the snake Richard himself is. Olivier is still an underrated director, and his grasp of the frame's spatial properties is excellent: he knew how to move the camera into and out of the frame for maximum impact. For an example, look at the moment Richard finally becomes King, and his satanic powers become unbottled: He slides down the bell rope to greet his minions, and expecting to shake his hand they approach, only to fall on their knees when Richard silently demands they kiss it. As they sink downward, the camera flees backward until the awful composition is complete, with half a dozen men in black on their knees as Richard presides all in the center of the frame: on twisted and bent legs as the bells announce the triumph of evil.

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This review is for the Criterion Collection DVD edition of the film.

Lawrence Olivier directed and stars in this great movie. As this is a Shakespeare release, I see no need to write a synopses. The acting is incredible and the photography is great also.

The Criterion Collection has done a fine job releasing this in a double disc set. It includes footage that was recently rediscovered and not seen for many years prior to the release.

The special features are:

"Great Acting: Laurence Olivier" A 1966 interview with Lawrence Olivier conducted for the BBC, a 12 minute featurette/trailer for the film as well as a theatrical trailer. There are also production and publicity photos and lobby cards. The film also has an optional audio commentary track by Russell Lees and John Wilders.

This is a must for Shakespeare fans.

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No one could rival Laurence Olivier (Hamlet, Henry V, Richard III) as the scheming, ruthless youngest son of the 3rd Duke of York, who stopped at nothing to be King Richard III. His first appearance was deceptive. I noticed only a big nose and recognized him only after he spoke. Burdened with a crooked back, limp and shrunk hand, his ambition for kingship only burnt more feverishly. With disguised humbleness, he made peace with other royalties. His words were sugar-coated and gay. He killed Warwick, the 'KingMaker' who helped enthrone his elder brother as King Edward IV, and wooed Warwick's daughter Anne(the beautiful Claire Bloom) to marry him shortly after killing her husband. His planned murders of his elder brother Duke of Clarence, Lord Hastings, his young nephews (heirs-to-be), his wife Anne made even today's politics pale and unexciting.

Yet the movie about such a dark character was beautiful in VistaColour, set and costumes, cinematography. Scenes of executions, naïve Lord Hastings (Alec Clunes) walking into his death trap, innocent heirs-to-be greeting uncle Richard and Richard's final battle are memorable. All the other characters exuded integraity, royality and humanity. They were handsome in appearance and noble in heart, so different from Richard III. Even the once accomplice Duke of Buckingham (Ralph Richardson), without whose help there would be no Richard III, showed a moment of caution in doing any more evil. Perhaps it's this great contrast between Richard and everyone else that made the movie luring and tragic. In his last battle of Bosworth Field, Laurence Olivier showed a more reflective and human side of Richard III. When nearly everything on his side was lost, he marched, with a handful of supporters including his royal page (Stewart Allen), and fought valiantly.

The movie also succeeded in its clarity and fluidity. The powerplay of an excellent cast of experienced actors with great screen presence made 155 minutes fly without notice. With no prior knowledge of the Wars of Roses (House of York vs House of Lancaster), I am not at all lost in the many characters and relationship. And the crowning of Henry Tudor, 2nd Earl of Richmond, as Henry VII marked the beginning of the most filmed Tudor dynasty a perfect prologue of films about the lives of Henry VIII and Queen Elizabeth.

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Anything filmed in Vistavision (or its wider cousin Technirama) will look incredible (like White Christmas) when properly transferred to blu-ray (unlike One-eyed Jacks), and Richard III does just that on blu-ray (Vistavision was not only wider than 1:33, but also taller--each frame was actually two frames, with the film running horizontally as opposed to vertically, which was necessary to give it more detail).... It looks fantastic, with great detail and tremendous colors.... We all know the story (or should, anyway), so I will stick to the quality of this release.... The mono LCPM 1.0 audio works very well with the great score and the dialogue-heavy script and does just what it should.... As far as the extras are concerned, they are pretty much the same as on the DVD, with the addition of a restoration comparison hosted by Martin Scorcese (wherever there is great color, he will thankfully appear), which shows what a great job was done restoring this masterwork.... Must-own....

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Where Eagles Dare

Quite simply one of the greatest war movies ever made. A top notch thriller loaded with action, espionage and double crosses, "Where Eagles Dare" is the kind of movie that Hollywood just doesn't make anymore. This isn't some politically correct drama steeped in reality. No, this is good guys vs. bad guys. This is pure unabashed fantasy which keeps the audience on the edge of its seat. This is just darn good entertainment!

Richard Burton is absolutely cunning as the British agent who leads an elite group of soldiers behind enemy lines and into a seemingly unpenetrable German castle to rescue an imprisoned American General. A young Clint Eastwood is the only American on the mission. Clint is his usual cool and calm self. However he, like the audience, isn't sure who to trust. Somebody's a double agent, but exactly who is anyone's guess. Don't worry about figuring it out, just sit back and enjoy the drama. You'll love the growing tension and suspicion between Burton and Eastwood.

The journey into the castle is classic heart-stopping drama. Even better is Burton's fight with a German soldier high atop a ski lift -truly one of the most riveting action sequences ever filmed. Bullets are flyin' and bombs are blastin' throughout. In the end, heroes emerge while evil perpetrators get their just due. Classic, absolutely classic!

And yes, as several reviewers have noted, the stunning scenery and beautiful cinematography in this film would greatly benefit from a widescreen DVD treatment. So, how 'bout it, I want my DVD!

If you want action and scenic Austrian locations, this film has it. Richard Burton and Clint Eastwood star in the movie adaptation of Alistair MacLean's novel (MacLean also wrote the screenplay). From the beginning of the film with agents parachuting out of an original German Junkers 52 to the life or death pursuit at the end of the film, this video is jam-packed with action.

Expect much of the usual MacLean storyline in this film as a handful of agents, plan gone awry, destroy a large contingent of the German Army while challenged by double agents in their midst. Much like "Force Ten from Navarone" and " The Guns of Navarone," a World War Two buff might wonder why so much of the Wehrmacht was located somewhere other than the front. No matter.

The cinematography is excellent and the locations stunning in Winter beauty. The film's musical score by itself is wonderful. The DVD release is very high quality. By the way, the soundtrack CD is also available. It's the perfect thing to listen to on a snowy day.

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Back when I was a teenage Alistair MacLean fan, I remember staying up all night reading this novel, which was actually adpated from the film (MacLean wrote the movie first!). It was probably MacLean's most exciting book: non-stop intrigue, obfuscation and action, and it is a replica of the movie. So that tells you what to expect here. Plus, we have the added pleasure of watching the screen's oddest couple of all time in Richard Burton and Clint Eastwood. Burton, in an action movie for a major change, does a great job with his fight scenes, and carries the twists and turns of the plot with aplomb. Eastwood, little more than a hired assassin here, is at his steely and cool best, straight out of Leone's Italian westerns. Throw in a couple of sexy female agents, incredible stunts on a cable car, plenty of machine gun fire, explosions, car chases, and a stirring, heart-pounding music score, and you have the perfect Saturday afternoon popcorn movie. What more could you ask for? You'll be on the edge of your seat the whole time, continually asking, "What the heck's really going on here?"

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As far as World War II action films are concerned, they don't get much bigger & better than this nail biting, thrill a minute, nearly three hour ride into espionage, escapism & excitement !!

From the pen of Alistair McLean came the book...and then director Brian G. Hutton has done a superb job in truly capturing onscreen the pulse pounding thrill ride of the novel. The movie is like a grenade with the pin pulled out...you never know when the next explosion is coming !

Clint Eastwood (Eastwood said "Let Richard do the talking") and Richard Burton (Burton said "Clint acts with a type of dynamic lethargy") lead a group of Allied paratroopers on a daring raid to the Schloss Adler in Bavaria to rescue an American general held prisoner high in it's snow covered towers. However, all is not what it seems...the commandos are dying one by one and it soon becomes quite obvious that there is a traitor in the ranks. The film then becomes an exercise in espionage and double cross as Eastwood & Burton seek to ferret out the truth behind every man's identity....but not before Burton totally confuses Eastwood to the point where Clint remarks "Major, right now you have me about as confused as I ever hope to be !"

The movie is filled with incredible stunts, fiery shootouts and battle sequences as Eastwood & Burton seem to lay waste to regiment after regiment of German troops trying to stop their mission. Just suspend your disbelief (just like the cable car), and sit back and enjoy good old fashioned, grand scale entertainment.

Over the thirty years since this movie first came out, I must have watched it dozens of times...and I can't see myself tiring of it in the future either ! Just when the heck is it finally going to come out on DVD with a few extra goodies thrown in ??

If you don't own a copy of "Where Eagles Dare"...what are you waiting for...a true "must have" movie for any fan of big screen adventure films.

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This movie, filled with drama, action, and a complex plot that will make your head spin, has it all. Richard Burton is dashing as the cold plotting secret agent who is leading his team on a mission to save D-Day from disaster. Clint Eastwood, here little more than a teenager, is wonderful as the somewhat befuddled American army ranger who cannot figure out why he is even on the mission.

Any attempt to go into detail about the story would ruin some of the fun. Suffice to say that you will be riveted both by the action and the performances. One note though, Burton's monologue is amazing.

If you like WWII movies and have not seen this one, you don't know what you are missing.

Umberto D. (The Criterion Collection) (1952)

Director Vittorio De Sica, the famous actor and well renown director who was a major proponent to Italian neorealism of filmmaking and introduced the world to films that would take the world by storm. De Sica had many popular films under his belt such as "Miracle in Milan", "The Children Are Watching Us", "Two Women" and many more. But it was the neorealistic films of De Spica that many remember. Films such as "The Bicycle Thief" and "Shoeshine", films that epitomized showcased the poor and working class in Italy. How one deals with poverty and when desperate, the life changing decisions that are made.

But it was the 1952 film "Umberto D." which De Sica has said is the film which he prefers among all the films that he has made because of its "uncompromising portrayal of the characters and incidents that are genuine and true".

But "Umberto D." was a film that would become noticed now more than when it first screened in theaters in Italy. As Italy tried to move past the neorealism and wanted to show the country as healthy, "Umberto D." continued De Sica's dedication to showcase people living in poverty. According to film critic, Stuart Klawans, "Umberto D." was a film that was despised by the Christian Democratic Part's Giulio Andreotti and it was his party who had control of the government and also the movie production loans and right for pre-censorship over scripts. Andreotti went as far as saying De Sica was guilty of slandering Italy abroad.

Needless to say, the film bombed in the box office in Italy and different parts of Europe despite winning a Bodil Award for "Best European Film". But it appeared that audiences fascination with Italian neorealism was over.

Meanwhile in the US, Americans had a different perspective and gave the film a New York Film Critics Circle Award for "Best Foreign Language Film" and the film was nominated an Oscar for "Best Writing, Motion Picture Story".

Before De Sica's death, if there was one thing about "Umberto D.", its that De Sica has always believed it was his best film because it was a film made the way he wanted without compromises.

"Umberto D. was a film written by Cesare Zavattini (who also wrote "Miracle in Milan" and "The Bicycle Thief"), cinematography by Aldo Graziati ("Miracle in Milan", "Indiscretion") and music by Alessandro Cicognini ("Miracle in Milan", "Tomorrow is Too Late", "Anna of Brooklyn"). And the film would showcase people who have never acted before, with the exception of the trained dog who had appeared in several films prior.

The film was a cineaste favorite when it was released on DVD by the Criterion Collection in 2003, but now De Sica's masterpiece was released on Blu-ray by the Criterion Collection in Sept. 2012.

VIDEO:

"Umberto D." is presented in 1080p High Definition, black and white (1:37:1 aspect ratio). This new transfer on Blu-ray looks incredible compared to its previous Criterion Collection 2003 DVD counterpart. Picture quality is actually very good for a film created back in 1952 courtesy of the restoration done by Cineteca Nazionale-Scuola Nzionale di Cinema in collaboration with Mediaset and the original DVD transfer was quite impressive when I originally reviewed it years ago.

But watching it in HD, the detail of the film is impressive. Whites and grays were were well-contrast and black levels were nice and deep. The picture quality is clean and contrast is stunning. The Blu-ray release of "Umberto D." is fantastic and fans of the film will definitely see the improved transfer to be worth the upgrade from the original DVD to Blu-ray.

According to the Criterion Collection, the high-definition digital transfer was created on a Spirit Datacine from the original nitrate camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS and Pixel Farm's PFClean, while Digital Vision's Phoenix was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

As for the audio, audio is presented in Italian LPCM Monaural 1.0. Dialogue is clear and I heard no audio problems during my viewing of the film. According to Criterion, the soundtrack was mastered at 24-Bit from a 35 mm optical track print. Pops, crackle, hiss and hum were manually removed using Pro Tools HD, Crackle was attenuated using AudioCube's integrated workstation.

Subtitles are in English.

SPECIAL FEATURES:

"Umberto D." comes with the following special features:

That's Life: Vittorio De Sica (54:32) A 2001 documentary directed by Sandro Lai about Vittorio De Sica's career and behind-the-scenes footage from De Sica's past interviews, behind-the-scenes footage and more.

Maria Pia Casilio Interview (12:06) Filmed in 2003, Maria Pia Casilio talks about how a seamstress with no acting ability won the role for "Umberto D." and from that moment, how and why Di Spica gave her an opportunity to be in every film of his.

Trailer The original theatrical trailer for "Umberto D.".

EXTRAS:

"Umberto D. The Criterion Collection #201" comes with an 18-page booklet with the following essays: "Seeing Clearly Through Tears: On the Smart Sentiment of Umberto D." by Stuart Klawans, "De Sica on Umberto D." and "Am I Battisti or Umberto D.?" by Carlo Battsti.

JUDGMENT CALL:

It has been nearly a decade since I have watched "Umberto D.", one of filmmaker Vittorio De Sica's masterpiece and a classic film of Italian neorealism that many will remember long after they have watched it. A film that resonates strongly within a viewer because of its heartfelt story, its circumstance and imagery of its time, but most importantly, a film that event today, many people experience similar situations of homelessness and being too old and relevant to others during a time where world economy is bad and one can only hope for the best.

"Umberto D." is a story about humanity, a story about hope and persevering no matter how bad things are and to protect those who you love or are close to, even when a person is unsure if they can do it or not.

When I originally reviewed this film years ago, it was during at time that I took an interest in De Sica's work. At the time I wrote, "And fortunately, both films are not alike with the exception that you have two older men who contemplate their life as "Ikiru" focused on a man who doesn't have much time to live, while "Umberto D." is about a man who is trying to survive and knowing he has no one to depend on, but yet his dog...his only companion depends on him and several times, Umberto has disappointed his canine friend. His stubbornness and not willing to find shelter but to see if he can prove to his landlord that he will not be kicked of his apartment can be seen as commendable, and that the old man still has enough fight in him. In "Ikiru", we see the value of life. In "Umberto D.", we see an old man's life thrown into despair and not knowing what to do with his life. Nor does he do much to fix it.".

Watching "Umberto D." once again, the relationship between Umberto and canine companion is important because for many older people, one must be inspired to live. For Umberto, the dog is his connection to life, having no family that he can depend on, no friends that he can depend on, it's his dog that needs him, depends on him and it's that relationship that captivates the viewer. We feel sympathy for both but knowing that old age, no job, during a time of despair...you feel as if things continue to be unresolved, hope may seem to far out of reach.

The film has so much relevance because I'm sure even 60-years after this film was released in theaters, I'm quite sure many people have met someone like Umberto. Young adult or elderly, family member or friend... I'm sure that there are times we have been apathetic and also frustrated by such people. This was a time of despair economically and while families had each other, those who were elderly and could not work were not seen as productive but as expendable.

And so, the message of the film was taken to heart by those who have watched it then and now. Interesting enough that the film was criticized because it was seen as a disservice to Italy according to Giulio Andreotti, Undersecretary of Public Entertainment, who wanted to see more healthy and optimistic cinema. But it's understandable as Italy was undergoing a tumultuous time of uncertainty. The government wanted to rebuild Italy to a positive nation and they needed their film industry to change the mood of its people. While De Sica and other filmmakers wanted to bring attention to social injustice and the need for social reform to help the poor.

Needless to say, it was a conflict in Italy's cinematic past and in the end, more people wanted to be entertained than be shown what they know already about their country's political and social problems and sure enough, Italian Neorealism would eventually start to transition into more upbeat films via commedia all'italiana or even neorealismo rosa, which later became more in demand.

Seeing the transition and changes in Vittorio de Sica's career, I look at "Umberto D." as a time capsule to Italy's past and grateful that the filmmaker used cinema to communicate to viewers that the people have the right to voice their displeasure towards their government and ask for social reform.

"Umberto D." and "The Bicycle Thieves" are important films by Vittorio De Sica, because we watch how this filmmaker wanted to see change and what best to use cinema as a powerful voice to communicate to millions.

I mentioned that "hope may seem so far out of reach" for Umberto D., but the ending of the film can be seen by different people with different interpretations. I tend to look at it as man's best friend giving the man a second chance at life. Whether your optimism or pessimism comes into full gear after watching this film, just know that its relevancy then continues to be powerful even now and this classic Italian film should be seen by all cinema fans. I would go as far to say that "Umberto D." is a must-watch film and for cinema fans, it's also a must-own. I believed back then that this film was a keeper and I still hold that belief today.

As far as the Blu-ray is concerned, the transfer to Blu-ray is fantastic. Back in 2003, my review was favorable because of its restoration and clarity on DVD. But watching it on Blu-ray, the clarity, contrast and overall picture quality makes this version the one to own. As for special features, I absolutely enjoyed the documentary about director Vittorio De Sica's life and also hearing from the actress Maria Pia Casilio and hearing how cool of a director De Sica truly was and how he treated her so well. You can only admire what De Sica brought to filmmaking but also when given the opportunity to create a film with no compromises.

Overall, "Umberto D." is a masterpiece. Cinematography was beautiful, the non-professional actors turned actors brought a wonderful performance for the film and Zavattini once again has nailed down a solid screenplay. Sure, "Umberto D." may not tug at your heart or make you cry like Kurosawa's "Ikiru" but the despair of his characters are quite real and relevant today.

It's Italian neorealism at its best and "Umberto D." is definitely a film that I highly recommend!

This is one of the seminal films of the post-World War 2 era.

If you want to break your Heart, this film delivers !

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Very sad, in a way--happy in others....the life of an old man and his dog....DeSica does an incredible job, as usual--everything is just perfect in this film....the b/w picture looks very good on the blu-ray, and the sound is decent enough for what it is....it is the story and the way it is told that makes it all worth, though....the extras are a little on the light side for Criterion--no matter....one of the very best....

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This is one of those rare movies, that it is a easy movie to watch, aside from it being a great movie technically. The blu-ray is awesome, movie does not feel "dated" in anyway.

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Dark Skies (2013)

"Dark Skies" (2013 relase; 97 min.) brings the story of the Barrett family. Mom (played by Keri "Felicity" Russell) and dad (played by Josh Hamilton) are stressing because of their precarious financial situation (Dad is in between jobs, mom is barely hanging on to her real easate brokerage). They have two sons, 13 yr. old Jesse and 5 or 6 yr. old Sammy. Then slowly but surely strange things are starting to happen in and around the house, including a strange "remodeling" of the kitchen, then disappearance of pictures, and then hundreds of birds flying head-on into the house for no apparent reason. What is going on here exactly? At this point we're not even half-way into the movie, and things are to get a lot more tense than that still. But to tell you more of a plot-heavy movie like this would ruin your viewing experience, you'll just have to see for yourself how it all plays out.

Several comments: first, I had seen the trailer for this movie a few times in recent weeks, and thought it looked kinda interesting. I took a chance on this, and am glad I did. It is not a horror movie as such, nor is it really a sci-fi movie. "Dark Skies" actually falls somewhere in between, and on more than one occasion during the movie I saw elements from the "Paranormal Activity" franchise and also from the "Poltergeist" franchise just to name those. Second, what a delight to see Keri Russell again,as I sort of lost track of her. It is incredible that 2013 marks the 15th anniversary of when "Felicity" first hit the small screen. Russell is ageing quite nicely (if you can call someone in their mid/late-30s "ageing"), and she carries this movie, period. Kudos also to young Kadan Rockett as little Sammy, and J.K. Simmons who plays a small role late into the movie. Third, I must give a shout-out to the excellent placement of the Drums song "Days" midway into the movie, bringing a few moments of tension relief (for reasons I don't want to reveal) at that point in the movie.

The screening I saw "Dark Skies" at tonight here in Cincinnati was quite well attended. Smartly the director and producers of the movie made this into a PG-13 movie, rather than an R rated movie, and the audience tonight was heavily tilted towards the younger HS kids. They were loving this movie, laughing and screaming (sometimes at the same time) at all the right moments, and when the credits started to roll, the audience even gave an applause. Bottom line: "Dark Skies" is surprisingly entertaining, and better than I had expected.

I just took my daughter to see this on the big screen because I liked the bird collision with the window when I saw the trailer. The film started with the slow to moderate pacing of witnessing a family in the throes of tension created by the economy---bunker mentalities abound.Then something happened in Sammie's bedroom that made me jump the same way I did with "signs". Then pow. I was in. I immediately thought of the first script version of Close Encounters written by Paul Schrader "Taxi Driver". Spielberg turned it down saying it was mean spirited and didnt want a hostile invasion story. This movie was that draft. This independent piece was a homage to Close Encounters of the third kind, ET, The Birds, Poltergeist, Signs, and Paranormal Activity. Harvey Weinstein greenlit a film which was carried surprizingly well by the acting chops of Keri Russell and Josh Hamilton. I actually cared what happened to these people and thats rare for a scary film to be character and plot driven. The director kept his camera tight on the faces so the actors could not milk their expressions. The blank face fear always works. The soundtrack is very effective in its use against silence. The tension spilling on the children made me believe this couple has been toxic toward each other for a long time---long before the movie's circumstances introduced the audience to them. And maybe that tension drew the attacks to their home in the first place.

Why not being that original, the film compensated with the right mix of old recipes without diluting its ability to reveal enough of the story on a need to know basis to the audience just as it did to the characters. I didnt feel the need to be smarter than the movie. Expect a sequel.

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If you ever watched Paranormal Activity and wonder what the producers would do with an actual budget, you may have gotten Dark Skies. So gone is the found footage gimmick filmed by the characters and instead of a couple there is a family of four. We also get to know the characters better and are suppose to have empathy for them from the start: the father (Josh Hamilton, The 80's miniseries) just got laid off and the mother (Keri Russell, The Americans) who is now the bread winner is not very good at her job.

Much like Paranormal Activity, the scares are light in the beginning, something breaks into their kitchen and raid the refrigerator, before they get weirder, scarier, and more frequent. Just like the characters of Paranormal Activities, these characters are not the smartest people in the world. Sure they do not do anything stupid like taunt a demon, but it takes them way too long to actually do anything to figure out what and why things are happening to them, which in this case involves contacting J.K. Simmons (Spider-Man) which is about where the movie starts getting interesting.

But much like Paranormal Activities, you could probably just fast forward past the first hour and just go straight to the climax of Dark Skies and not miss much. This DVD also comes with an audio commentary with writer/director Scott Stewart, producer Jason Blum, executive producer Brian Kavanaugh-Jones, and editor Peter Gvozdas. It also has about fifteen minutes of alternative and deleted scenes.

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The story opens showing us a stereotypical suburban neighborhood. The focus shifts to one family. Daniel (Josh Hamilton) is out of work. He can't pay the mortgage but has money for all kinds of video equipment. His wife Lacy (Keri Russell) is a real estate salesperson, and perhaps too honest for her own good. They have two sons, Jesse (Dakota Goyo) who is discovering girls and pot and young Sammy (Kadan Rockett).

The story builds slow, creating character as it goes along, with each incident becoming more puzzling and troubling. Sammy reports of seeing the Sandman, claiming he is responsible for the odd occurrences. About an hour into the film, the events are explained in case you didn't figure it out by the opening Arthur C. Clarke quote.

This film is well done. I enjoyed it, even though I still say the whole thing business is hypnagogic hallucinations. This is must see for those who believe in the Grays. I would rate it somewhere in between rent to own depending on your hypnagogia. (Guess what word I learned this week from my doctor?)

Parental Guide: No f-bombs, sex, or nudity. Teen/tween drug use. Minor groping. Some sex talk, i.e. "going downtown"

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I'm not one for rave reviews. I find most films trite, redundant, regurgitated, shallow and self righteous. I can hardly sit through most horrors, because it all seems rushed, boring, and pedestrian, so why wouldn't this. I gave it a go. Standards of other films set in immediately and fast, and though it touches on elements so many other films have in so many ways: of Spielberg genius as Poltergeist and Close Encounters come to mind, (which no doubt people will claim metaphors to endlessly), but the film holds its own in a very simple, straight forward non CGI nonsense way, and its kind of brilliant because truly the ensemble cast does so well together, its believable how terrified they are. I believe the reason why Poltergeist was such a novelty, was not only the absolute terror of a film that stands the test of time, but there was real substance to it (the conversations that Beatrice Straight had with Jobeth Williams' character, how touching and special it was, and with the mothers son, how soothing she was, in a time of absolute pinnacle terror) That is achieved here. Yeah it's no Poltergeist, but in a market saturated with hundreds of turds released a year, this one comes out truly shining. It was very well done.

I am not good with what I want to say when detailing, but the colors are great, the story holds its own on minimal special effects, and considering its from the same people that bring us the ridiculous Paranormal Activity franchise, (loathed Insidious) I absolutely loved this.

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The Skeleton Key (2005)

Almost every film you watch requires some level of suspension of disbelief. Some genres (Sci-Fi, Horror, Musicals, etc.) require more than others (drama). I am willing to give any film the benefit of the doubt and fully "buy into" the world the filmmakers attempt to create. Because of this, I expect a lot from the filmmakers in return. If they expect me to take that leap of faith, I expect them to deliver believable characters, an interesting, involving story and to make me laugh, believe, get frightened, whatever the story would dictate. If they do that, I usually enjoy the film. Unfortunately, this doesn't happen enough. If they don't, the film becomes a mess. "The Skeleton Key", the new thriller starring Kate Hudson, is a film requiring a fair amount of suspension of disbelief. The key to unlocking its success is to make everything believable. Does it accomplish that?

Caroline (Kate Hudson), a hospice worker in New Orleans, becomes so disillusioned with her job that she answers an ad for a private in-home caregiver in a parish about an hour out of the city. Upon arrival, she meets Violet (Gena Rowlands), the wife of her new patient, Ben (John Hurt). Violet is reluctant to have strangers in her house, a large plantation home that has seen better days, but their lawyer, Luke (Peter Sarsgaard, "Kinsey") insists that she get help for Ben during his last days; he had a heart attack while working in the attic and is now paralyzed on both sides of his body, unable to speak or move. Caroline accepts the job and soon receives a skeleton key that will open every door in the house. Exploring the house, she soon makes her way up to the attic and begins to discover some strange things.

"The Skeleton Key", directed by Iain Softley ("K-PAX") and written by Ehren Kruger ("The Ring Two", "The Ring", "Arlington Road"), is that strange thing; a thriller with good performances, good writing, good directing and only the occasional cheap thrill.

All of the performances in the film are very good. Perhaps the biggest surprise is Kate Hudson who takes a 180* turn from the "comedies" she has been subjecting us to for the last few years. She does a really good job in this very dramatic role. As a 25 year old dealing with issues of her father's death, Hudson's Caroline becomes a caregiver. Disillusioned by the economics of her job in the city, she takes a job in the country, caring for one man. She soon realizes that perhaps there is more gong on than meets the eye. During the course of the film, she tries to figure things out. Unlike most thrillers or scary movies, Caroline seems to have a head on her shoulders. She doesn't believe in "Hoodoo", an offshoot of voodoo which features prominently in the film, or spirits or ghosts, so when she makes the inevitable trip to the "dark room", in this case, the attic, it happens during the middle of the day. It is still a bit frightening, but at least she has the common sense to not make this trip in the dead of night. As she learns things, she uses this new knowledge to help her. She also asks for help. In most thrillers, the female lead usually lacks all of these traits. This, and the gravitas or her back story, help to give Caroline a resonance, a weight that we don't often see.

Gena Rowlands, is, as always, good. Violet is the big question mark in the story. Is she involved in the sinister goings-on, or not? Generally, this type of character would have wild mood swings, one moment, she is evil incarnate, the next, sweet as pie. Thankfully, Rowlands plays it more subdued. What really helps the character is that she is presented as an old woman "set in her ways", "old-fashioned", "distraught over her husband's condition". Because of this, her character is more subtle and there are more shades of gray to all of her actions, which can be attributed to her "set-ways". Even when she is being nice to Caroline, she is a bit abrupt and when she is abrupt, we get a sense there is a shade of kindness. Rowland's performance aids the well-written character keeping us guessing what and if there is something lying underneath.

John Hurt's performance is the trickiest because he uses almost no words throughout. The victim of a stroke, paralyzed on both sides, Ben can't move a muscle. But his eyes move, and they dart back and forth, or convey the anguish or terror he feels. At one point, Caroline is bathing him and gets soap in her eye, using a compact to make sure it is gone, she remembers Violet's admonition to keep mirrors out of the house "because they show the spirits walking throughout". Caroline opens the compact and places it in front of Ben's face. When she does this, Ben begins thrashing about. Finally, able to soothe him, Caroline apologizes. It really is amazing to experience all of these emotions through an actor who basically uses only his eyes throughout the performance.

The film is very well-written and well-directed. Throughout, writer Kruger and director Softley give us clues, and even a few red herrings, but some of these are so well-hidden that we aren't able to piece everything together until the very end, when the secrets are revealed to Hudson's Caroline. At this point, your mind will click back to all of the clues and you will, hopefully, realize how clever everything is. The ending has a neat little twist, which I didn't see coming, but now that I know what it is, it all makes sense. How refreshing for a film to make sense, to connect the dots through the many layers of the story.

Director Softley seems tailor made for this film. His last film "K-PAX" was a mess, but in "Key", he immerses us immediately in Caroline's world, starting the film without any credits of any kind. As we learn about Caroline's back-story, her character becomes more believable and real to us. After she arrives at the plantation, and is given the skeleton key, there are many shots of the interior of locks, as the key opens another door, and Caroline explores the house. This is an interesting metaphor for her learning secrets. The film is also remarkably free of the dumb thriller and horror film clichés so rife in other examples. As mentioned, Caroline asks for help, looks around in the middle of the day, and learns. There are also few, if any cheap thrills generated by "stray black cats". There is one scene in which Caroline wakes up in the middle of the night and immediately jumps out of bed wearing only panties and a t-shirt to investigate a sound. If it were me, I would've thrown on a pair of sleep bottoms before running around in a large, dark plantation house. But these types of typical horror/ thriller movie clichés are few and far between here.

"The Skeleton Key" is a surprisingly well-written, acted and directed thriller complete with a clever twist which is well connected to the rest of the story.

The Skeleton Key starring Kate Hudson is an interesting horror flick. I enjoyed this film very much, Hudson plays Caroline, she takes care of ill elders. She arrives at a house in New Orleans and strange things begin to happen to the man she is taking care of. A fantastic and scary performance by Gena Rowlands, who knew she could convel such an evil old lady so well. Watch out for the twist ending, didn't see that one coming. Hudson is great as always, she should do more of these types of films. I highly recommend The Skeleton Key!

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Iain Softley's "The Skeleton Key" is a deliciously creepy entertainment for a lazy afternoon or evening. Softley builds the story slowly, marinating us in the spooky atmosphere of a dilapidated Louisiana bayou mansion, until we're just as hypnotized as the hapless heroine. That heroine, played by Kate Hudson, comes to the house to help a tart-tongued old woman (Gena Rowlands) take care of her stroke-immobilized husband (John Hurt). From there, she gets far more embroiled than she'd like in the hoodoo-laced history of the house and its inhabitants. Working from a screenplay by Ehren Krueger ("The Ring"), Softley places the pieces of the story in jigsaw-puzzle fashion; the placement of the last piece knocks you for a loop with a surprise ending you'll be thinking about for days. Hudson--who has much of her mother's charm, plus a certain pizzazz all her own--gives a totally satisfying performance as the heroine; Hurt (in a nearly wordless performance) and Rowlands also are excellent, as is Peter Sarsgaard as the family lawyer. As with all good thrillers, "The Skeleton Key" messes with our minds, rather than our gag reflexes. If you're a fan of "The Twilight Zone" (the TV series, that is, not the movie), chances are you'll love this.

Read Best Reviews of The Skeleton Key (2005) Here

I was initially told, when my friends organized a night at the cinema, that this movie was written by the guy who wrote the Hollywood version of the Japanese horror movie "The Ring". Fully expecting it to be gross and scary, I was pleasantly surprised that "The Skeleton Key" is not. It's one of those sort of horror genre movies that leaves you guessing until the end. Reminded me of Nicole Kidman's "The Others". I'll advice anybody who will be watching "The Others" or "The Skeleton Key" on DVD/video to do it in one sitting, one go, without pauses in between for bathroom breaks or what not. Turn the lights down, turn the volume up and get ready to get jumpy.

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I don't want to go into a lot of detail here because like "The Sixth Sense" there is a point toward the end of this film when the observant viewer will realize what's really happening here. And if you are really paying attention you willfigure it out perhaps a little earlier than what was intended by the director, but that's ok. I don't want to spoil the fun for you so I won't elaborate.

This film is beautifully shot and acted especially John Hurt who doesn't get to speak. How challenging is that? Skeleton Key is full of dark, cypress tree, hoodoo, alligator Louisiana bayou mystery. My wife wanted to see it and I was actually sort of "ok, whatever" when she picked this up to rent. After seeing Skeleton Key I purchased a copy and I don't buy very many movies on DVD.

As far as critics who panned this movie go, don't let them put you off. My guess is the production team didn't hand out really nice goody-bags at the theatrical pre-release party. That's the ONLY explanation for a bad review because this really is a very good movie.

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This Boy Can Fight Aliens (2012)

This movie was pre-viewed at the New York Comic Con / Anime Festival. Probably 600-700 saw it, and I was one of them. There. That gets the whole "How can you review something that isn't out yet" problem.

The story revolves around Kakashi, a boy with no memory of his past. The only thing he has from his past is his cell phone, but it is broken. In the time/planet (never states what planet or where they are)they live in, aliens come everyday to fight someone, a single, random person. Of course, the aliens are super strong, and no one is a match. But then they fight Kakashi, who, for some reason, can take on the aliens. So, from that day on, a single alien comes each day to fight him.

Kakashi lives in a house with two other men. One, about Kakashi's age, is called Arikawa. He is best friends with Kakashi. The other is Shiro, who is something of a father for both of them. They both know of the alien fighting, and give him moral support.

Overall, it is a great movie. The characters are all unique and interesting. The story is well paced, and it all leads up to a memorable ending. The movie is a bit short (a little under 30 minutes), but it is able to give as much of a story as a full length picture does.

As a fair warning, the creator of this movie, Soubi Yamamoto, does a lot of work for yaoi themed (but not full-on yaoi romance scenes, as the subject is normally thought of) stuff, and it does show in this movie. It teases at a romance, the characters are very feminine, and even the art style is similar to yaoi art.

I will not tell people to buy this because of the yaoi, and I definitely will not advise against it (I am not a yaoi fan!). Buy this movie. Great story, great characters, and a great ending.

Overall, great movie.

This Boy Can Fight Aliens features a 30 minute length anime short that has action, drama, suspense, and friendship/love elements. The anime experience is quite good for the genre mixing these things in a unique HD package that is visually amazing and sounds excellent. Dub actors are excellent for their roles and the quality subtitling of the text on screen makes it worthwhile and enjoyable. Ultimately I really did end up loving this feature and the dedication to actually having some boys love elements, like the handholding or sleeping together and a good nice end.

There are other shorts here from the same creator with Robotica Robotics having an additional boys love/friendship focus their or even more than that as two robots Haru and Natsu explore their relationship with each other and with the person who adopted them Masa, and the meaning of love. It was really emotional and touching and quite memorable.

The other shorts dwell on the question of the world ending and such or the feasibility of their world and have good music or serve as showing that certain elements served as inspiration for the main feature.

The disc also has an interview with the creator. Ultimately it is a good value for the money and a really memorable experience, definitely check it out as it is a good purchase.

Buy This Boy Can Fight Aliens (2012) Now

Back in 1999, a young man in Japan named Makoto Shinkai who worked for video game company Falcom, would go to work on a five minute animated piece titled "She and Her Cat" and would eventually win a major animation contest. The young man would then go to work in creating an animated OVA titled "Voices of a Distant Star" created by himself on a Mac.

And since then, Makoto Shinkai has become one of the rarities in the anime industry, who used the current technology available in software and home computers, to create his own anime. And while he won awards, many people in the anime industry warned that this is rare and not anyone can just go and create their own anime OVA like Makoto.

CoMix Wave Films, who are known for their distribution of Makoto Shinkai's work have featured another young anime creator, who has literally created anime shorts by herself and also was inspired by Makoto Shinkai.

Her name is Soubi Yamamoto, a manga and anime fan, a big fan of Shonen Ai games (stories featuring boys in love or affectionate towards each other), who would go on to create several shorts on her iMac, using software such as Adobe Photoshop, After Effects, RETAS, ComicStudio and Cinema 4D.

Similar to Shinkai, Soubi would create a few anime shorts such as "Sekaike Sekairon", "ra/radio noise planet" and "Robotica Robotics" and then later, create something longer at 30 minutes. The result was an anime OVA titled "This Boy Can Fight Aliens".

And now, the OVA along with her three shorts was released on Blu-ray and DVD courtesy of Sentai Filmworks.

VIDEO:

"This Boy Can Fight The Aliens" and the three shorts are presented in 1080p High Definition. One thing that separates Soubi Yamamoto from Makoto Shinkai, is that Shinkai was more focused on developing anime that looked like a big budget studio had made it. He also emphasized on character development and storyline. For Soubi Yamamoto, unlike Shinkai who was influenced by science fiction, she was influenced by Shonen-Ai.

With that being said, Soubi Yamamoto takes a more creative, artistic style of animation and graphic design to her work. While Shinkai emphasized clouds and character, Soubi Yamamoto's style is visual in terms of utilizing space with colors, with text boxes, with literally like looking at a manga panel, as much space is used for her design. And so, it was great to see a creative person utilize an anime OVA in this kind of nontraditional approach.

As for the Blu-ray release, "This Boy Can Fight Aliens" is presented in 1080p High Definition and is absolutely vibrant in HD. Soubi emphasizes colors that pop, while characters have emphasis in their eye areas. If anything, her approach is entirely artistic and the OVA and the included three shorts look great on Blu-ray!

AUDIO:

"This Boy Can Fight" is presented in English and Japanese DTS-HD Master Audio 2.0. Dialogue and effects are concentrated on the front channels and for the main OVA, the dialogue is crystal clear. It's important to note that the shorts vary. As one can expect from low budget, home-made animation, she utilized what she can to capture the voices. And so the Japanese vocal track may seem a bit uneven, or even to high at times for the shorts. While the English vocal tracks are well-done!

But for the most part, dialogue, special effects and music are well-done for this independent project and the English dub is well-acted by Blake Shepard, Dave Matranga and Greg Ayres.

Subtitles are featured in English.

SPECIAL FEATURES:

"This Boy Can Fight Aliens" comes with the following special features:

Sekaikei Sekairon (4:47) An animated short created by Soubi Yamamoto, about a teenager named Rorogi Mutsusuki and whether or not he wants to destroy the world.

ra/radio noise planet (3:33) Mr. Tanaka's adventures as he walks and talks to different characters that he encounters.

Robotica Robotics (10:39) Two robots named Haru and Natsu and their scientist/master named Masa. Haru wants to know more about love.

Interview with Soubi Yamamoto A short text-based interview with Soubi.

Trailers Sentai Filmwork trailers.

JUDGMENT CALL:

When the first Makoto Shinkai DVD's were released, I was immediately supportive for the fact that one individual can create an anime OVA on their own, using their home computer and software, that was absolutely amazing to me and the quality of his work was fantastic.

Here we are today with Soubi Yamamoto and another person who was able to create her own anime OVA via solo on an iMac and a few software and has caught the attention of the anime industry as well.

Granted, while Soubi was inspired by Makoto Shinkai, both of their work is like comparing apples and oranges. For Soubi Yamamoto, her work does lean more towards bishounen and Shoujo-Ai style. For "This Boy Can Fight Aliens", the main character Kakashi has endured some emotional trauma, to the point that he has forgotten things in his life, but most importantly, how to utilize the amazing power to defeat the aliens which have invaded Earth.

Arikawa is a man who wants to help Kakashi and you can tell that both young men are quite affectionate towards each other.

But the story focuses on one man struggling with himself and starting to doubt his purpose in life. While the story is straightforward, as one can expect from 30 minute OVA, Soubi Yamamoto has said there is more to the story that she would like to tell. And hopefully, she would be able to get the opportunity to extend the story of Kakashi in a full animated series.

But I tend to look at "This Boy Can Fight Aliens", similar to Makoto Shinkai's evolution as an anime creator, as a learning process that will lead to bigger things. Shinkai started out with a five minute short "She and Her Cat" and then went on to create "Voices of a Distant Star" ("Hoshi no Koe"). Granted, Makoto Shinkai's first major work was a rarity, the animation and art backgrounds were breathtaking and magnificent, the use of lighting and the story telling was well done. But as professionals in the anime industry have said, Makoto Shinkai and what he was able to accomplish was a rarity.

For Soubi Yamamoto, it's a different style. "This Boy Can Fight Aliens" is sci-fi but relies less on the actual fighting and focuses more on the emotional aspect, the relationships of characters and moreso on visual creativity. Not in a realistic way, but something more like bringing a shoujo manga page to life. Full of colors, utilizing as much space as possible and with so many things featured on screen, you may find yourself discovering something new with each viewing of the OVA.

So, in a way, "This Boy Can Fight Aliens" is a Blu-ray release that is more like a showcase of what Soubi Yamamoto had accomplish on her own so far, but the next step is to see how much she evolves in her next major project. Possibly a longer storyline or even working with a staff. We have seen Makoto Shinkai move on to bigger projects and I would like to see Soubi Yamamoto be given a chance to work on something bigger, because she does have amazing talent.

When this Blu-ray is released, many will be hearing or reading that is a "yaoi" release. There are no scenes of guys kissing each other or anything like that. It's pretty much guys who are affectionate towards each other verbally or may it be a gesture of holding one's hand and giving them encouragement. So, those who are wondering if this is a "yaoi" release, the answer is no.

As for the Blu-ray release, while 30 minutes may seem short for the OVA, fortunately her three animated shorts are included as special features and viewers can see how she has evolved as an anime creator in her work. But the picture quality of each of these shorts and the main OVA are vibrant and the inclusion of the English voice dub for each of the animated shorts was great as well (considering most US anime companies in the past have tend to dub the main feature and not the special features). If I have any problems with this release, I wish it would have included a video-based interview than text-based interview with Soubi Yamamoto, an audio commentary by Soubi would have been a great addition as well.

Overall, "This Boy Can Fight Aliens" is a worthy Blu-ray release for the anime fans who are appreciative of independent talent that are coming from Japan. Appreciating the work of an individual who is passionate about creating anime and willing to do it on their home computer and using software and dreaming that their work can be appreciated by a group of people, let alone people all over the world. Makoto Shinkai accomplished that a decade ago, and now for Soubi Yamamoto, this is her time to shine!

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First of all, this is not a BL (or yaoi) anime. The character designs and visuals seem to be distracting fans over here, which I think is unfortunate because although This Boy Can Fight Aliens is only a little longer than a regular anime TV episode, it's got a lot to say and deserves a bigger audience. I was surprised by how much I liked it, and I watched this Blu twice in one week! Let's make it a big success so the creator's new indie film in the This Boy series can also come over.

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I didn't know anything about this title besides "up-and-coming writer/director," "light scifi," and "subtle BL" and gave it a shot based on that. Unfortunately, nowhere in the buzz or on the product page was it mentioned that "This Boy Can Fight Aliens" was essentially a youtube/niconicodouga make-it-yourself animation project and only 28 minutes long, to boot. Yes, it would be a very well-made, substantial and lengthy offering for a yt/niconico film, but as a standalone blu-ray that people pay $15+ for? Definitely not worth it. (no special features either)

As for the film itself, aside from the disappointing lack of full-motion animation as I mentioned, the voice acting is good, the writing was solid and the story itself was interesting/had promise, though it hardly had time to be fleshed out properly with the brief 28-minute runtime. The story opens on Kakashi, a teenaged boy (the eyepatch kid on the cover) wrapping up a one-on-one fight with an odd-looking alien creature. He dispatches the alien handily and is then greeted by Arikawa, a beaming, wide-eyed young man (apparently in his 20's? I thought he was the high school student!) who is essentially his "handler" from the government. He is also Kakashi's erstwhile guardian as Kakashi has amnesia and the government has thus far been unable to find his identity and family for some reason. Kakashi and Arikawa are joined by one other housemate--their grouchy commander and household cook, Shiro--and the three of them basically make up the teeny, odd little outpost that is mankind's last hope against an alien invasion.

Speaking of which--a giant alien mothership has anchored itself in Earth's atmosphere and sends one alien down to the surface daily--not to negotiate or make declarations of conquest or any such thing. It simply comes down and... fights Kakashi. Every day. One alien. And for some reason, Kakashi, who appears to be a normal teenaged boy, is able to beat them up, ostensibly saving the world on a daily basis.

Plausibility issues aside, the premise is cute--Kakashi is a lost teenager thrown into a bewildering situation, just trying to keep his head above water while figuring out who he is and where he fits in the world--quite literally in this case, because of his amnesia. The truly interesting psychological bit is that he actually DOES have one clue to his ID--a dead cellphone that he is somewhat afraid to charge/turn on in case it turns out no one from his old life has tried to find him in all the months he's been gone. That and one quite poignant scene with Arikawa and some beautiful imagery/symbolism made me feel this movie was not a complete waste of time.

In fact, the story has a lot of potential, as I mentioned. I just wish that before rushing to release it on DVD/blu-ray, some animation studio had seen that promise and animated it properly. I can honestly say the thrown-together "youtube video" look--while interesting when intentionally done on certain types of films--does nothing to enhance this particular story. The action scenes, especially, would be miles better if fully animated. So I'd rec watching this if it's streaming legally online somewhere or waiting until the DVD price is $5 or less. Otherwise, not worth the money.

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Madea's Family Reunion (2006)

Once again, Tyler has put together a grand movie; I went to the first showing of it here in town and the theater was PACKED; not many seats left; yet, it was a great movie; Cicely and Maya giving us lessons; Maya with the wedding poem; The wedding itself;(nothing short of beautiful); the daughters, the men, Joe, Madea; great combination; Like I mentioned on Tyler's site when I commented on the movie; some movies make you think, some leave you with a short feeling, some just leave a lasting impression and make you empowered; this movie did that and more! I higly encourage those to see this movie and be empowered to do wonderful things;

Tyler Perry really did it for me in this movie he shows African American culture at it's finest. He also has some of the best actresses playing in this movie. Add all this with an entertaining funny twist and you will have money well spent. I love the soundtrack as well as the art that is showcased in this movie. My favorite part of the movie is at the family reunion where Cicely Tyson does her thing and SPEAKS to "her family". Well done Tyler keep them coming.WARNING:DO NOT GO TO THIS MOVIE WITHOUT A BOX OF TISSUES BECAUSE YOU WILL BE LAUGHING SO HARD.

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Hats off again to Tyler Perry. This movie was excellent,and definitely a must see!!!

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Pros:

Storyline, cinematography, acting, positive themes, family friendliness

Cons:

Tacky wedding set, sometimes preachy, some content disturbing for kids and victims of abuse

Full Review:

Caution--This opinion reveals major details about the movie's plot.

I first saw this film in the theater in March. I was in the market for a quality show to celebrate Women's History Month and the tail end of "365 Days of African American History." But it was Friday night and I was also in the mood to laugh. So I convinced my date to see "Madea's Family Reunion" rather than the action flick he was lobbying for. We'd both seen the stage version of "Madea's Family Reunion" and all of Tyler Perry's other shows on DVD and knew the film would be fun. But we didn't anticipate the degree to which Mr. Perry and his pistol packin' alter ego, grandma Mabel "Madea" Simmons (one of three characters he plays in the film), would load so many dead-serious and inspirational messages into this scenic gem.

The ethnically diverse audience at the cinema where we saw the film seemed to concur. We all gasped and guffawed, oohed and aahed at the appropriate moments (except one, which I'll address later), and stayed to watch the outtakes and extra treats rolled alongside the credits. Mr. Perry knows his audience...he kept us enraptured, in the palm of his hand, until Madea broke the spell and directed, "You can go home now."

The film's script, music (which writer, producer, actor, director Perry had a hand in), cinematography, casting and wardrobe pleased the senses, with one major exception that profoundly disappointed me. Not everyone seemed to agree; I was surprised (and red faced) to be the only one in the theater to react audibly to the rendering of the "Springtime in Paris" wedding theme pulled together by wedding planner Milay Jenay Lori (played by Jenifer Davis). When I saw it, I couldn't help but blurt out, "That's awful!" Everyone else in the theater was silent. They were probably either wishing I'd pipe down or wondering, as I was, why--given the movie's ample budget, the beauty of some scenes and realistic homeliness of others--the bridal set had to be so goldarn tacky. But that's a minor matter, like a ding in the fender of a top-of-the-line sports car, or the fact that fine-as-wine and manly-but-artistic Frankie (played by Boris Kodjoe) was not as wealthy as the equally fine, "love you to death," Carlos (played by Blair Underwood).

"Madea's Family Reunion" is not just a gem. This blockbuster's also a cash cow. According to Wikipedia, "On opening weekend, February 24, 2006 Mr. Perry's movie version of Madea's Family Reunion opened at number one with $30 million, more than triple the amount it cost to make." Furthermore, as IMDb reports, "After the first week record-breaking release of the first "Madea" film by Perry, Tyler, Lions Gate Home Entertainment acquired a seven-picture deal of the remaining Madea films." In addition to his commercial and critical success, Mr. Perry's website reports that he is currently celebrating being the first playwright of this genre to be sponsored by a major pharmaceutical company, Glaxo Wellcome.

I'm thrilled at Mr. Perry's success. Like single-mother Whoopi and motherless-at-an-early-age Madonna, the N'Awlins native and adult survivor of child abuse has joined the ranks of wildly popular self-made millionaires who have overcome substantial personal tribulations, taken odd jobs to finance their dreams, and even spent time homeless. Mr. Perry began writing stage plays at age 18, and so far has conquered stage and screen. Next on the horizon: his first novel, Don't Make a Black Woman Take Her Earrings Off: Madea's Commentaries on Love and Life. I can't wait to get between those sheets!

Recommended:

Yes

Available Viewing Format:

Theater, DVD,VHS

Want Madea's Family Reunion (2006) Discount?

I thought that with Tyler Perry would not be able to match "Diary of a Mad Black Woman," but I was wrong!!!! Madea's Family Reunion is actually better. You laugh and you cry: it's a real morality play that's fun to watch.

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Running Scared (2009)

Director Wayne Kramer's follow-up to his directorial debut (The Cooler) shows that he is a rising talent in Hollywood with a flair for drama and suspense that borders the line between reality and surrealism. Running Scared has such a gritty, washed out look right from the get-go that one starts to think it's a film lifted right out of the 70's. But that is only part of what Kramer does in creating a look and feel for Running Scared. Kramer actually uses every kind of trick in a director's book to give his film such an over-the-top sense that the audience really doesn't know what to expect just around the next dark corner.

Running Scared's first ten minutes sets up what the rest of the next two hours are going to be like. Kramer direct's this ten minutes like a man possessed. The direction and editing is frantic and frenetic. Some have said that it's all been done before by Tarantino, Woo and a dozen other action-stylists out of Hong Kong, but I disagree. Kramer's style owes alot more to the grandfather of excessive film violence and that's Sam Peckinpah. I'm not comparing Running Scared to Peckinpah's seminal classic The Wild Bunch but the pace and look of the chaotic shoot-out in the tiny apartment in the beginning brings to mind the opening and closing shoot-outs in that film. Kramer knows he's not making a social statement or even an intellectually relevant film. What he does know is that he wants to tell a fairy tale of one man's hectic day and all the craziness he has to go through during that day. And this is what Running Scared really has turned out to be. A fairy tale set in an modern, dank, urban landscape where our hero (though anti-hero is more like it) and the two kids in his life must travel a surreal place filled with mack-daddy pimps, hooker with a heart of gold, corrupt cops and even a pair of child pedophiles who also turn out to be husband and wife. Running Scared is a like Grimms fairy tale as seen and told in a modern setting.

The cast of actors Kramer has assembled all do a good job in populating this violent, profane modern fairy tale. I'd be the last to think that Paul Walker was an actor who had any talent, but his performance in Running Scared has given me pause to think that maybe its not him, but the projects he's been doing that's given him a bad reputation as an actor. Gone is the California surfer dude persona he seems to be saddled with in all his films. He actually inhabits the low-level mobster soldier he plays as Joey Gazelle. This film may not be his breakout performance but it will open up some eyes. The boy's got some skill he's never been able to show before. The other actor who makes a standout performance is one Cameron Bright who plays Oleg. The neighbor kid whose theft of a mob gun Joey is suppose to make disappear turns Joey's life upside down. Cameron's almost like Pinocchio in that its through him that we see all the crazy characters he runs across. It's a testament to Kramer's direction that he's able to get such good performances from Walker,Bright and the rest of the cast in a film that's as confusing, complicated and surreal as Running Scared.

Running Scared is a wonderful surprise of a film for 2006. It's an unabashed fun, thrilling urban fairy tale that goes for broke in everything it does. Wayne Kramer's direction shows that his very good work in filming The Cooler wasn't a fluke and one-time deal. This is a new director who has shown that he has the skills and talent to stay in the business. He's no Tarantino and surely not in the same league as Sam Peckinpah whose films this one owes alot to in style and feel, but he's making a name for himself as one who can do good work. Oh, Paul Walker does a good job in it as well. I highly recommend this to people who like their films to be fun, but at the same time to have some flash and style.

Wow, what a movie. 'Running Scared' is not to be confused with the 80's movie by the same title starring Gregory Hines and Billy Crystal. This is a completely different storyline, and there is no comedy involved whatsoever.

'Running Scared' is the tale of Joey Gazelle (Paul Walker), who handles weapons disposal for the illicit actions of his friends. But when a gun is used to eliminate a crooked cop, Joey treats it as casually as he treats all his charges, putting it in plastic and hiding it in his house. But this time, he is seen by his son Nicky and neighbor boy Oleg Yugorsky (Cameron Bright The Butterfly Effect).

Oleg takes the gun and shoots his abusive stepfather Anzor (Expertly played by Karel Roden The Bourne Supremacy, 15 Minutes, and Hellboy). Now, Joey not only has to find the gun, but protect Oleg and Nicky from being discovered by his mob connections, and still produce the gun for his benefactors.

This movie is a non-stop thriller, literally flowing from one tense moment to another without pause. It's definitely an "edge of your seat" movie. There doesn't seem to be one particular good guy in the entire film, everyone is seedy and foul of character. But when Joey's wife Teresa (Vera Farmiga 15 Minutes, The Manchurian Candidate) confronts the child molesters, you will raise your hands above you head, clapping and cheering for the white trash woman.

Its not so much the shock level or any surprises that make this film so good as it is the tension level. The director managed to keep a high level of tension throughout the entire movie, which is a rare achievement. 'Running Scared' is a definite nail biter. Incredibly fast-paced, the tension makes the movie seem more graphic than it is. It's the intensity that will make you jumpy, not the graphics. It's worth a purchase. Enjoy!

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I'm getting sick of marketing people, you know? Especially after having seen this movie I'm sick of how often they can misrepresent a product, CD, or (especially!) a film their trying to present. I understand it's a matter of telling people the information that would drive them into spending their money on a 2 hour or so experience, but in this particular case, they dropped the ball big time!

This trailers for this film made it appear as a garden variety action pic. Overtly violent and again without point. Imagine my shcck and awe (I'm using that term a lot more lately.) when I finally saw the film! It twists and turns with a gritty style of filmaking that actually calls back the films from the seventies, the dark crime films like French Connection, as upposed to other films who merely say that but don't deliever.

Paul Walker is just what he needs to be. Gritty, real, and whatever adjectives you wish to put to describe his manic performance. Playing a low level mobster with a loving family, he makes mistakes but goes out of his way to fix them. Cameron Bright, the young actor who plays Oleg is simply stunning. Vera Farmiga? Wayne Cramer is right. Her eyes are hypnotic. She is, as she does in her brilliant turn in The Departed, the moral center of the film.

Fantastic action, great dialouge, amazing camera work, fantastic story! How could they have messed it up? Leave that to the marketing people.

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Running Scared is one of the most intense movies I have seen in some time. What I liked about Running Scared is that it kept my attention almost the entire time, and if a movie can do that to me it has to be a really good flick. I don't want to give the details of the movie away since many reviewes have done that, and I don't want to ruin it for those who have not seen it. I will say this movie is intense and throws some major stuff at you that makes you at times find it very hard to watch. The movie is filmed very different than most movies today and it has sort of a raw feel to it. Paul Walker does a truly amazing job in his performance and deserves an OSCAR or at least a Oscar nomination for his performance. That may sound far fetched to some doubters, but really he is that good. He shows when given great material he can be one hell of an actor. He truly embodies this character and to see him with this high stress level throughout the movie and be able to maintain it just makes me respect his acting more than I thought I ever could. TO be honest I am surprised the movie got an R rating and not a Unrated or NC-17 rating. The movie has more bad words than any movie I can remember in recent memory. As for the blood and violence there is quite a bit, but it is done with a purpose and not just for the sake of being violence. Check out running Scared if your in to movies that keep you on the edge of your seat, but better yet check it out if you like a good action packed movie!

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i didn't think it was possible after movies like the fast and the furious franchise and timeline, but the guy showed some talent on this one. he must have taken acting classes or something. it's about time that he finally gets out of being typecasted.

i was surprised at the brutal realism this movie portrayed. it was as violent as A History of Violence, without any down time. this movie was incredibly fast paced. it was so fast paced that i found myself waiting for the moment of it to slow down, only it never came. the characters were quite memorable. the two kids were perfect for the roles. the kid that played as oleg did an incredible job as an abused child holding all his anger in up until one deciding moment.

the whole story line had a few too many twists in it, but it moved to quickly from point A to point C for you to care too much about point B. i am glad they didn't hold back at all with the amount of graphic violence (everything from a kid shooting his dad to heads being blown off with shotguns) the fact that they let everything go just made this movie go from good to great. it was enjoyable up till the very end. if you liked Boondock Saints, then chances are you will like this.

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Way Down East (1920)

In order to truly enjoy a film like Way Down East it is necessary to try to perform the seemingly impossible task of transporting yourself back into the 1920's. It is very easy to be critical of the moralizing, the melodrama and the attitudes. It is easy to find a film like this primitive in its techniques and its acting. But this is to miss the point and prevents a viewer from having a great silent film experience. This film carries the viewer along with the intensity of the emotion that is portrayed, especially by Lillian Gish in what is perhaps her best performance. Certain scenes have become archetypes, such as the `leave my house' scene. Some people may criticise the so-called comic relief scenes in this film. But it must be remembered that they are not intended to be funny in the sense of Keaton or Chaplin, for this would make the film fantasy rather than drama. They are supposed to be light relief, nothing more. The best thing about this DVD is that it shows the film complete. The colour tinting, which should always be reproduced if at all possible, is subtle and greatly adds to the mood of each scene. The print shows some damage in places which at times is quite serious, but does not detract from the enjoyment of the film. We must accept that sometimes it is not possible to restore a film to perfection. It is better to have a few damaged frames than to have them missing. The original music for a 1928 reissue is reproduced and sounds fine. Finally this DVD includes extensive sleeve notes which are informative and well written. Griffith, as far as I am concerned, will always remain one of the greatest of directors and Way Down East is one of his finest films.

Way Down East, although technically imperfect by the over-exacting standards of modern-day audiences (who are used to expensive computer-generated special effects which rarely serve to truly augment a film and often serve as a cover for woefully deficient plots), is nothing short of a masterpiece. As usual, Lillian Gish's acting is superb, and the ice floe sequence near the end is truly riveting even with a couple of continuity problems. Richard Barthelmess shines through as David Bartlett, turning in another fine performance. Way Down East is another of Griffith's masterpieces, and this release features the full-length version mastered at the correct film speed, complete with original tints, and the original score, recorded on Vitaphone discs for the film's 1930 reissue, making for an outstanding evening's entertainment. Excellent!

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This and Broken Blossoms are the defining moments in Lillian Gish's career. Watch and you'll be hooked. I pretty much bestow all the same accolades as everybody else about this film. Griffith was not quite a master of slapstick, but the moments here are not much different from other comedies at the time. The key of course is Gish's mesmerizing performance and a simple plot (this is 1920 of course). What a treat it is to own this movie and other silents on DVD. The picture quality is virtually perfect. The music score is a recording of an original score. It's scratchy but authentic. My only gripe with this edition is the title cards. The letters look like they came from the Sunday comics. One small quibble in an otherwise remarkable DVD.

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In 1920, D.W. Griffith would go on to do a film adaptation of Lottie Blair Parker's play "Way Down East".

Despite the fact that two silent film adaptations were previously done (including a Henry Fonda talkie in 1935), Griffith paid $175,000 for the screen rights to the film and in those days, that was astronomical as it became the most expensive film for the filmmaker. But also one of his most successful films in the box office taking in over $4.5 million in 1920. The film was also known for using an early Technicolor process and for D.W. Griffith, wanting to attain realism, shot the winter scenes during the latter part of the film in an actual blizzard.

Back in 2008, "Way Down East" was included with the Kino International DVD box set "Griffith Masterworks 2' and featured the remastered version by the Museum of Modern Art. Now, "Way Down East" will be released on Blu-ray in Nov. 2011 courtesy of Kino Lorber.

VIDEO:

"Way Down East" is presented in 1080p High Definition and the film is color tinted. The film is mastered in HD from the Museum of Modern Art's 35mm restoration with original color tints. It's important to note that the Museum of Modern Art did the best restoration possible with the original existing film elements. With that being said, the film features a lot more clarity and detail in HD compared to its 2008 DVD release.

While the film does have specks, scratches and even moments where we can see film damage, fortunately it's not too bad and doesn't take you away from the actual viewing experience.

With that being said, unfortunately this is not the complete version of the film. There are scenes that are probably lost forever and to help bridge those moments during the film, we are either given an intertitle explaining of what had taken place or a still shot of that scene. Fortunately, some of these missing scenes are not from the most critical moments of the film but one can only hope that similar to "Metropolis", the missing footage for "Way Down East" will one day be found.

But for the most part, this is the best looking version of the film to date. You can also see the icicles develop in Lilian Gish's eyelashes during the blizzard scene much more clearly. And also see the separation of the ice during the action sequence at the end much more clearly as well. If anything, you're getting better clarity than ever before!

AUDIO & SUBTITLES:

I loved the Mont Alto Motion Picture Orchestra score for "Way Down East" that was used in the original DVD but to hear it in DTS-HD Master Audio 5.1, I'm quite impressed to hear the soundtrack come alive. There are certain soundtracks that you hear that stay in your head from time-to-time, especially when watching a film. For silent films, especially with the two Griffith films released on Blu-ray ("Way Down East" and "Birth of a Nation"), the Mont Alto Motion Picture Orchestra have been wonderful! And it's one thing listening to it in stereo but to hear it in DTS-HD Master Audio 5.1, for me, makes a big difference.

It made various scenes come alive and for the most part, I'm very happy that Kino featured a lossless DTS-HD MA 5.1 musical soundtrack!

SPECIAL FEATURES

"Way Down East" comes with the following special features:

Film Clip: The ice floe sequence of the Edison Studio's "Uncle Tom's Cabin (1903) (:37) A short video clip of what inspired the ice floe sequence for "Way Down East".

Notes and exerts from the play by Lottie Blair Parker A text based note on the original play.

Photos of William Brady's 1903 stage production Using your remote, you can view images from William Brday's 1903 stage production.

Gallery of images from the original souvenir program book Using your remote, you can view images from the original souvenir book for the film.

Notes on the Musical Score A text based feature with Rodney Sauer of the Mont Alto Motion Picture Orchestra talking about how he came up with the score.

EXTRAS:

"Way Down East" comes with a slipcase cover.

JUDGMENT CALL:

"Way Down East" is perhaps one of my favorite love stories from the silent era because of its complexities and because the actors took part in one of the riskiest action sequences to be showcased in a romantic drama.

First, lets talk about the characters. What "Way Down East" manages to accomplish with absolute efficacy is its character development. Griffith slow develops the characters over the course of the film. While certain characters such as the Constable, Hi Holler and Seth Holcomb were featured primarily for laughs and don't really add so much to the film (which I read was added because people would expect those characters from the play to be in the film), from the emotional Anna Moore, the stern Squire Bartlett, the womanizing Lennox Sanderson and the charming David Bartlett, "Way Down East" showcases what most people expect from a dramatic romance story...complexities.

But in this case, complexity is taken to a grand level when Anna Moore is deceived by a womanizer and is forced to raise a baby that dies not long after she gives birth to it. I don't know how people reacted to that scene back then but nevertheless, one can easily be sympathetic to the country girl Anna Moore

Once again, character development was slow but Griffith did a magnificent job in establishing those characters.

But it's the finale that will forever shock viewers to "Way Down East". Even in 2011, I can't imagine how the block of ice and those scenes were created for the film. Last time I watched a silent film that revolved around the use of a waterfall, it was a Buster Keaton film in which he was injured.

But this time, the waterfall looked dangerous and while Hollywood does all it can to protect it's actors and crew in today's working climate in fear of lawsuits, back then, to capture realism such as a snow blizzard, you shoot during a snow blizzard.

For "Way Down East", Griffith and crew waited for a real blizzard in order to film the latter scenes. When you see Lillian Gish walking through the blizzard and seeing the frozen ice on her face, that is not fake snow, that is all real! And that is one of the benefits of Blu-ray is to see the amazing clarity of icicles developing around her eyelashes. Supposedly, Lilian Gish who had to drag her arm in the icy water during the ice floe sequence suffered an injury that would bother that arm for years and decades to come. Granted, Lilian Gish had a body double who did the ice floe sequences but nevertheless, it goes to show how far Griffith wanted to capture realism.

In fact, even D.W. Griffith was injured on set (according to Robert K. Keppler, "Silent Films 1877-1996'). During the filming of the ice floe sequence, in order to break apart the ice, the crew had to use dynamite. But in process, one the blast happened to quickly and Griffith was caught in the blast. Not sure of how badly he was injured, but it was bad to the point that that Elmer Clifton (the stunt double for the character of Anna in the film), would have to direct the remainder of the ice floe sequence.

But the ice floe sequence for this film is what will be remembered most for "Way Down East". It is one of the most dangerous scenes I have seen ever shot on film and as we have seen many complex, death defying stunts accomplished by Buster Keaton on his feature films, this film was rather ambitious and dangerous. With today's CG films to recreate danger, to think about the risk that cast and crew were put in, one again, its how far filmmakers and talent would go in order to create a believable scene.

And as for D.W. Griffith, as a filmmaker who is known for having the grandest of moments in his film, may it be the war scenes of "Birth of a Nation" or the amazing, towering sets designed for "Intolerance", "Way Down East" will be remembered as a romantic drama with one of the most dangerous action sequences of all time.

As for the Blu-ray release of "Way Down East", most silent film fans own the 2008 DVD release or the "Griffith Masterworks 2' DVD box set. I own both sets and they are fantastic! But why upgrade to the Blu-ray version? Well, for "Way Down East", it's primarily clarity and lossless audio. There are no addition special features or shorts included with this release, it's pretty much upgraded for HD! And for some, that may mean a lot!

I can tell you right now, the clarity to see those close-up scenes of Lilian Gish walking through an actual blizzard, you can see the detail much clearly. And for me, hearing the Mont Alto Motion Picture Orchestra in DTS-HD Master Audio 5.1 is also another plus because this is a fantastic score for the film!

There is something about listening to this score on DTS-HD MA 5.1 that makes the film come alive more than ever compared to the original stereo 2.0 soundtrack of the 2008 DVD. But to listen to this beautiful soundtrack in its HD uncompressed glory is by owning a receiver and having the speaker setup in order to listen to lossless. So far, with the release of "Way Down East" and "Birth of a Nation", listening to the scores in HD lossless makes a big difference (this is the same sentiment that I have with Kino's prior releases of "Metropolis" and the Buster Keaton films on Blu-ray).

So, if you have the equipment to watch and listen in HD, upgrading from DVD to Blu-ray for "Way Down East" is worth it! Otherwise, if you don't have the equipment, then the very awesome 2008 DVD is good enough.

As for special features, I was hoping to see newer special features added to "Way Down East". In the past Blu-ray releases, Kino Lorber has been very generous by giving us additional featurettes but in this case, they stayed with the original text-based special features and the usual image gallery.

Overall, "Way Down East" is a wonderful romantic drama capturing the complexities of love and heartbreak and in D.W. Griffith fashion, ending with one of the most grandest and dangerous action scenes captured on camera. Featuring a Blu-ray release that trumps the 2008 DVD release in clarity and detail but also its vibrant and fantastic lossless music soundtrack, "Way Down East" is highly recommended, worth owning and worth the upgrade from DVD to Blu-ray!

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The world had already begun to lose some of its innocence after the Great War when film pioneer D.W. Griffith took this long and romantic look at the mores which would eventually destroy his own career, outdating the type of stories he told. "Way Down East" is, like many of Griffith's films with Gish (Broken Blossoms, True Heart Susie, etc.), a story of love's virtue overcoming circumstance. Though Lottie Blair Parker's play was somewhat dated even as Griffith began filming this, our nation's innocence, and that of the entire world, was still fresh in the minds of many, making this early silent one of his greatest and most enduring masterpieces.

Baby-faced Lilian Gish portrays Anna, sent from her poor home to the big city by her mother in an effort to procure financial help from rich relatives. It is there that she will meet playboy Leroy Sanderson, however, and the sweetly naive Anna will be misled into a mock marriage so that he may take what is most precious to her. When she is found to be with child, Sanderson reveals the ruse and offers her money to go away and hide her tender secret. Anna refuses, humiliated and shamed, and returns home to her mother, who shortly dies. It is quite moving as Gish's Anna hides her baby in shame, baptizing it in secret herself, so that no one knows. It is also moving when Anna holds her sick baby in her arms, unaware that it no longer resides with her.

Wandering and trying to find a place for herself, she is taken in by the rigid Squire, who is ignorant of her past. It is on the farm that she will prove her worth and unknowingly win the love of young David (Richard Barthelmess). Gish is beautiful with her hair down, by the river, when David begins to speak of what is in his heart. But Anna cannot let him love her, no matter how she may ache to, because of her hidden and shameful past. Griffith contrasts their plight with the more charming and awkward courtship of a nerdy professor and Kate, creating greater empathy for Anna and David.

Though this somewhat overlong film doesn't reach the sophistication of silent films made during the late 1920's just before the advent of sound, it can still be both moving and exciting. Griffith took forever to film this one, waiting on the New England seasons to change, giving it a look of realism for the time in which it is set. Once gossip reaches the unforgiving Squire, the scene is set for one of the most exciting moments in motion pictures, filmed with Barthelmess and Gish themselves, Griffith and cinematographer Billy Blitzer capturing it all on film.

Cast out into a blizzard, Anna is pursued by David, desperate to find her and love her. Anna finds her way in the blizzard to the ice flows of the river, and collapses on a block of frozen water heading swiftly for the falls. Knowing Gish nearly froze to death filming this scene for Griffith, and that she and Barthelmess were truly in danger, keeps viewers on the edge of their seats as Anna drifts to the brink and David jumps from glacier to glacier, trying to get to her in time. The outcome and the aftermath turn this simple story into one of the great romances of the silver screen, or in this case, the nitrate screen.

Those who know of this film will probably opt for the beautifully restored Blackhawk version, which contains the original score redone. Those wanting to view it only as a curio might opt for the much less expensive Alpha version, which contains classical music as the score rather than the original. Gish's lovely performance and an exciting ending make this a must see for those who love silent films. While it is dated today, it is a reminder that innocence lost is never regained.....

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