Ice Age: The Meltdown (2006)

Ice Age: The Big Chill was very good and entertaining. Just seen The Meltdown and was thoroughly entertained. Hollywood finally put something out that didn't have a bunch of sex, blood and gore. Wonderful one liners and originality in this. The QUEEN did an outstanding job, and Ray just made it all the better. This would be one for the DVD Library for sure. Kids AND adults both had a great time. Thank you Hollywood for finally having something that was fun.

We went to see Ice Age 2 the day it came out, which generally guarantees an enthusiastic and rowdy crowd. Everyone there was laughing and clapping throughout.

Manny (Romano), Diego (Leary), and Syd (Leguizomo) are back. They've turned the heavily iced area into a camp for kids complete with ice slides and wading pools. But a vulture called Fast Tony (cameo by Jay Leno) warns everyone that the ice is melting and soon their valley will be flooded. So once again, everyone must migrate, fleeing to safer and higher ground. On the way, they meet 3 new friends: two opposums named Crash and Eddie (Sean Scott Williams and Josh Peck), and their "sister"a mammoth named Ellie (Queen Latifah) who doesn't know she's a mammoth. Collectively, they continue on their migration. Syd and Diego try to convince Manny that Ellie can help him keep mammoths from going extinct, and a possible realtionship begins. But flood waters, horrid water creatures, and Ellie's massive identity crisis stumble them a bit along they way. Syd finds respect and reassurance from a secret tribe of sloth's that revere him as the "Fire God". But it's Scrat, everyone's favorite neurotic squirrel, that's the true star of this movie. My kids, and those all around us, laughed their heads off whenever Scrat's crazy acorn antics were on screen. My old asked me today, "Can we go see Ice Age 2 again?". He didn't even say that after seeing "Curious George"! Fun for the whole family.

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As my 3 year old daughter had worn down the video of the original Ice Age by overuse we decided to try Ice Age: The Meltdown as her introduction to the Movie Theaters.

And were we right. The minute the movie started she stopped fidgeting and kept relatively still. (she did whisper the characters names each time they appeared though).

We were all eager to see this sequel and the rest of the family simply adored it. The only con I might have is 'how can they possibly do a number three now?'

This is certainly on a par with Shrek 2, another sequel which didn't let down it's original.

Family entertainment at its best.

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The first "Ice Age" flick was hilarious and touching at the same time. "The Meltdown" goes for more slapstick and even a little bit of romance to move its story along. All of the major players return for this second chilly outing. Headed up by the voice talents of Ray Romano(Manny), Denis Leary(Diego), and John Leguizamo(Sid), this particular film is more of a stand alone tale than an actual sequel to its predecessor. You need not have seen the original to follow the storyline.

The plot starts at the end of the Ice Age, where Manny, his pals, and a whole herd of other companions, come to the stark realization that their current home is about to be flooded by melting ice. I noticed shades of New Orleans during Katrina as I watched the herd make their trek to higher ground. The funny thing is that a mammoth, a sabretooth, and a sloth handled their evacuation way better than a mayor and a so-called governess.

Manny also realizes that he just might be the last mammoth on the planet. Enter Ellie, voiced by Queen Latifah. She's a mammoth who thinks that she's an opossum. She even has two opossum brothers, Crash and Eddie, who are gamely voiced by Seann William Scott and Josh Peck. Peck is half of the duo that is Nickelodeon's "Drake And Josh." You'll recognize Scott as Bo Duke in the recent "Dukes of Hazzard" flick and as Stifler in the "American Pie" series. Of course, Scrat is along for the ride and still chasing that acorn he so longingly desires. Ellie and Manny eventually spark a few romantic flames, but Crash and Eddie, as well as the reliable Diego and Sid, provide plenty of laughs during the trek.

As the herd moves onward, two deep sea leviathans take up the hunt in hopes to capture any of the stragglers. They eventually play a key role in the movie. That role is set up by the revelations that Diego is afraid of water and Sid just wants some respect.

While Scrat is fun to watch, at one point he begins to suffer from "Stifler-itus." In other words, he becomes somewhat annoying to watch as the flick progresses. This little bit of a problem is forgivable, however, thanks primarily to the well-written script and the solid relationships built between the original three and their new counterparts.

The animation is definitely on a higher plane this time around. The characters are crisper, colors brighter, and the motion of the animals is more believable.

If you enjoyed the original "Ice Age," be ready for more of the same high jinks as presented in the original. I personally enjoyed the first flick more than this one, but it is a worthy second-helping of Manny, Diego, and Sid that I'm sure will be loved by most fans of buddy comedies and slapstick humor.

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This is a darling movie, one that (believe it or not) caught the fancy of my 14-year-old, over the other PG-13 choices at the theater last week. I hadn't seen the first Ice Age. But he did, wanted to see the sequel-and was not disappointed. Then again, neither was I.

This feature-length cartoon offers fine animal characterizations, beginning with Sid the sloth, whose feeble attempts to teach, entertain-and control-the younger animals in his frozen, but fast-melting valley, opens the film.

Then along come a large male woolly mammoth, Manny and his saber-toothed tiger friend Diego, who encourages Manny to pursue the only other woolly mammoth they have seen in a long long while-a delightful female named Ellie (Queen Latifah), who has grown up with possums-thinks she's a possum-and like her "brothers," hangs from a tree limb at night to sleep.

Since the ice cliffs around their valley are melting, threatening them with an impending flood, the animals must journey to the valley's end, where they hope to find solid ground. Along the way, they experience several near-disasters, including a run-in with finned sea monsters snapping enormous, alligator-like mouths. Even I screamed at some of the surprises.

The story also highlights the importance of friendships, and families, no matter how they are formed. A wonderful film, for kids and grown-ups alike.

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The Good, the Bad, the Weird (2010)

Small wonder that after director Kim Jee-Woon's magnificent "A Tale of Two Sisters" and the terrific "A Bittersweet Life" that his next film would be so eagerly anticipated. "The Good, The Bad, The Weird" has won numerous awards in Asia, achieved box-office acclaim in South Korea and has been selected for the Cannes film festival. I've said before that an Asian western isn't exactly an original concept; there was a video game called "Western Samurai", the Hong Kong produced "Peace Hotel" and most recently, Takashi Mike's "Sukiyaki Western Django" from Japan. Well, it seems like South Korea won't be left behind and with Kim Jee-Woon at the helm, expectations are rather high and the man doesn't disappoint.

A two-bit bumbling crook named Tae-Goo "The Weird" (Song Kang-Ho, Sympathy for Mr. Vengeance) robs a train only to unintentionally make off with a Quing Dynasty treasure map. Everyone wants this map; the Japanese army, the Korean independence group as well as a lot of shady characters. On Tae-goo's tail is a relentless killer named Park Chang-Yi "The Bad" (Lee Byung-Hyun, A Bittersweet Life) who is also after the map and has a seemingly personal reason as to why he wants Tae-Goo's head on a plate. In hot pursuit for both of them is a bounty hunter named Park Do-Won (Jung Woo-Sung, The Restless) who can do nicely with the bounty for Chang-Yi's capture or the treasure itself. Now, these three men are on a collision course--who would win out in the end?

Kim Jee-Woon's "The Good the Bad the Weird" is an extremely well-made film and is a highly entertaining genre-busting affair. This chaotic period similar to the wild west in America, a Machuria-set "kimchi" western (as opposed to "sukiyaki") is a melting pot of all things awesome about westerns and looks like a homage to Sergio Leone's "spaghetti westerns". There's a train heist, lots of shoot-outs in a small town and cool characters. You'll see bits and pieces of "The Good the Bad and the Ugly" (so obvious with the film's title), "A Fistful of Dollars" and even Miike's "Sukiyaki Western Django". The film has a very large budget and it shows, the film is exquisitely shot and the superb style and camerawork reminded me of Ryuhei Kitamura (Azumi). Director Kim definitely knows his stuff in style and with the film's intriguing concept, Asian and Korean cinema fans have reason to see this film, and it is definitely something that a "solid" Asian film fan just can't miss.

The film's set designs and architecture maintain some of that "dynasty-era" Korean period but it does have a strong touch of the old west. It has some rather creative touches; there is some swordplay, knives used with brutality, there's a big guy with a huge hammer, a "sleeping Buddha" under construction, rifles with telescopes, motorcycles and jeeps, saloons and more--all these contribute to the film's "mixing of genres" style. Director Kim also seems to be having a lot of fun with the film, as he never forgets his touches of humor to help the film's pace and his stunning camerawork which proves to be the film`s showstopper. Explosions and gunfire are aplenty; highlights include a very cool town gunfight and a very long chase sequence with the ensembled cast supported by dozens of extras. I've read that Kim actually had cameramen hanging on wires to shoot the desert scenes--Kim Jee-Woon's talent shines through.

The action scenes are very exciting and exquisitely executed. It looks like director Kim took some pointers from Ryuhei Kitamura because they are just so full of "coolness" that can make action scribe John Woo a little jealous. Kim also avoids the use of CGI in the action and depends mostly on elaborate stunts and old-fashioned camera trickey; there is minimal use of CGI enhanced effects but only in the film's set designs. Ok, so some scenes required a large suspension of disbelief, I rather found Jung Woo-Sung's Do-Won's skills with a gun a little too over-the-top especially when he engages a large number of the Japanese army. He never even gets grazed by a bullet so either Do-Won is unbelievably good or these guys just supremely suck. But hey, this is a minor complaint, after all I don't think this film was meant to be taken seriously and more of a homage film. Hey, please take note that Kim doesn't hold back with the blood--and the way he executes it kept the film from having too much of that "comic bookish" feel. There is also a legend of a certain "Finger chopper" that gives some surprises and I felt that the screenplay played its cards well.

Song Kang-Ho's Tae-Goo arguably steals the show and proves to be the film's most interesting character--the actor also proves as to why he is one of South Korea's most sought after performers. The man can act in almost any film I've seen that further cements his reputation in versatility. Lee Byung Hyun does have the most intense presence onscreen, his character along with Song Kang-Ho's Tae-goo are the kind of characters that can elevate the film into "cult status". Jung Woo-Sung's "the Good" character feels a little too cool and lacks precision, but the actor does do the best with what he has. Still, the three popular actors mesh very well and has dynamic chemistry. Oh, the women are also great-looking and serves to titillate the male audience.

"The Good, The Bad, The Weird" is a very polished film that lived up to my expectations. The film's plot isn't too deep, but the film's "wow" factor is just so incredibly impressive that I can look pass the very simple plot which makes it essentially a chase film. It is a solid film, that exudes popcorn entertainment but its characters do carry much of the film's weight. It may be little too pre-occupied in becoming captivated with itself but its small flaws aren't really worth to nitpick. The film is an action-packed affair that action junkies will never become bored--as for the rest, they can find something else to like in the film--its characters, style and performers will definitely impress. I'm happy to say that Kim Jee-Woon's film lived up to the hype.

Highly Recommended! [4 ½Stars]

There are two versions of the film. The International version (the one presented in Cannes) is arguably the better paced, leaner film that maintains a touch of mystery at the end. The Korean 130 minute cut has more development to Tae-Goo's character and an extended climax that answers a lot of questions. The official U.S. version is expected to have the original 130 minute version.

I love this film. I am admittedly a junkie for Korean cinema, and this is one of the better films to come from that country in the past few years. A really exciting, action-filled "eastern" that takes place in the early 20th century in Manchuria. There are some flat-out great gun fights and chases throughout the entire film. Actually, the movie is like one giant chase with ample set pieces. The camera work and pacing is excellent and the performances are quite memorable. The tone is comically light, but never cartoonish. If you consider yourself a fan of action cinema, this is a must-watch.

BUT, the blu-ray is 1080i!! Most of the time when Asian films get a 1080i transfer, it's because that's the only one available and the studio releasing the film is lazy/cheap. Like with some of the HK/Chinese blus. What that means practically is that there was pixellating in the image when the camera panned slowly. Also, in wide shots with lots of little detail, the image gets kinda blocky. This is a particularly unforgivable offense as there is another, apparently great 1080p transfer available in other markets. Very lame IFC. Sorry.

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Sergio Leone on a bender in 1930s Manchuria.

Almost non-stop action, most of it tongue in cheek but nicely choreographed, lots of color and pizazz, and above all an endearing sense of absurdity make this a pleasure to watch. Director Ji-Woon knows the genre well and delights in subverting it without mercy; the guy in the diving helmet was one of my favorites. Any movie that takes itself this unseriously yet also delivers thrills and humor is a success by any measure; that it's Korean and does Hollywood one better makes it all the more fun.

Some of the violence is a little overdone, but it's all rather comic-bookish anyhow. The real highlight for me were the many incredibly long, tight tracking shots, full of wild angles and unexpected twists and turns of the camera. Shots like that take great care and preparation and for so many of them to work so well is no mean feat (the extras docs show just how wild some of these set-ups were). To have it all be this wacky and light-hearted yet also so breakneck is a real achievement. Plus the acting is both gleefully hammy and surprisingly well done: I never once thought, "What a crappy take." Somehow it all just fits, once again in the spirit of the best spaghetti westerns.

It does go on a little longer than it might have, with too much time spent pontificatin' to no real end, but that and the occasional gratuitously graphic violence were my only qualms. I loved that there was no English-language dubbing (which is so often so bad), just the original Korean and good subtitles full of flavor and colloquial feel. This is how it should be done. All in all, it's an over the top shoot-em-up and delivers on that promise in spades, diamonds and treasure maps.

The blu-ray is very nicely done, not a flawless transfer but very good, and there are a bunch of solid extras, including various interviews and making-ofs; it's a nice package and will no doubt contribute to this film's inevitable cult status. There've been a few other Asian westerns but this one is in a league of its own, and the quality of the image along with the color and the humor make it a real treat to watch. And it's almost all shot outdoors in natural light, often in gloriously huge mountainous wilderness, so it feels very real even with all its goofiness, and the final motorcycle/horse/jeep battle is a true classic.

[A note to any surfers out there: when you see the sea in the distance at 1:18:02, check out those insane, endless tubes peeling off in a perfect set. Surf Manchuria!]

If you like westerns, Asian cinema, great cinematography, nutty genre humor, or/and just a good old-fashioned fun movie, Good Bad Weird is for you.

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n the surface, Kim Ji-Won's ("A Tale of Two Sisters," "A Bittersweet Life") 2008 film, "The Good, The Bad & the Weird," is clearly a homage to Sergio Leone's Spaghetti Westerns, but it also draws much inspiration, in terms of tone and temperament, from much more lighthearted fare like Steven Spielberg's "Indiana Jones" films.

Shot in Western China near the Gobi Desert, the film is set in a harsh, flat landscape that could just as easily stand in for the American Southwest circa 1860, as well as Manchuria in the 1930's. Into this inhospitable terrain has come, it seems, every Korean thief, gunfighter and gangster, all fleeing the brutality of the Japanese Occupation of Korea (1910-1945), including: a noble, if cold-blooded, bounty hunter Do-Weon ("The Good,") played by Woo Sung Jun (the heroic former slave in "Musa the Warrior,"); a vicious, if terribly insecure, urban gangster turned train robber, Park Chang-Yi ("The Bad"), played by Rom-Com hearthrob Lee Byeong-heon (who surprised many audiences with his portrayal of a young gangster in "A Bittersweet Life"), and Sang Kang-Ho (who has given great lead performances in lauded Korean dramas like "Joint Security Area," "Memories of Murder," and "Sympathy for Mr. Vengeance,") who carries much of the film with his comedic portrayal of Yoon Tae-Gu ("The Weird"), a doofus of a bandit, who kicks off the action by making off with a priceless Q'ing Dynasty treasure map.

It's the race for said map, by mercenaries hired by proand anti-Japanese forces, as well as local thieves and roving bands of bandits, that drives the story, as seen in lively, extended action-packed set pieces: a bloody train robbery, a crazed gun battle in a sprawling desert marketplace, and a wild horse-motorcycle-jeep & truck chase across miles of territory. There is very little depth here (which is a tad disappointing given the films huge budget and 130 minute running time), but on the whole, the film is an enjoyable ride, loaded with sharp, often funny characterizations, elaborate and intense action scenes, and a general good humor that lends a welcome bouyancy to the often crazed proceedings. The movie should easily sate the appetite of almost all action movie fans, prime yourself for a fun fast moving ride through shallow waters and you should do fine.

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This movie has everything! From the very first scene (amazing) to the very last (did NOT see that coming) I was enthralled. A South Korean film set in 1940's Manchuria, this film is the funniest action-packed western you'll ever hope to see. I watched it with my 8 year old son, re-rented it 2 days later at his urging and ordered it from Amazon the next day to save rental fees. With the unexpected soundtrack (I don't want to ruin it for you) play this movie loud. I can't decide if this or Inception was the best movie I've seen all year. The difference is I could watch this movie ten times and not tire of it. What are you waiting for? Click on "Add to Cart"!!

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Wintervention

I bought this for my husband because he loves Warren Miller. However, we were so disappointed because there was NO Warren Miller. Skiing was fine but it didn't have the Warren Miller humor, narration, etc. Even the filming was not "Warren Milleresque." Disappointing.

Movie was great. I always love to start the ski season by getting amped up by a Warren Miller movie!

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This was a great movie!And Lindsey, wow!Warren Miller films has another hit. Year after year they put out the best movies.

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It is the best yet everyyear they seem to come out with another film and each year i can't believe it is still better then their last one

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i have just recently watched this on ONDEMAND STARZ... and it was really awesome and for ME a lil more info on skiing and snowboarding and info of the best destinations... without a shadow of doubt this has inspired me to go take up some snowboarding lessons this winter c:

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Elephant Man

"Time hath not altered" the emotional impact this movie has on me when I watch it. The word "poignant" has grown hackneyed from overuse, but it certainly applies to this great film. Few films can equal it in terms of dramatic artistry and pitch perfect performances. There's not one maudlin note in a film that could easily have descended into bathetic melodrama in lesser hands.

Lynch was practically a neophyte at the time he directed this movie, yet to many (and to most, for that matter, save the true believers) THE ELEPHANT MAN is his magnum opus. I believe this is because of the mostly Britsh, classically trained actors that made up the cast. Hopkins and Hurt excell. Anne Bancroft (who I believe is the only American in the cast) delivers a flawless performance. Freddy Jones, as Bytes (this was before the internet, remember) is simply uncanny in his tour-de-force portrayal of arguably the vilest villain in cinema history. Who cares that the character was totally innacurate, historically? He chews up the scenery in true Grand Guignol fashion. Gielgud and Wendy Hiller are also on hand to provide levitas. One can't find a better ensemble. It's criminal that at least one of them weren't awarded an Oscar, but that's just another example of how meaningless those little gold statuettes are, more often than not.

Though this is a lot more linear than most of Lynch's movies, there is enough of the surreal on hand to keep the die hards happy. But the surrealism doesn't get in the way of the plot. Christopher de Vore and Eric Bergren, who collaborated with Lynch on the screenplay, can take some credit for that. Veteran cinematographer, Freddie Francis did perhaps the best work of his career here. The black and white images are as good as it gets. The sets are unforgettable. Victorian London has never looked so convincing on screen, yet with that nightmarish quality that defines most of the movie.

If you've never seen this movie, get your hands on a copy, soon. It couldn't be described as "weepy," by any means. But if you're not reaching for the kleenex at some stage in this marvellous film, I'd ask the Wizard for a heart, if I were you. For those of you who haven't seen it in a while, give it a re-viewing. It absolutely holds up, particularly in comparison to 1980 Best Picture, ORDINARY PEOPLE...and Best Director, Robert Redford? Hopkins didn't get nominated, but Jack Lemmon did for TRIBUTE? Anyone remember that one? Gotta go find some Maalox.

BEK

As I sit down to write this review, my experiences with it from my youth came flooding back. I first saw it as a 17 year old high-schooler at my local movie theater, late one evening. I had seen, and enjoyed, the Broadway play a few months earlier, and wanted to see how the movie compared. The play, I should say, was very moving and had a certain spareness in its production design that was very effective. I had left the theatre with a moist eye and an interest in learning more about John Merrick, The Elephant Man (who had neurofibromatosis, NOT elephantitis, as is so often attributed to him).

Anyway, when the movie concluded, the ENTIRE audience of 150 or so sat in its seats, numbed and unmoving. It was one of those experiences where you fight back your tears, because you're worried if you let go, you'll start bawling like a baby! The film was so profoundly moving to me and so artistically brilliant, that I went again the very next day, dragging reluctant friends with me. They were all stunned. I watched it AGAIN later that week.

I've watched it on video a couple of times years ago, but until I rewatched it recently on DVD, it had been nearly 10 years since I'd seen it.

The story is set in the early turn-of-the-twentieth-century London. John Merrick (John Hurt) is, for lack of a better word, enslaved as a sideshow freak. He has the most hideous growths on his bones, which give him a frightening appearance. His head is probably three times bigger than a normal human, and the shape resembles a lumpy dirigible. His limbs are mostly tangled messes. Noted physician Dr. Treves (Anthony Hopkins) hears of this "elephant man" and is fascinated so greatly by his condition that he brings him to his hospital for study. Everyone has always assumed this man must be a mute "idiot." Turns out that Merrick is a gentle, thoughtful and almost unbearably forgiving soul. The relationship that emerges between Treves and Merrick, as well as with Merrick and virtually everyone he encounters, is at the heart of this film.

(Note of caution: The movie does not follow John Merrick's life terribly accurately...neither did the play. When I read the biography of Merrick that his doctor, Treves, wrote, I got his "true" story, which is just as moving in its own way.)

David Lynch, we all know, is a "difficult" director, at least when it comes to narrative continuity. This movie, however, is his most accessible (along with THE STRAIGHT STORY, which doesn't even feel like a Lynch movie). It tells a straightforward story...no dancing dwarfs, no little people behind radiators, no Wizard of Oz references, etc. etc. No Laura Palmer. However, the touches he brings to it are pure Lynch, and they serve the movie profoundly.

For example, the movie takes place in the midst of the early Industrial Revolution, when science was becoming more "popular" or "glorified" by the masses. It was also a time when London was awash in factories, and all the noise and pollution they wrought. If you've seen ERASERHEAD or DUNE, you know that Lynch likes to have lots of background noises of machinery. Often, those sounds are distracting. In ELEPHANT MAN, we are constantly aware, through these sounds, that we are in a very specific time and place, where the lifeblood of society was machinery, but big, dirty, unsubtle, dangerous machinery. This, coupled with the glorious black and white cinematography, truly create a mood that is unequaled.

Also, there are some brief dream sequences in which Merrick sees his mother. She flits in and out of his dreams in a manner only Lynch can evoke. No one has ever been better at capturing on film the elusive nature of dreaming...that dreams are a crazy combination of good things and bad things happening all at once. These dreams are not a "device" but a window into Merrick's soul.

Those of us who remember when the film first came out remember the constant rehashing of the "I am not an animal, I am a human being, I am a MAN!!" line that Merrick yells out when cornered in a train station. This howl of despair is one of the most gripping moments EVER put to film. I tear-up just thinking about it.

The makeup is incredible. Having seen photos of the real Merrick, I can state that the makeup crew got it right! And the black and white helps to mask any imperfections. And underneath the makeup...

...is John Hurt, a fabulous actor in the role of his lifetime. He brings a delicacy and gentleness to the part that has to bee seen to be believed. I guarantee you'll be moved.

Hurt is ably assisted by Anthony Hopkins in a role which calls for restraint, and he delivers, which is unusual for Hopkins, who can overact at the drop of a hat...I love him, but sometimes he can overdo it, you must admit. The rest of the cast is full of familiar British character actors, as well as a brief but incandescent appearance by Anne Bancroft. Everyone is at their very best.

Initially, the film snags the viewer because of our fascination at seeing a human being so horrifically monstrous. It holds a lurid fascination that fades into compassion and empathy. If a person as horribly mistreated by his fellow man, as well as by fate, can find beauty, forgiveness, tenderness and love flowing from him and to him...well, the film leaves you to draw your own personal conclusions.

I know that Lynch receives more ongoing accolades for his disturbing BLUE VELVET, and of course, for the groundbreaking TWIN PEAKS...but THE ELEPHANT MAN is the one I'm always drawn back to.

I simply cannot recommend this film highly enough. Moviemaking doesn't get any more heartbreaking and effective than this masterpiece.

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Despite the fact that "The Elephant Man" is about a grossly deformed man, it is truly one of the most beautiful movies ever made. Director David Lynch has peered into the souls of both the "outcasts" and those considered "normal" in our society. Lynch has never been better, and the same may also be said about actors John Hurt and Anthony Hopkins.

Would-be circus man Bytes has put The Elephant Man/John Merrick (Hurt) on display in the freak show, attempting to profit from another man's misery. Dr. Frederick Treves (Hopkins) "saves" Merrick from the evil Bytes, but what does he do with Merrick? Puts him on display in another freak show of sorts for a panel of doctors. Treves has again stripped Merrick of his dignity and tried to to profit from his misery. So who is worse? Bytes or Treves?

And this is only the first 15 minutes of the film...

What eventually saves Treves is that he actually gets to know Merrick. Behind the deformity he discovers a human being.

There are so many beautiful and touching moments in this movie: Merrick's awe at watching the play, Merrick removing the pillows from his bed so he can sleep like a normal person and, of course, Merrick trapped at the train station and shouting out "I am not an animal!"

But my favorite moment comes when Merrick's fellow "freaks" in the circus help him escape. As they put him on a ship so he can hopefully find his way back home, the dwarf (Kenny Baker) says to him "Good luck, my friend. And who needs it more than us?"

Filmed in gorgeous black and white. They don't come any better than this.

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The Hughes Brothers' recent release FROM HELL includes a brief (and surely unexpected) appearance by one John Merrick, better known as 'the Elephant Man'. Merrick's inclusion in a movie about Jack the Ripper points up the odd connections between these two figures. Both represented extremes of degradation (moral in one case, physical in the other) that had never been seen before; both aroused horror and fascination in equal degrees; and both were major press sensations all in the same district of London at roughly the same time. Indeed, John Merrick and Jack the Ripper might even be seen as yin and yang: while the Ripper's (presumably normal) exterior masked a heart of the blackest evil, Merrick's hideous body housed one of the kindest and gentlest souls ever to grace this planet.

This beautiful soul is the focus of David Lynch's magnificent film, THE ELEPHANT MAN. Broadly speaking, the film is a true story; while a fair portion of the details are either totally fictitious or conflated from several real-life sources, the general outline of the script is true. It follows Merrick from his first encounter with Dr Frederick Treves (Hopkins), the man who helped him regain his dignity, until his death trying to "sleep like normal people" this final scene being only one of many unforgettable moments in the film.

The cast of THE ELEPHANT MAN is utterly top-notch. With only his eyes visible beneath Christopher Tucker's extraordinary makeup, John Hurt manages to give a tremendously moving performance in the title role. You won't soon forget his recitation of the 23rd Psalm, his heartbreaking teatime visit to Treves's wife (a fine cameo by Hannah Gordon), or his reading of Romeo to Anne Bancroft's Juliet (another great cameo). Anthony Hopkins once again proves himself to be among the greatest actors of our time; his performance as Treves is nicely nuanced, evincing subtle and deeply human contradictions, where a lesser actor might have portrayed a mere two-dimensional Virtuous Leading Man. John Gielgud is his usual brilliant self, Freddie Jones is excellent as the sinister yet somehow tragic Mr Bytes, and the various supporting roles are all up to the very high standard set by these leading players.

Since 1980 was the year of RAGING BULL and ORDINARY PEOPLE, it is perhaps understandable that THE ELEPHANT MAN didn't win any of the 8 Academy Awards for which it was nominated though in my opinion it is every bit as good as either of those films. What is scandalous, however, is the fact that Freddie Francis's stunning black-and-white cinematography wasn't even nominated. (Francis did pick up his second Oscar, for Edward Zwick's GLORY, a few years later.)

Lynch's direction, finally, is a revelation. This was only his second film, and he was working with some of the greatest actors living at the time, but his hand has never been surer. Not until THE STRAIGHT STORY (also, incidentally, photographed by Francis) would he again attempt so direct a presentation, but the results here are simply superb. There isn't a hollow note or an empty image in the entire film, which is more than one can say for some of Lynch's later efforts.

The DVD's picture quality is excellent, the sound likewise. Extras include the theatrical trailer, some interesting bits concerning Christopher Tucker's makeup, and a brief documentary featuring comments from Tucker, John Hurt, Freddie Francis, producer Jonathan Sanger, and (uncredited) executive producer Mel Brooks (yes, that Mel Brooks). It would have been nice to hear something from David Lynch as well, but all things considered, this is a fairly minor quibble. A great film and a great DVD pick it up today.

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I first saw this film back in 1981 at the theater when I was 12. It frightened and saddened me though I cannot say I was really traumatized by it. However, it must have made some sort of emotional impact before I have always been terrified of viewing this film in the 20-plus years that have past since then. The most disturbing aspect to me was the inhumane treatment John Merrick received. Just today I got up my courage and bought the DVD at the music store. I sat, white knuckles and all-expecting the worst. Well, I got through it. For one thing, it didn't seem as ominous this go-round. (Funny how your perceptions change as an adult). The fact that this was a period piece works to the film's benefit in that it hasn't dated at all. I am glad the producers and director agreed to use black-and-white film because it adds to the authenticity. What surprised me most was how much I had actually forgotten: the scene in the monkey cage, the fact that Anne Bancroft appeared, and more. What did always stick in my memory was what I refer to as the "raid" scene. (When the sleazy Night Porter brings his "customers" from the pub to Merrick's room, carrying John around, forcing the cheap tarts to kiss him, and then holding a mirror up to his face to purposely shock him.) Upon viewing The Elephant Man as an adult, my favorite scenes are now the most beautiful yet the saddest ones: when John meets Treeves' wife and says he never meant to be a disappointment to his mother, and the final scene as Merrick carefully takes the pillows off the bed and places them on the table. This film should be mandatory study for all North American high school students. Though even then, I am sure there would be more than a few jaded teens who would find some sort of comedy in it. Those kind are the real freaks.

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Jansons Conducts Beethoven & Strauss (2013)

This concert, very well recorded by the ever-reliable Brian Large team in 2011, can be considered a considerable success. The actual recording offers high quality visuals with crisp imaging, true colours and sympathetic camera work that provides detailed close-ups as appropriate combined with more distant views. The sound is also of high quality and is offered in DTS 5.0 and stereo options. The lack of a separate sub-woofer channel seems strange given the sonic nature of the Strauss but in reality there is no lack of bass definition or range.

Mitsuko Uchida has an enviable reputation as a Mozart, Beethoven and Schubert pianist so it is no surprise to find that her performance of Beethoven's third piano concerto is deeply rewarding. The largo is delivered with a concentration that leaves the first two concertos far behind and clearly leads forward to the last two concertos. The outer movements are crisply articulated at a comfortable speed that allows all detail to register properly. This is a very good performance and will come as no surprise to those who know her recordings of the Mozart concertos on CD.

Ein Heldenleben is a large work in every sense and one which makes considerable demands on both the conductor and the orchestra. There have been many notable performances on CD from many conductors and orchestras of repute, not least that by Reiner and the Chicago orchestra in the early days of stereo and now available in SACD form. Karajan's recordings were also of considerable stature. However, Jansons too has become associated with fine performances of this work of late and this performances as delivered by the Bavarian orchestra does not disappoint. Sonically it leaves the competition miles behind and the orchestra, with extra brass and woodwind to lessen the load on individual players, rise splendidly to the task. The extended solo violin part as played by the leader of the orchestra, Anton Barachovsky, deserves a very special mention as being of a particularly sensitive and elevated quality. Not surprisingly. he is singled out for particular applause by the conductor and the packed and enthusiastic audience at the end.

Jansons' interpretation follows fairly traditional lines with tempi chosen and detail brought out in line with any of the most satisfying performances on CD. It is quite clear that this is an interpretation that is well-known by the orchestra who have no difficulty in understanding and delivering his interpretive vision. Once again, this is a deeply satisfying performance made especially enjoyable by the excellence of the recording.

I would therefore suggest that this disc is likely to be a front runner among audio-video choices for a considerable amount of time to come. It is of a quality that may even encourage some long-term collectors to replace their treasured CDs with this new one which can also be enjoyed purely as sound of course. New collectors may wish to consider this as a potential 'only' version and, as such, they will not be disappointed.

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Spring Breakers (2013)

A true modern exploitation masterpiece, Harmony Korine delivers on every single level and then some. Great performances all around... yes even from James Franco. His character is so vile and outrageous, definitely a career best from him in my opinion. The green band trailer really does not do this film justice, what's offered here really is a tour de force. I can't wait to buy the DVD and watch this over and over again. By far the best film of 2013 so far. Highly recommended!

I suspect that young people old enough to see this movie, thinking it was another "Project X" or something like it, were in for a surprise. Sure the movie starts out with all the "B's", i.e. booze, beer, bongs, babes and boobs. And make no mistake, there are plenty to each to go around. But there some shockers on the way.

The story has 4 extremely bored small town coeds focused on getting to the sugary beaches of St. Petersburg, Florida. Running short of cash, three of the girls (Vanessa Hudgens, Rachel Korine wife of director Harmony Korine and Ashley Benson) decide to knock over the local Chicken Shack. It works and later they reunite with the fourth girl, Faith (Selena Gomez) whose name is consistent with her religion. Off they go and when they get there, its party hardy with Faith pulling back a bit and Cotty (Korine) at the other extreme.

In a night of debauchery, the cops haul the young cuties in to the calaboose still in their bikinis. An observer from the beach scene earlier, "Alien" (James Franco) bails the ladies from the grips of the man. Franco in full-on crazy complete with cornrows, a grill and a pimped out Z-28 Camero is quite the character. Raised in the hood, he's all that, just white. He's also trouble, but the visceral excitement he brings is an aphrodisiac to 3 of the girls. Faith, the early focus of Alien's interest has the good sense to head back home.

Sometimes ultra-violent, always sexy, often comedic and usually campy, "Spring Breakers" takes a Tarantino-like turn that takes 2 of the more frisky gals (Candy and Brit) into new territory. Certainly not for everyone, I found the movie exhilarating, highly entertaining and way out of the mainstream.

Buy Spring Breakers (2013) Now

This is one of the best movies I've seen in the last few years. A strange, bizarre fever dream. Bright and colorful. It scares and arouses you. Franco has never been better. Make sure you catch this in the theatre.

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I can see why Spring Breakers is meeting with the greatest financial success of anything Korine's done-well, aside from the fact that the title and poster gives it a built-in "confused audience" who will go in thinking this film is something that it is not. All the revenue-friendly acres of skin totally aside, the film is just plain more slick and mainstream-friendly in its overall look and feel than most of Korine's earlier efforts.

Korine's made mostly uncomfortable films, but in Spring Breakers, most of my discomfort stems from the fact that the main characters (save Alien, whom I never would have encountered on campus to begin with) are the very same types of people I went out of my way to avoid back in college. This film is as close as I ever want/wanted to get to the real spring break experience... and particularly on the big screen, it's close enough, thank you.

But while the slo-mo party sequences seem believable enough to me, my biggest problem with Spring Breakers lies in its believability. Practically out of the box, we see the girls engaging in a criminal act that would be well outside the behavioral scope of 99.999% of college-enrolled millennials, no matter how totally self-absorbed.

That act, as it turns out, is needed groundwork for what happens later in the film, after the four girls meet with James Franco's Alien character for the first time. Alien is a "street entrepreneur." He acts not so much as a devious corrupting influence on the girls, more as a natural catalyst for bringing out their barely-hidden inner sociopaths. If not for the early crime the girls took on of their own volition, we'd never be able to buy what happens after they meet Alien.

Franco's portrayal of Alien is really, really great and truly believable, at least to the point of what he's given to work with in realizing the character. But therein lies the problem: again, in the real world, a foursome of college-enrolled girls would tolerate Alien's creepy advances for about five minutes before bolting, no matter how deep-running their bad-girl streak. Instead, they inexplicably stick around and ultimately help him form a merry, scantily-clad band of gangstas, leading to the film's admittedly fun and totally absurd third-act climax, none of which ever would have happened in a million, billion years in reality.

There are other believability problems with Alien himself which aren't Franco's fault. Namely, we are supposed to believe he's a big / rising player in his local underworld, requisite for the plot to advance as it does. Alien's definitely not the sharpest razor in the pack. If this were the real world, he'd have ended up popped from one boneheaded move or another before advancing past the corner-dealer stage. But answering deeper questions about his actual suitability as a major criminal force on-screen would definitely cause the desired plot trajectory to come completely apart, so we're just shown a bunch of dope / guns / cash and asked to buy in.

This film moves surprisingly slowly. The slowest-moving section is the first act, the process of the girls figuring out how to get out of Dodge, slow / overdone to the point where when they finally get to meet Alien roughly at the film's midway mark, it already felt like third-act time to me.

Maybe Korine wanted us to get to know these characters in detail, but there's simply not enough to them as people to get to know. The four central girls are purposely one-dimensional characters with nary a personal thought or genuinely reflective tendency in their heads, and I'm quite sure that's by Korine's design, so he should have known better than to try and explore what simply isn't there.

Adding to the pacing issue is the repetitious, heavy-handed editing. In addition to repeating scenes as flashback fodder, Korine is fond of playing snippets of the same dialogue over and over during montages to "make points" about the characters or over-explain their motivations. It's irritating and unnecessary. I can't emphasize enough how much better the film would have been without this eye-roll-generating dialogue-looping. I was reminded of The Room's endless "transitional" shots of the Golden Gate Bridge except that I rolled my eyes *less* at that.

I strongly disagree with a read of Spring Breakers as some kind of "cautionary tale." To do so would be pure cynicism about millennials, borne of the perpetual generation gap. I don't think much of what happens in this movie could possibly apply or happen to real people resembling these archetypes. I left the theater saying, "So... what was the point of all that?", which is something I sort of expected going in based on past exposure to Korine's work.

Still, the film did stick with me somehow. The visuals / cinematography make up somewhat in terms of realism for the aforementioned problems with plot, dialogue and character development/interaction, giving the film a distinctive, palpable vibe.

This is a guilty pleasure movie, not even so much for the copious amount of flesh on display, but just as a pure escapist / style flick that does have just a little more brains, soul, and squirm-in-your-chair to it than the average mainstream escapist flick.

Is it an arthouse film? If so, barely. Is it a must-see? I definitely wouldn't say that either, but at the very least it should make for interesting water-cooler discussions with the fellow indoctrinated.

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I am probably just as surprised as you are: Spring Breakers is actually a really good movie.

It follows a deceptively simple plot, of a Good Girl and her longtime friends, three Bad Girls, who are bored in their university setting and are desperate for any kind of change. Their solution is to go to Florida for a wild and unforgettable Spring Break. Even after saving money for months, they are unable to afford this excursion, prompting the Bad Girls to rob a local eatery.

The bad behavior continues at the Spring Break resort town, eventually landing them in a local jail and involved in a greater crime ring. One of the drug lords is played to over-the-top perfection by James Franco, who delivers a chilling yet comical portrayal.

The story is told with an engaging intensity unique to films of this genre; we've seen plenty of movies like this before, of young girls gone wild, so the direction doesn't waste time on the narrative. What's interesting is how the story is told, through lucid montages flashing around through time and space, often with disembodied voice-overs describing the sequence we are viewing, as told by characters before or after the incident actually takes place.

Take one scene, for instance: We know the girls are going to get into trouble. We knew that from the movie poster. So for the scene in which they get arrested, we get flashes of the different girls in police cars with red and blue lights shining on their faces; then we return back to the incident in which they get arrested. This constant back-and-forth makes this movie, whose narrative is otherwise simple, consistently compelling.

But it's not just the storytelling that makes Spring Breakers a fascinating work, but the story and theme itself. Simple, yes, but also profound. This is a twisted representation of the American dream, almost a contemporary remake of Where the Boys Are, of young women rejecting mainstream society and opt to make a life for themselves in any way they can. The plays of power move so instantaneously and so driven by individual initiative, that one can't watch without the unsettling feeling that power, and perceptions of it, are so fluid.

On its surface, Spring Breakers is a sticky, neon trip of house music and marijuana smoke but at its heart (or lack of one), it is a disturbing and revealing look at what we value in our American life, and how far we will go to achieve it.

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Hurricane Season (2009)

Hello all, well I must say that this movie was REALLY good... WHY you ask well let me tell you...:)

Ok, This movie shows you that people can work through almost anything if not anything... It also shows that some folks pain causes them to to act out in hurtful ways..yet God being God always sends someone to pull you OUT of that pain so you can LIVE again!!!

5 BIG STARS!!!!!!!!!

LOVED IT!!

PS

Its a all star cast.. Alot of nice young actors!!!

Not only did this movie come from a true story, but it was a great story.

And on top of this it was very well told with an all star cast including Forest Whitaker, Isaiah Washington, and others you'll recognize.

The movie shows just enough of Katrina footage to remind us of the travesty of the storm and our handling of the aftermath but it does not over do it. Then it moves on at a perfect pace to the story of rebuilding. It comes with inspiring words balanced with a real glimpse of the dirty and slow process it was in New Orleans.

It's crazy that this never hit the big screen because it was so good, because it was a true story, and because it had an Academy Award Winner and stars like Lil Wayne.

It really should sit on everyone's shelf along side your true story sports classics like The Blind Side, Hoosiers, More than a Game, Glory Road, Miracle, Cinderella Man, Brian's Song, and Remember the Titans.

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This movie should have been seen on the big screen. The story we all know was sad due to the loss of so many lives during Hurricane Katrina. But the story of these students/basketball players and their coaches was inspiring. My sons and I have watched it at least 5 times since it aired on television and another 3 times since we purchased the DVD from Amazon.com

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I am not a sport's fan. This movie is wonderful. Looked at it today. Forrest Whitaker and the entire cast did a magnificent job. I got goose bumps watching it. At first I thought

it would be depressing because of Katrina. However, it is a great movie, one I would buy, instead of rent. Thanks for making it.

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Very Good movie. Just what I expected.

Will recommend to friends, family, coworkers, other readers and more. Storyline was good and very interesting.

Fast shipping and in good condition. Will order again soon from this vendor.

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Miracle (2004)

As the Cold War fades into memory, it is hard to explain the on-going, almost mystical fascination with The Miracle on Ice; the defeat of the vaunted Soviets by a bunch of unknown American college kids. Yes, national pride plays a big role, and more generally everyone loves an underdog. But I think what has really made this event such a cultural touchstone is the pure joy that surrounded it. Across the nation, and the world, for a myriad of reasons, but distilled and purified in the players and coaches who pursued their dream not for fame and fortune, but because the only dreams worth chasing are the hard ones.

"Miracle" captures this spirit down to the smallest nuance; in a day and age when you are as likely to read about athletes in the police blotter as the sports page, it is refreshing to watch people play for the pure joy of sport and love of the game. The ability to capture this love of the game was made possible by the fact that every single one of the actors portraying a hockey player was first and foremost an actual hockey player. That's not to say they can't act, but they sought out the opportunity because they have scored Eruzione's game winning goal a thousand times on a rink or pond or even on asphalt and they wanted an opportunity to tap into a little bit of that magic. They didn't audition for "Miracle", they tried out for it, and once they had the job, they went to training camp to prepare for filming. This attention to detail comes through in spades; I know hockey, but you don't have to be an expert to realize these guys are in great shape and have been on the receiving end of a check more than once.

In contrast to these raw and unseasoned actors stands Kurt Russell, a Hollywood veteran (and admittedly a very big hockey fan). His portrayal of Herb Brooks is dead on; from the voice and mannerisms down to the single minded determination to beat the best team in the world. Moreover, his punishing conditioning regimen and mind-bending schemes are accurately portrayed without bogging down in details that would likely bore even dedicated fans. The supporting cast is likewise strong, and wisely limited in large part to just Brooks' wife and assistants. This focus mirrors the way Brooks lived the game and minimizes distractions.

So the film has real hockey players and fine actors in all the key roles but the most daunting task for the director still remained: how to portray a game where the outcome is know when the NHL hasn't found an entirely effective view for live games. The answer was to use as many ice level shots as possible, which serves a twofold purpose. The first is that it is much easier to follow the puck when it is the focus of the shot, and at the same time, when a hit or injury is the key part of the scene, the puck isn't a distraction. The other reason this approach is successful is because this player's eye view of the ice injects a sense of urgency that makes victory seem in doubt even when it is a known factor. A corollary to this approach is in the narrative of the game with the Soviets; the director wisely chose not to reinvent the wheel and used Al Michael's definitive call, which includes key commentary from Ken Dryden which can be informative for the non-hockey fan.

In the end, what this all adds up to is the perfect encapsulation of the joy I referenced above. The cold hard fact is that we are unlikely to ever see such joy in sport again, as professionals have come to dominate Olympic team sports and high schoolers join the pro ranks as soon as they graduate and middle schoolers go to strength and conditioning camps under relentless pressure from their parents. What "Miracle" portrays is a joy born of a love of competition, a love of sport and a love of teammates that has become all too rare. That's not to say that this movie only portrays sunshine and roses, but the ultimate goal transcended any one individual. Some of the best scenes in the movie have nothing to do with hockey, but rather the camaraderie that comes from sharing simple things with good friends.

Superb in its portrayal of perhaps the greatest sporting event of all time in every aspect from acting to wardrobe to the game on the ice, "Miracle" is an absolute joy to watch. It wisely frames the geo-political import of the game and then sets it aside, focusing instead on the beauty of sport and the satisfaction of hard earned accomplishments.

Jake Mohlman.

The first hockey games I ever watched were during the 1980 Winter Olympics and I know I was not alone in that respect. It took a while to understand what a blue line had to do with icing the puck and I have never gotten past the idea of what basketball would be like if it was played the same way as hockey (you are allowed to foul the guy with the puck/ball). But I remember watching the games the U.S. Hockey Team played against the Soviet Union and Finland. How big was the miracle that Al Michaels proclaimed during the final seconds of the semi-final match against the Soviets? Well, when "Sports Illustrated" came out the next week there was no need for a headline or caption on the cover photo of the U.S. team celebrating.

Knowing what is going to happen in "Miracle" is important because if we did not know that this team is going to win the gold medal then we might suspect the means that coach Herb Brooks (Kirk Russell) is using to achieve that end. Brooks is haunted by the 1960 Winter Olympics, when he was cut from the U.S. team a week before it won the gold medal. It was also the last year the Americans beat the Soviets on the ice and Brooks knows how to pull off the upset against the best hockey team on the planet. All it will take is a team that he handpicks playing the way he wants them to play.

The best part of this film is watching how Brooks does exactly that and then becomes basically a spectator and cheerleader when his team goes out and wins the gold medal. Director Gavin O'Connor hits a bulls eye with the casting of Russell, who should get serious Oscar consideration for his performance. The hard driven coach who puts his sport before his wife and family is something of a cliché, but what matters here is how Brooks' determination and intelligence comes through as he molds his team.

The production also scores because they went out and got hockey players to act instead of trying to fake us out the other way around. The only real professional actor on the team is Eddie Cahill, but he plays goalie Jim Craig. You can put anybody you want behind a mask in goal on the ice (former Edmonton Oilers' goalie Bill Ranford in fact) and because Craig was such high maintenance and high profile he was the one role where you needed to up the acting level. But Michael Mantenuto as Jack O'Callahan, Patrick O'Brien Dempsey as Mike Eruzione, Nathan West as Rob McLanahan, Eric Peter-Kaiser as Mark Johnson, and the other 15 players on the team are playing exactly what they are: hockey players brought together to create a team.

One thing I was surprised about in the film was that there is never an explicitly stated reason why Eruzione was picked as the team captain. Yet in the context of the film I was right in thinking that I knew exactly what Eruzione was going to do that was going to make him stand out as first among his teammates. (You will know what I am talking about when the moment comes).

The fidelity to recreating the moments we remember from the 1980 Olympics was quite impressive. You can check out the added features on this two-disc DVD set to see direct comparisons of the television footage from the actual games with the movie's re-creations as well as the techniques used to give you a dynamic feeling of being on the ice. Of course getting Al Michaels to "call" the games again was a necessity and it is not surprising that they worked in the original version of his famous line that gives the movie its title. You can re-create history but you cannot really improve on it, although this 2004 film does a nice job of trying to accomplish that particular feat. I just wonder if those who know nothing about what happened at Lake Placid in 1980 can appreciate that as much as those of us who do.

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MIRACLE takes us back to a triumphant moment in American history just when Americans needed one--the miraculous win by the U.S. Olympic hockey squad over the vaunted team from the Soviet Union at the 1980 Winter Olympic Games in Lake Placid, New York. Framed by the traumas of Vietnam and Watergate that had settled onto our country like a malaise, the film ratchets up things even further by giving us glimpses of the Iranian hostage ordeal and the December 1979 invasion of Afghanistan by the Soviets.

Stepping into the fray is Herb Brooks (Kurt Russell), a veteran hockey coach who as a player came within one step of joining the 1960 U.S. Olympic hockey squad that handed the Soviets their last loss in ice hockey at Squaw Valley. As the film opens, in the summer of 1979, Brooks is given the task of putting a respectable hockey team onto the home ice in upstate New York for the Olympics. For Brooks, however, merely putting a respectable team onto the ice wasn't good enough for him. He wanted the best; and through his relentless drive and his not ingratiating himself to his players, he prodded them to put out nothing short of the best they had in them. The result was that miraculous 4-3 win over the Soviets in the first medal-round game that a few days after that propelled them to a Gold medal via a win over Finland.

Russell, never the showiest of actors but nevertheless one of the best, gives a superb performance as Brooks (who was killed in an auto crash shortly after filming was completed), a man who dedicated himself to putting a winning team into the history books and succeeded. As had been the case in THE THING, EXECUTIVE DECISION, TOMBSTONE, and BREAKDOWN, Russell shows us his professionalism by not necessarily being Mr. Nice Guy, but a man who strives to achieve the extraordinary in his players. Patricia Clarkson is good as his wife (in a too brief role), and Noah Emmerich does a good job as Brooks' assistant.

The gut-wrenching game between the U.S. and the Soviets is recreated in vivid detail with all the hard hits and chants of "USA! USA!" rumbling throughout. But MIRACLE is, thankfully, not about American jingoism and arrogance. It is about achieving the impossible, which is exactly what all Olympic games are supposed to be about. It is an incredible piece, well worth seeing more than once.

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I am looking for the right ones". And that is really what this movie is all about: the power of people working together as a team instead of individually. Nowadays, we are tired of seeing superstars in different team sports that think that they are the greatest thing in the world and that their teammates are just the supporting cast. This is true in the US mostly in football and basketball, and in other countries in the word mainly in soccer.

I was born in Uruguay and lived there until the year 2000, and therefore am a big soccer fan. I am tired of seeing the players from my country excel in their European clubs only to see them fail miserably when they play for our country. The reason is that several of them think they are stars when they come to play for Uruguay and neglect to play as a team. They should all get together and give this movie a try!

Herb Brooks (Kurt Russell) is the new coach of the US men's hockey team that will compete in the Winter Olympic Games in Lake Placid and has a huge task ahead of him. The Soviets dominate the world's ice hockey and US was embarrassed in their last attempt in the Olympiads. But this is not all that Herb has to face in order to succeed. Right from the start he has to fight against the politics surrounding hockey in order to be able to select the players he wants instead of the ones he is supposed to choose. Also, several players carry grudges from their college games and are unwilling to help each other.

The movie revolves around the challenges faced when trying to create an efficient team, the stress of competition and the spillover of work into one's personal life and the strain this causes. Of course, if you like ice hockey you are probably going to enjoy this movie a lot. However, if you do not like or understand the sport, you can still enjoy the storyline. In my case, working in a company that has season tickets for the current champion of the National Hockey League, the Tampa Bay Lightning, it was easy enough to start learning about the sport and loving it before watching this production.

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The producers of "Remember the Titans" and "The Rookie" are seeking to bring to the quasi-sophisticated American viewing audience, films that bring American values through sports stories to the forefront. In "Miracle", their latest and greatest effort, they've truly succeeded, not only in making their audience feel good, but also in presenting an amazing moment in our history that could too easily be forgotten.

"Miracle" tells the story of the US Olympic hockey team of 1980,

and their heart-stopping victory over the Soviet team, in winning the gold medal for the first time in decades. Set amongst the turbulence of the times, Miracle is beautifully filmed and edited, and succeeded in making the audience I viewed it with cheer for the team, perhaps nearly as much as we all were cheering at Lake Placid.

Raised on hockey in Minnesota, I'd seen Herb Brooks for years before the Olympics, and veteran actor Kurt Russell gives us more of what he showed us in "Dark Blue". His portrait of meticulous, self-reliant Brooks, is right on target, down to the plaids the coach was known for wearing. His is a dominant portrayal, although he's surrounded with young hockey players who are craftsmen, and supported by fine actors Patricia Clarkson and Noah Emmerich. Russell doesn't try to be popular with the audience any more than Brooks wanted popularity with his teams or his fans. He plays it much as the obsessive Brooks, "the 21st guy" on the 1960 Olympic hockey team, who was cut before the games, would have wanted it. Brooks died before he could see the film.

Although the movie is unabashedly formulaic, the combination of the dream, the reality, the beautifully filmed and tense hockey sequences, and the sheer joy of the team and the country, at a time when there was not much else to cheer about, has succeeded in a way that most sports films can't.

A great movie, sure to be full of great features on the DVD!!!!

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Star Trek III: The Search for Spock (1984)

Star trek III is widely considered to be an infinitely inferior sequel to The Wrath of Khan, yet is in fact a more complex film and has a much more difficult task set in front of it. Although not perfect, it is an engaging story filled with a number of excellent reversals and has some of Shatner's best acting.

Montalban is the absolute driving force in Star Trek II and much of that film relies on this fact. Christopher Lloyd does a fine job as a merciless Klingon, yet it is up to Shatner to carry this film. And he does an great job. His stealing of the Enterprise gives Kirk back the initiative in the entire series, and is one of the all-time great moments for the original cast. Why this sequence, and so many others, is not given more credit is beyond me. One gripe: As usual, Kirk gets a LOT of screen time, cut-aways shots etc. at the expense of the other cast members.

Mired in some necessary exposition, The Search for Spock effectively navigates its way through Klingons, Vulcans, the tragic genesis project, Starfleet regulations... no easy task. The finale is lovingly presented, and tests the depths of not only the crews's emotions but that of the audience and fans. Nimoy did a fine job with this film, and it led the way to the unprecedented Star Trek IV.

Star Trek III The Search for Spock is a wonderful, middle movie to the more or less trilogy of II, III and IV. I was a little disappointed that Kirstie Allie couldn't pick up where she left off in the role of Saavik. Robin Curtis does do a very good job though. Christopher Lloyds Klingon Commander is absolutely Klingon through and through. All of the original cast members are true to their characters. Overall, Star Trek III is not the best of the original six, but it's most certainly not the worst either. A wonderful story that, like all the rest, I've watched more times than I can remember.

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Though lacking the philosophical depth of The Motion Picture, and the heart-pounding action of The Wrath of Khan, Star Trek III: The Search for Spock ultimately succeeds because it's primarily a character driven story, which recalls the best episodes of the original series. Spock's resurrection is handled convincingly--no magical regeneration with a shiny blue animated line here. In all aspects, Leonard Nimoy does a fine job in his directorial debut--he can clearly handle a camera and brings forth strong performances from his actors. Robin Curtis more than holds her own in the role of Lt. Saavik, originally portrayed by Kirstie Alley. The consistently underrated William Shatner shines here, giving a performance which is by turns somber and impassioned. DeForest Kelley also deserves praise as the Spock-possessed McCoy.

Most of the special effects have held up well over the years, and the few that haven't are not overly distracting. Star Trek has never been beholden to special effects, but has generally relied upon character development and story--and this emphasis has served it well over the years.

The picture is identical to the first DVD issue, which improved on both the VHS and Laser Disc issues--the colors are more vibrant and crisper. The sound also has more impact than the earlier versions.

This is one of the few films where the theatrical cut WAS the director's cut, so there are no added scenes here. The commentary by Nimoy and the rest is interesting and informative, as is Michael Okuda's text commentary. The cast interviews, as always, are entertaining, although I would have liked to have heard more of what REALLY happened during the infamous 1983 fire at Paramount studios. Less entertaining are the featurettes on terraforming, the Klingon language, and the visual effects, which contain almost no behind the scenes footage.

Read Best Reviews of Star Trek III: The Search for Spock (1984) Here

In the footsteps of "The Wrath of Khan" Director's Edition DVD comes the Special Collector's Edition of "The Search For Spock", in my opinion the best Star Trek movie of all. The writers held nothing back, giving us an ingenius way of bringing Spock back. Though definitely no among the most exciting of the series, it does the best job by far of illustrating the eternal friendship of the Enterprise crew.

It also sprouts first-rate preformances, notably Christopher Lloyd as Commander Kruge, who perfectly personifies the ultimate Klingon. Robin Curtis, replacing Kirstie Alley as Saavik, makes a more traditional Vulcan, showing hardly any emotion whatsoever (the way Vulcans are supposed to). The entire Enterprise crew is in top form. And, of course, Spock; Leonard Nimoy's screen time, no matter how limited (only a couple of minutes), makes you want to stand up and cheer.

The special effects more than match up to (and at times surpass) those of "The Wrath of Khan". And James Horner once again engorges himself, providing a haunting and incredibly beautiful score that perfectly captures the sense of Vulcan mysticism (as well as everything else in the movie). All of which is displayed very nicely on the DVD.

I've been waiting for this new two-disc DVD for well over two months, but it was worth the wait. The picture quality is nothing short of spectacular. The cast and crew interviews are once again very interesting and funny (William Shatner is utterly hillarious). I have not yet seen the "Terraforming & The Prime Directive" or "Star Trek Universe" documentaries, but you can bet your *** that I will.

Now I just can't wait for the two-disc edition of "The Voyage Home" to be released. If it's half as good as the Special Collector's Edition of "The Search For Spock", I'll gladly pay my money for it!

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If anyone is wondering where the Klingons of the later Star Trek movies and television series' came from, this is it. Christopher Lloyd's "Kruge" is the defining character after which all the later ones were patterned.

This movie also dramatically introduces the much used Klingon Bird-of-Prey that turns up frequently in later movies and on TV.

In my opinion, this is the best movie after "The Wrath of Khan" and keeps the drama and action moving quickly along.

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Kes (The Criterion Collection) (1969)

Kes

Directed by Ken Loach

Starring David Bradley, Colin Welland, Brian Glover

Criterion | 1969 | 110 minutes | Rated PG-13

Video:

Video codec: MPEG-4 AVC

Video resolution: 1080p

Aspect ratio: 1.66:1

Audio:

English: LPCM Mono

English: Dolby Digital Mono

Subtitles:

English SDH

Disc:

Single 50GB Blu-ray Disc

Region A locked

The film contains brief nudity and scenes which may disturb young children.

Kes is a very British film, winning two BAFTA awards from its five nominations. Colin Welland won for best supporting actor and was the only professional actor in the film. David Bradley won for most promising newcomer.

The story deals with a troubled young boy, Billy Casper (Bradley). He is bullied by his older brother at home and similarly treated by his peers in school. He's insolent, not above lying or stealing and does little to encourage people to like him. He's a loner.

The setting is Barnsley, Yorkshire, in the north of England. If you have ever seen this part of England depicted in other films, you'll know that it's a poor area populated largely by working class people. In the 1960s, that was very much the case. Billy's brother worked in a coal mine, as did most of the town. The two had to share the same bed, so you can imagine how poor they were.

Anyone unfamiliar with British accents may find the thick Yorkshire dialect hard to follow. It's the main reason that Kes wasn't given a wide release outside England. I'm completely at home with the accent because my grandfather came from Barnsley. He often talked about his tough upbringing and it gives the film additional meaning for me. His father was a miner and my grandfather only escaped that fate by joining the army.

We see Billy on his paper route, taking time off to read his comic. He also steals eggs from the milkman. Milk is still delivered to each home in the UK in this manner. When his mother and brother go out to a bar on the weekends, Billy is left at home on his own. His brother beats him and the house is generally filled with the sound of his mother and brother arguing loudly. He doesn't say much at school, but is often the target of bigger boys.

Early in the film, Billy is taking a walk through the countryside and spies a kestrel. He watches for a while and sees that two kestrels are taking food to a nest. After stealing a book about falconry from a local bookstore, he climbs up to the nest and steals a young kestrel. The bird provides an escape from his unpleasant existence and quickly becomes the focus of his life. This seemingly uneducated boy has discovered his passion. He reads the stolen book and trains the kestrel.

One day, in class, he is asked by a teacher, Mr. Farthing (Welland), to tell the other kids a true story about his life. He's reluctant and says that he doesn't have any, but one of the kids mentions his kestrel. This leads to one of the strongest and most emotional scenes in the film. He's disinterested in everything he is taught and the people around him, but talking about the bird is a different matter. Billy comes alive when he describes how he devotes his time to feeding and training the bird, who he names Kes. Farthing is engrossed in the story and sees for the first time that there's more to Billy than he imagined. He starts to look out for the boy and even visits him to watch him train Kes. It's a strong performance from Welland and he deserved his BAFTA award.

The other teachers wouldn't have a job in modern society. They shout continually and are deeply suspicious of the kids' behavior. The headmaster uses the cane and doesn't seem to mind whether those being punished were truly to blame. The gym teacher cheats at soccer and punishes Billy with a cold shower for conceding a goal. Farthing is the only one who looks at the kids as if they are young people with a chance to make something of their lives.

There's a strong political message in the film, confirmed during interviews in the special features, that many kids have no chance to escape their miserable reality. Billy visits a careers officer who only seems interested in placing him in a pigeon hole. He'll either work in an office if he has the aptitude, or he'll become a miner. The writers talk about how two-thirds of their generation suffered a similar fate. When we see Billy so animated, talking about Kes, it's a sign of his true potential. Will it be recognized or will his life be written off by others as insignificant? This is the essence of the film, along with how Billy substitutes friendship with his love for Kes.

Billy's dishonest nature eventually becomes a problem for him and there are some extremely sad scenes.

The story is based on the book A Kestrel for a Knave by Barry Hines. Bradley was 14 when the film was made and was chosen from pupils who attended the school mentioned in the book. All of the children came from one of three schools in the town. The gym teacher (Brian Glover, Alien 3) was a real teacher at the time and Kes was his first film.

Video Quality 4.5/5

The film was made in 1969 on a low budget, but looks wonderful. Criterion's restoration was approved by director Ken Loach. There are occasional white speckles and softness, but the new transfer looks natural and full of detail. This is exactly what I would expect from Criterion, who, along with Disney, continue to maintain the highest possible standards.

Audio Quality 4/5

Two options are offered on the menu: The filmmaker's original soundtrack with production dialogue (English LPCM 1.0) and the internationally released soundtrack with postsync dialogue (English Dolby Digital 1.0). I recommend the original version. Everything is clear, including the dialogue, but some viewers may benefit from the English subtitles due to the heavy Yorkshire accent.

Special Features 5/5

Making Kes (45 minutes, 1080p) tells you everything you might want to know about the film. Criterion interviewed director Ken Loach, producer Tony Garnett, actor David Bradley and cinematographer Chris Menges in 2010 to discuss their recollections.

The South Bank Show (50 minutes, 1080i) looks at the career of Ken Loach.

Cathy Come Home (77 minutes, 1080i) is an early film from Loach and Garnett shown here in its entirety.

Trailer (3 minutes, 1080p)

Booklet (22 pages) including an essay by Graham Fuller

Kes is a wonderful human interest story with a number of deeper themes thrown into the mix, although the story ends rather abruptly. The largely amateur cast was authentic and did a good job of portraying life in Barnsley. It's on record at IMDB as being director Krzysztof Kieslowski's (The Double Life of Veronique, Three Colors Trilogy) favorite film. I wouldn't quite go that far, but it's certainly worth owning. Amazon.com has it at the bargain price of $18.99 at the time of writing. I'm glad I took advantage.

Overall score 4.5/5

A beautiful and tender story that turns around a 15 year-old Yorkshire boy who tames and trains his pet. One of the most remarkable films of that decade directed by that young and raising promise. Ken Loach.

Buy Kes (The Criterion Collection) (1969) Now

I enjoyed this story when I read it at school in the 70's and this is the fourth or fifth time I have watched the movie.

Very realistic socially (I grew up just a few miles from where this is filmed) and don't doubt that the PE teacher is based in reality.

Touching and emotional.

Read Best Reviews of Kes (The Criterion Collection) (1969) Here

This film is so beautiful-i saw it in the U.K.I really wish they would release in U.S format so i could have it to keeeep!!It is very realistic real film that gets right under your skin and into the little boy's head.Life is stark and hard for him but when he flys or handles that bird ,it sets his soul free.Not much time left-he's soon going to grow up and have to work in the mine and be smothered by mundane grind like folks around him.Heartbreaking without an once of sentimentality so this film gets you.Somewhat upsetting.But so goddam beautiful.

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4 1/2 Stars

Ken Loach's acclaimed 1973 film "Kes" is one of the saddest films I've ever seen, literally ever. 90% percent of this film is shown with scenes displaying the public disapproval of small loner Billy Casper; be it by his teachers, peers, or family. No matter where he gos there is always Something someone finds to disapprove of in poor Billy: His appearance, attitude, or just the simple fact that he exists. He is a kid whose past is percieved as horrible, present is obiviously miserable, and whose future is looking as dim as the mine shaft he's destined to plunge into. But in all of this darkness there is one small bright shade of light: Kes. A beautiful kestrel taken from a monastery wall by Billy. He seems to be the only thing in this world that Casper takes a natural interest to. "It's just a bird!" His mother shouts, but it's not. Its his sole reason left for existing.

We have all felt down and out in our lives, but only a few of us have ever reached the level of hopelessness that fills Billy's life. The flying scenes with Billy and kes are brief but beautiful, for they show a kid regaining his reason to live when his society told him he had none. "They beat him. They Deprived him. They Ridiculed him. They Broke his heart. But they could not break his spirit." That is the tagline for this film, and I don't think they could've made one that summed up this film better. In some ways I believe that Kes represents Billy in that he feels the need to take flight, to go make something of himself, but is trapped by the forces of his own environment (that leash).

At Kes' Conclusion we are left in want of a resolution, but are sadly denied it. That to me is what makes the film so painful, we hope deep down that Billy finds a way out of his current situation but everything looks doubtful. All I keep thinking is how many children out there share a similar childhood to Billy's, and all I hope is that each of them has their own Kes. Because without hope, without that spirit, what reason is there for living?

This is not a film that would be enjoyed by a massive american audience. This is not Old yeller and it is certainly not Free Willy. Many will find it overly depressing (which isn't an irrational complaint) and the thick yorkshire accents are difficult to follow (These are not Gosford Park accents). But I would state that this film is incredible for its poigancy, emotional power and the very natural performance by David Bradley. The cinematography is exceptional, especially since the film had such a meager budget, and Ken Loach's directing is acclaimed for a reason. If you are looking for a film with a powerful emotional impact, thou can't go wrong with Kes.

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Frosty the Snowman

Frosty the Snowman is simply superb! It's another of author Romeo Muller's 16 animated Christmas films--all of which are splendid and marvelous. Jimmy Durante is a most endearing narrator and singer here, and the enchanting story of Frosty is both humorous and heart-tugging. Watch it, and learn why there's magic in Christmas snow! You'll also enjoy the sequels by the same author, "Frosty's Winter Wonderland," narrated by Andy Griffith; and "Rudolph and Frosty's Christmas in July," narrated by Mickey Rooney as Santa Claus.

No holiday film is more beloved and revered than Frosty the Snowman, other than Rudolph the Red Nosed Reindeer and the Grinch. This 1969 Masterpiece was written by the GREAT Romeo Muller, the GREATEST writer who ever lived, the man REALLY understood children. This film has a lot for both parents and children to enjoy. It has Jackie Vernon, giving warmth and kindness to Frosty the Snowman, Jimmy Durante as the EXCELLENT narrator, and Billy Dewolf as the SILLY Professor Hinkle (one of my all time favorite characters of Christmas Mythology.) This film also includes my personal favorite recording of ANY Christmas Song, the Jimmy Durante rendition of the title song. (I must recomend that you purchase the spliced version on CD.) You just can't go wrong with this film. A great one for children just seeing it for the first time, or for parents who grew up with it themselves. You must also buy the sequel, "Frosty's Winter Wonderland" and the semi sequel "Rudolph and Frosty's Christmas in July", both buy Romeo Muller. PLEASE AVOID THE PIECE OF GARBAGE CLAIMING TO BE A SEQUEL ENTITLED "FROSTY RETURNS", ALSO ISSUED BY GOLDEN BOOKS. IT IS A POOR PLOTLESS ATTEMPT AT A CHRISTMAS SPECIAL INDEED AND HAS NOTHING TO DO WITH THE FROSTY THAT WE KNOW AND LOVE.

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This delightful 1969 animation based on the popular song is a holiday treat that many of us grew up watching, and now we can share it with our children. By today's standards, the animation is crude, but the story is heartwarming and the narration and singing by Jimmy Durante make it a priceless treasure.

We are introduced to Frosty, a snowman made by some school children with a corncob pipe, two lumps of coal and a magician's hat that brings him to life. When the temperature starts to rise, Frosty hitches a ride on a freight train bound for the North Pole. However, the evil Professor Hinkle is hot on his trail to try to melt Frosty and get his hat back. Finally, Santa Claus saves the day.

My son is almost three years old and he loved this video. No doubt your child will too.

Read Best Reviews of Frosty the Snowman Here

A great holiday classic DVD for the money! This is the same Frosty the Snowman I grew up watching on TV!

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Christmas is a time of tradition, whether from food, family, or fellowship. It is also the season when Hollywood tries to create their own traditions with the numerous "holiday specials" that clog the airways throughout the month of December. "Frosty the Snowman" is the cream of the crop.

The story is simple: A magic hat brings "Frosty" the snowman to life, after which he must travel to the North Pole to prevent being melted. Meanwhile, an evil magician is trying to redeem the hat for his own nefarious purposes.

Since 1951, children and adults alike have enjoyed this half-hour special. Kids will be sucked in by the magic and music, while adults may just find even their eyes welling up a bit when Frosty is threatened near the end.

Along with Claymation Rudolph, this TV special should be required watching around the holiday season.

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