The Last Metro (The Criterion Collection) (1980)

One of Truffaut's and Deneuve's best pictures. It has warmth, history, a sense of the absurd, excellent pacing, and a bit of suspense. It's also has more a linear storyline then many French films. All of the performances are excellent.

Two Warnings:

1. Avoid dubbed versions (Deneuve's sense of humor is in her voice, not on her face, resulting in a mirthless character when dubbed).

2. The new Fox version changed the sub-titles and wrecked some of the best lines.

I was first drawn to this film when I read a news article that this film had been considered by many French critics to be the best French film of the 80's. I couldn't have agreed more with that judgment when I saw it. Truffaut goes beyond telling a story of love and tragedy in Nazi-occupied France, it shows how intensely he feels about art and theater and how inseparable they are from human life. Theater is a big part in the lives of the central characters and hence a key ingredient of this film as well. Truffaut uses that fictional theater and interweaves that with real lives so seamlessly that it sometimes blows your mind away. I think in many ways it is an extension of 'Day for Night'. A terrific achievement, to say the least.

Buy The Last Metro (The Criterion Collection) (1980) Now

Truffaut follows in the tradition of Jean-Pierre Melville by adapting a popular genre as a serious allegory for the darkest period in French history: the Nazi Occupation. Just as Melville used the gangster film to examine notions of legality, legitimacy, authority and criminality in a period when the Resistance were outlaws and the police were rounding up Jews for the death camps, so Truffaut takes the beloved putting-on-a-show warhorse, and uses it as a metaphor for the conditions of life in Occupied France: the need to act, adapt and continually discard roles. When Depardieu's character leaves to fight for the Resistance, he puns about exchanging his make-up (maquillage) for the maquis. What Truffaut is most interested in, as in all his films, is the effect this need for constant dissembling has on individual identity and relationships.

This wonderful romantic comedy plays like a mature update of 'Casablanca', richly stylised, bravely open-ended, with Truffaut's moving camera wrenching spirit from claustrophobic confines.

Read Best Reviews of The Last Metro (The Criterion Collection) (1980) Here

This is a first-class romantic, suspensful and humane movie. The Germans have occupied Paris and there are informers everywhere. Marion Steiner (Catherine Deneuve), a famous actress, has taken over the management of the theater her husband, Lucas Steiner, an equally famous director, has left. Steiner is a Jew and disappeared shortly after the Germans took over. For the next production Marion Steiner hires a young actor, Bernard Granger (Gerard Depardieu), who loves women and who gradually comes to love Marion.

There are secrets everywhere. Lucas Steiner is hiding and living in the basement of the theater, protected by his wife. He directs the new play through notes to his wife and discussions in the late evening when she visits him. Granger is an member of the resistance who could bring disaster to the theater if he is caught. Marion Steiner is devoted to her husband, but feelings for Granger slowly begin to appear, and are not unnoticed by her husband. All the while life in Paris under the Nazis goes on, the play is prepared and rehearsed, Jewish members of the company are protected or caught or flee. An odious, collaborating journalist and theater reviewer uses his contacts and influence to try to arrange a relationship with Marion. Eventually Bernard leaves the theater for active fighting.

This is something of a romantic movie of choices. At the end of the movie, the Germans are fleeing Paris. Bernard has returned and a new play starring Marion and Bernard is a great success. Lucas is spotted by the audience at the rear of a box and they stand to applaud him. Bernard and Marion bring him to the stage to join them in receiving the ovation for the play. Then Marion moves between the two men, holds their hands, and the three of them stand smiling while the applause roars on. And that's the end. This is, in my view, a very satisfying movie of theater life, of the occupation, and of three people who manage to find their way.

I think the DVD looks great, with many of the scenes having a dark, warm look about them.

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A romantic and beautiful film from one of the founders of the French new wave of films, iconic director Francois Truffaut's award winning film "THE LAST METRO" is given THE CRITERION COLLECTION treatment showcasing the well-thought and well-planned script of Truffaut but also the beautiful cinematography by Nestor Almendros. But the film is much more beautiful thanks to the outstanding performances by Catherine Deneuve and Gerard Depardieu.

"THE LAST METRO" showcases Deneuve and Depardieu's great chemistry and acting. Both talents were just magnificent in the way they portrayed their characters. Deneuve moreso, as the emotions on her face shows us strength, compassion but also elegance and sexiness. This in combination with the variety of the characters but the way the film was written and how the film was shot. Everything came together as Francois Truffaut pays his homage to the theatre but showing how things were at that time in France during the occupation.

VIDEO & AUDIO:

"THE LAST METRO" is a film that has been digitally remastered for "THE CRITERION COLLECTION" release. The film is now 30-years-old is presented in its original aspect ratio of 1:66:1. The high-definition digital transfer was created on a Spirit Datacine from a 35 mm interpositive from the original negative. Thousands of instances of dirt, debris and scratches were removed using the MTI Digital Restoration System.

As Truffaut was an iconic director for his well-planned ideas up to its overall execution, his partnership with cinematographer Nestor Almendros brought beautiful imagery. "THE LAST METRO" featured a monochrome red. In fact, the film does not utilize so many colors. It was Almendros who knew what he wanted on camera, indoors to focus on monochrome reds, lighting to be natural, thus trying to capture the flame of candle reflecting on a person's face. The colors are vibrant for a 1980 film. Some parts with grain but nothing to be alarmed about it. The film looks absolutely gorgeous in the Blu-ray release.

As for the audio, the soundtrack was mastered at 24-bit from a 35 mm magnetic soundtrack. The audio is an uncompressed monaural soundtrack. Audio restoration helped reduce the amount of clicks, pops, hiss and crackle. Audio is primarily dialogue but overall audio is clear.

The film also features a new and improved English subtitle translation.

SPECIAL FEATURES:

For the special features included in the Blu-ray disc version for "THE LAST METRO THE CRITERION COLLECTION" are:

* TWO AUDIO COMMENTARY TRACKS The new 2008 audio commentary by Annette Insdorf (author of "Francois Truffaut") is a very good commentary. Insdorf comments on each scene with no pausing and literally knowing what she is talking about. Informative and definitely giving the viewer a chance to see things through the eyes of Truffaut. A wonderful commentary track. The second commentary track features by actor Gerard Depardieu, historian Jean-Pierre Azema and Truffaut biographer Serge Troubiana. Another wonderful commentary track. Another informative and wonderful commentary track as we are able to get some good insight through Depardieu but also get a Truffaut perspective from Troubiana but also the occupation of France through historian Jean-Pierre Azema.

* Deleted Scene The sole deleted scene included on this Blu-ray features a five minute scene with Valentin. The scene was cut because it made the film too long but it goes into Valentin wanting Marion to be in his final film since he is dying. But because her obligation to the play, the crew and also her husband (trying to hide him), as much as she would like to be part of his film, she can not.

* Les Nouveaux Rendez-vous A near 11-minute interview from a French television show "Les Nouveaux Rendez-vous" with Francois Truffaut, Catherine Deneuve, Gerard Depardieu. A very interesting featurette as Depardieu talked and smoked and just feeling great to be part of a film that would depict theatre of that time. Very informative.

* Passez Donc Me Voir A six minute featurette featuring Francois Truffaut and Jean Poiret excerpted from the television show "Passez Donc Me Voir". Another informative film, more-so for Jean Poiret and him working with Truffaut.

* Performing "THE LAST METRO" A 15-minute featurette that features actors Andrea Ferreol, Sabine Haudepin and Paulette Dubost along with second assistant director Alain Tasma (who played the character of Marc). The talent talk about working with Truffaut and being part of his past films and how wonderful it was to work with him and the freedom they had to be their character for the film. Also, how Ferreol helped cast Heinz Bennent (who played Lucas Steiner) for the film by recommending him to Truffaut. Tasma talked about how he tried out for Jean-Loup's character but he was too short. Sabine gave good insight since she was in several Truffaut films.

* Visualizing "THE LAST METRO" A near 10-minute featurette with interviews with camera assistants Forent Bazin and Tessa Racine in which they discuss working on the film especially working with cinematographer Nestor Almendros. What was interesting is that with all the color and beauty of the film, when Nestor was filming, he lost his contacts several times and was essentially blind. Without using a light meter, his staff was just amazed how he was able to get the lighting right in the final cut. A very informative featurette.

* Working with Truffaut: Nestor Almendros A near half-hour featurette that was filmed for Rainier Gansera's 1986 documentary "Arbeiten mit Francois Truffaut". Truffaut expert Robert Fischer pieced together all elements from the actual interview by Gansera into one featurette for THE CRITERION COLLECTION. This featurette is about how Nestor Almendros became friends with Truffaut, why he moved to France. Almendros talked about Truffaut's style which includes his concern of shooting the film a certain way because he knew his International fans watch his films with subtitles, so Truffaut and Almendros worked together in making sure the background below where the subtitles would be shown can be readable. But what is more special is how Almendros enjoyed working with Truffaut from the beginning and to be there for Truffaut who died in 1984. Informative and just a very special insight to Truffaut and being a cinematographer for several of his films. A wonderful featurette!

* Une Histoire d'Eau "The Story of Water", a 1958 short film (almost 13 minutes) co-directed by Truffaut and Jean-Luc Godard. An enjoyable B&W short about a woman who wants to get to France but because the place has been flooded, she has quite an adventure in getting from her home to Paris and get near the Eiffel Tower.

* Theatrical Trailer The trailer for the film

And similar to other releases from "THE CRITERION COLLECTION", a booklet including an essay by critic Armond White is included. White's essay on "THE LAST METRO" is well-written and a great addition to the release.

JUDGEMENT CALL:

"THE LAST METRO" is among the several award-winning films from Francois Truffaut. The film meant to be a trilogy of paying homage to theatre is literally a beautiful film capturing the occupation of France and the secrets held by the various characters involved in the play.

The term "Last Metro" is about the 11:00 p.m. curfew that French had to abide during the German occupation and for those who went to watch a film or watch a play at the theatre, they needed to get to the final boarding of the train (metro) during the curfew or else...

Catherine Deneuve was simply stunning as Marion Steiner. Her performance was just magnificent as body language and facial expressions really made her character seem real. As for Gerard Depardieu, despite being a man who wants to have some fun with the women, he's able to showcase himself in a variety of levels as an actor. Both had magnificent performances that really carried the film quite far.

Truffaut films...early to few of his later works are just wonderful. "THE LAST METRO"is all about the layers of the characters, small complexities and details are included and you have to credit his partnership with cinematographer Nestor Almendros for successfully achieving the transition of Truffaut's perspective into film.

From the use of colors of the monochrome red for the interiors to the bluish hues outdoors, the use of natural lighting and keeping things dark to make sure that the film shared that sense of ambiance as people who were living during the occupation can probably relate to.

Despite the bombshell dropped at the ending of the film (something that I was not really expecting), as I watched the film again, especially listening to both commentaries, it helped give me an understanding of the characters. Lucas and his love for the theatre. Was his love for Marion genuine, could he see beyond her being just a well-known actress who is now running his theatre or was it because she is epitomizes the female actress who lives for the theatre (who is essentially doing it for him). I started to see how both characters have grown lonely.

But the bombshell of the film is just one layer to "THE LAST METRO". The storyline is about secrets but also people living during a time where it was important for them to entertain because "World War II" and occupation by Nazi Germans and having to worry about air raids and being accused of being German or something anti-Nazi at that time. These people lived for the theatre, lived for entertaining and Truffaut wanted to celebrate that in this film and eventually succeeds.

"THE LAST METRO" is a beautiful French film that deserved THE CRITERION COLLECTION treatment. It's beauty as a well-told and well shot film has won plenty of awards but now with the CRITERION treatment, giving cinema fans a chance to discover one of the treasures of Francois Truffaut.

This Blu-ray release of "THE LAST METRO" looks absolutely magnificent and overall, this film is highly recommended!

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The Darjeeling Limited (The Criterion Collection) (2007)

Wes Anderson is at his best when he explores a small group of people -sometimes family, sometimes not -and explores what makes them tick.

And after the cluttered "The Life Aquatic of Steve Zissou," Anderson returns to those roots with "The Darjeeling Limited." Technically it's an Indian road trip movie, and it's full of his quirky charm... but at heart it's just about three unhapppy brothers with a lot of baggage. Both literally and psychologically.

The forlorn Peter (Adrien Brody) and his luggage barely make it to an Indian train in time to join his brothers, woman-chasing writer Jack (Jason Schwartzman) and bandaged control freak Francis (Owen Wilson). They haven't spoken for a year, and now they're planning to awkwardly bond as they travel to their estranged mother's convent.

But after disasters involving a snake, painkillers and pepper spray, the three brothers find themselves (and their monogrammed suitcases) thrown off the train. As they trek back to civilization, the three men set out on a quest to explore the spiritual, deal with life, death, feathers, man-eating tigers, funerals and their own painful memories... and possibly find their mom.

Nobody in their right mind would expect Wes Anderson to spin up an ordinary good-ol'-boys road trip movie. At least, not the way most directors would. Instead, Anderson crafts this as the baby brother to "The Royal Tenenbaums," exploring a fractured, mildly dysfunctional family with an absent parent.

And the cinematic flavour of "Darjeeling Limited" is much the same as in "Royal Tenenbaums" -bittersweetly funny and arch, with a tinge of poetic melancholy underlying the plot. It would be an endearing movie in any setting, but somehow putting it in the mellow glow of India's dusty roads, bright fields and cluttered shrines makes it even better. The bright, visual richness gives it a sense of whimsy.

For the record, Roman Coppola and Schwartzman helped Anderson out with the script, but there isn't much change. As always, lots of wry, amusingly contemplative dialogue ("I wonder if the three of us would've been friends in real life. Not as brothers, but as people"), though there is some hilarious comedic scenes of sibling infighting. It even gets slapsticky.

Fortunately, Anderson never puts artificial twists into the story, for any extra drama, comedy or thrills; the closest thing would be a brief detour into a child's funeral. The story simply flows by, because it's all about the brothers -and focusing on anything but their self-imposed journey would just be extra baggage.

And the three men playing Jack, Francis and Peter are nothing short of brilliant. Brody is vaguely lost and forlorn, while Schwartzman is a quirky rake who is still haunted by his last girlfriend (played by Natalie Portman in the short intro, "Hotel Chevalier"). But there's something almost painfully wounded about Wilson's reckless control freak, which has nothing to do with his bandages.

"The Darjeeling Limited" is a visually astounding, contemplative little comedy, all about three men who have to deal with the past before they can move on. Put it on the shelf next to "Royal Tenenbaums."

Wes Anderson directs this movie about three brothers on a spiritual journey. In true comedy form, we get to see the brotherly love and jealously that siblings often have for each other. I knew this was going to be a wonderful comedy, but what always takes me aback is the soulful humanity that is in Wes Anderson movies. Once again we get to see Owen Wilson, Bill Murray (in a cameo), Jason Schwartzman, and Anjelica Huston. But we also see the great Adrien Brody playing one of the three brothers. While your laughing, you just might be surprised to find tears falling. This is a wonderful film to share with family.

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Synopsis: An ornate and psychedelically colored train known as the Darjeeling Limited transports three estranged brothers; Francis (Owen Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman) to destinations unknown (actually Francis is attempting to arrange a rendezvous with their constantly disappearing Mother (Anjelica Huston) now living as a nun in Tibet). It has only been a year since their Father's tragic death and each brother carries their own personal heartache over his passing and their Mother's disturbing absence from the funeral.

As one comes to expect when traveling with others, close proximity, annoying behaviors and old wounds eventually surface which must be dealt with as they arise. Add to the mix unforeseen events both aboard the train and at intermittent stopovers along the way and you have the makings of a transformational experience unlike anything the brothers could have anticipated.

Critique: The '07 film `The Darjeeling Limited' begins painfully slow and incomprehensibly weird but if you have the fortitude to survive the first 40 minutes you will eventually find yourself on a delightfully oddball, unpredictable trek across the Indian subcontinent on a spiritual journey in search of physical, emotional and relational healing. Serving as a metaphor for life's journey, one might say that we are all aboard the Darjeeling Limited headed in the same direction to parts unknown. In the final analysis one learns that it's not where you're headed but how much baggage you drag along with you.

There's a lot of food for thought hidden away in this film for those who are willing to put in the effort and watch until the very end. Give it a try if you're in the mood for something obtuse.

Read Best Reviews of The Darjeeling Limited (The Criterion Collection) (2007) Here

The first disc starts off with "Hotel Chevalier," a short film that acts as a prequel of sorts to The Darjeeling Limited and provides a backstory to Jack. In France, he meets with his ex-girlfriend in his posh hotel room. The usually modest Natalie Portman shows quite a bit of skin in this film and shares quite a sensual moment (especially for an Anderson film) with Jason Schwartzman's character.

Also included is a theatrical trailer.

There is an audio commentary by writer/director Wes Anderson, co-writers Jason Schwartzman and Roman Coppola. The three of them start off discussing their writing process and how one's subconscious plays a role. They touch upon various aspects of the production, including production design, cinematography, and so on. Interestingly, the three of them were responsible for their own Whitman brother to write for. A lot of the commentary is spent recounting all kinds of filming anecdotes.

The second disc starts off with a "Conversation with James Ivory." He and Anderson talk about the Indian music used in the film. Anderson was influenced by and used several musical cues from Ivory's films. The veteran filmmaker talks about some of his early Indian films with clips illustrating some of the music from it that Anderson used.

There is a visual essay by Matt Zoller Seitz about the film and how it best sums up everything about Anderson's films. Seitz provides fascinating analysis over clips from the film and the short film as well.

Also included is a 40 minute making of documentary by Barry Braverman. It takes a fly-on-the-wall approach to the production with plenty of footage of Anderson and his crew filming on location. The documentary provides some fascinating insight into what it must be like to make a film there and how Anderson adapted his methods there.

"Sriharsh's Audition" features footage of a child Indian actor trying out for the film.

There is a deleted scene and two alternate takes that run just over three minutes. We see Peter Whitman playing cricket with some Indians. There is an alternate take of the three brothers running down a hill and then one of them trying to board an airplane.

Also included is a clever American Express commercial that Anderson shot around the time of The Life Aquatic with Steve Zissou Criterion Collection. In it, the filmmaker slyly parodies the notion of making a film while also paying homage to Francois Truffaut's film Day for Night.

"Oakley Friedberg/Packer Speech" is a slideshow presentation that a boy made while his parents were working on Darjeeling Limited. He and his folks about helped out the locals while they were there.

"Trophy Case" is an amusing little bit about the "awards" that the film won.

"Waris' Diary" is a collection of very brief snippets of behind-the-scenes footage not shown in the documentary. They provide additional insight into the production.

"Stills Galleries" features photographs by on-set photographer James Hamilton and also candid snapshots by Owen Wilson and Adrien Brody's mothers.

Finally, "Sketch by Roman Coppola" is footage of Anderson, Coppola and Schwartzman traveling through India while they were talking about and writing the screenplay for Darjeeling Limited.

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Isn't it the dumbest thing to judge a movie by its title? Well, that's what I had done with this little jewel of a movie. When I looked at the theater schedules, my eyes just skipped this title for whatever reasons. But I should've known better because the famous "never judge a book by its cover" proverb has always been around, hasn't it?

I came across this movie while I was channel surfing and was lucky to catch it just as it was starting. I didn't know anything about it, so it really helped that the initial scene shows no other than Bill Murray riding a cab going furiously fast, through the crowded streets of an Indian city.

Bill Murray's character arrives at the train station and then runs along the platform trying to catch the Darjeeling Limited, a train which is just starting to leave. Then, in a choreographed slow motion shot, we see Peter Whitman (Adrien Brody) catching up with Bill, getting ahead of him, and eventually leaving him behind as he catches the train and boards it through the last car. We won't see Bill's character until a brief scene later in the movie; what we see, instead, is a close-up of Peter lifting his sunglasses and triumphantly looking back at a defeated Bill Murray as he gives up trying to catch the train. This is the beginning of the mesmerizing journey of three brothers, Peter, Francis and Jack Whitman, through interior India, while they look for a reason to be together.

The Whitman brothers share two cabins on the Darjeeling Limited which is loosely based on the Darjeeling Himalayan Railway, a legendary train that runs through West Bengal in northeast India. It's been some time since they saw each other and for some reason Peter and Jack have agreed with Francis to take this trip.

As brothers, they have things in common. They like to smoke cigarettes and they share a taste for over the counter drugs and painkillers. They all carry and share an inherited, expensive, Louis Vuitton-like complete luggage set, which is almost a character in itself; and of course, they all share a past of which, luckily, we get to see a glimpse.

They're brothers, but they are also very different. They all wear suits, but when it's time for bed, Francis wears a "Darjeeling Limited" pajama; Peter wears boxers, a dress shirt and a sleeping mask; and Jack wears the bathrobe he brought from his brief stay with his girlfriend at a luxurious Paris hotel. They sleep in these, but they also fight, pray and confer. Unexpectedly, these outfits tell us much of what these characters have been through.

Owen Wilson is perfect as Francis, the eldest, who spends almost the entire movie with his head wrapped in an odd-looking set of bandages. He recently crashed with his motorcycle and was technically dead for a moment. He is single or perhaps divorced, and takes, or tries to take, the role of leader and organizes the itinerary. He is struggling to be the glue that they need to stay together but goes a little over the top and even orders what Jack and Peter are having for dinner.

Jason Schwartzman is Jack, the youngest, a published writer who has a high maintenance girlfriend. His stories, so he says, are based on "fictional" characters, but those suspiciously mirror exactly what happens to him, his girlfriend and his family. Jack is the most candid and doesn't hesitate to say to Francis and Peter: "I wonder if the three of us would've been friends in real life. Not as brothers, but as people".

Adrien Brody plays Peter, the soon-to-be dad who likes to wear his father's prescription glasses although these give him a never-ending headache. Perhaps we get to know the least about Peter, but Brody does an excellent job and with his solemn, woebegone expressions he gets Peter to speak a thousand words.

The screenplay by Wes Anderson, Roman Coppola and Jason Schwartzman is extraordinary. But the absolute beauty of this screenplay resides not in the things the characters get to say, but rather in the ones left unsaid. It is like a fill in the blanks puzzle that Anderson and company have given us to complete. I bet anyone can come up with some interesting theories on what it is that we don't see in this movie. I sure came with mine. Initially, I was trying to think of the most logical plot, one that made sense. However, when I saw this movie a second, and a third time, I stopped trying to connect the dots, forgot about logic, took pleasure in the outstanding performances and enjoyed every moment of it.

This is a tale that can spread over so many things that I'm still overwhelmed. It is a story about faith and fate; trust, relationships, aspirations and frustrations; desperation and death. Conceivably, above all, it is a story about friendship, family and love. I do not deny that the mood you're in definitely affects the way a movie affects you. But in this case, I am sure it must be repeatedly delightful and engaging, regardless of your mood, to witness these three brothers spend a few days together, do good beyond what they initially intended and successfully complete their spiritual quest.

This is a funny, engaging and very well made movie. The cinematography, by Robert Yeoman, is outstanding. Teaming up again with Anderson, Yeoman beautifully shoots it through stunning Indian locations in a yellowish, somber tone, mixes it with some slow motion and every now and then shifts to bright blues, reds and greens. The back and forth through the train cabins and the close-ups of the Whitman brothers give this movie a peculiar and unforgettable feel.

Acting, casting, editing, art direction, production design and specially the music and songs, are all exactly what this film needs. Supporting cast is also vital. Like Bill Murray, Anjelica Houston joins Wes Anderson again, and delivers a solid, key performance. Also, after appearing alongside Jason Schwartzman in "Hotel Chevalier", the 13 minute prelude to the Darjeeling Limited, Natalie Portman can be seen briefly as Jack's girlfriend.

I've always thought that having just up to four stars to rate a movie is like trying to write your full name with just four letters. In this case, "The Darjeeling Limited" gets my highest rating because I could not think of a single flaw in it, nor any way this movie could be better, and most of all, because I really enjoyed it.

"The Darjeeling Limited" might become a "cult" film. Wes Anderson has another couple of "cult" movies to his writing and directing credits: The Royal Tenenbaums and The Life Aquatic with Steve Zissou. I've also skipped those in the past. For sure that, soon, will be corrected. And please, never, ever, judge a movie by its title, poster or trailer!

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Eden of the East: The King of Eden (Two-Disc Blu-ray/DVD Combo)

Well if you enjoyed the series this movie is more of that but better, the animation is there and perfect, the focus on Akira's life before becoming a selecao, and Juiz gets more attention in the 2 films. King of Eden begins 6 months after the NEET Missile Crisis with Akira having his memory erased again. From there the identity of Akira is investigated and his search for answers about his past begins.

A must buy for those who watched the series.

Product Review: To clarify what exactly you get in this product. You get the movie King of Eden on DVD, Air Communication Film on DVD also on the same DVD are some extras. You also get King of Eden and Air Communication on Blu-Ray and the extras included on that disc. So you get 1 Blu-Ray, 2 DVDS, and the extras that come on each disc respectively. Probably one of the best values I have seen in a long time and hope to see most Blu-ray anime releases package a DVD copy with it. Also something to note is the case for this release is a DVD size case and not the thin and short Blu-ray case.

Blu-Ray: Contains King of Eden, Air Communication, and Extras

1st Dvd: Contains King of Eden

2nd Dvd: Contains Air Communication and Extras

After watching the series, I was really looking forward to this movie. Don't get me wrong, it was alright; just not as memorable as the series itself. This combo pack comes with the King Of Eden movie (DVD and blu-ray), dubbed, some special features I didn't look into, and a movie version of the series with subtitles. I prefer having subtitles most of the time, but the dubbing in the series kind of grew on me, so I was disappointed that Air Communication (movie version on the series) had subtitles instead. Overall, I guess it was worth the purchase.

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Calling this a movie is probably not correct, it is just a longer episode in the series. Trying to watch it as a stand alone movie would not be practical, as the first episodes of the series contain all the character development, and develope the story. The negative reviews sadly did just this, watching only the movie. What they did was open a book half way through it, then complain the characters weren't developed and you know nothing about the story. The movies end without explaining because it was already explained, and there is another movie coming out to tie up the loose ends in this one. Please, do not pick up the movie believing you can watch it without watching the series. If you loved the series, you will love the movie. It picks up where it left off and moves on, and the end (just like the series) leaves you wanting more. Luckily, the next movie is coming soon. Here we even learn more about the "hero's" past, that make you go o yeah from things that were said in the first episodes.

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This movie picks up where the first left off. We start to see the plans of the other selacao put into motion. Although this film is good, it has a very disappointing ending. Actually it has no ending. This anime just freakin stops. Just like His and Her Circumstances, Tsubasa, Spiral, and my beloved Melancholy of Haruhi Suzumiya. I want to sing praises for Eden of the East. I loved the series; but if this is it, they may as well have not made it at all. That's my only complaint. Everything about this anime is great. It just needs to be finished very badly.

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This is "King of Eden" the first "Eden of the East" movie, part two of "Eden of the East" over all. "Paradise Lost" will be the last part of the series. I liked the TV series, it had a very unique premise and was gorgeous looking. The movie still looks fantastic, but it feels like it's treading water until it can reach it's conclusion in the next movie.

The movie picks up six months after the end of the TV series with Saki in New York looking for Takizawa. There's very little to say without resorting to spoilers. Will Saki find Taki? Will Taki return to Japan? Were you born yesterday?

Nothing happens. Or it feels like nothing happens.

The TV series felt like a long movie. Ironically, the movie feels like a long episode. Again, the plot is so thin, I can't say anything without it being a spoiler.

The problem with series like these is that it can feel like "in for a penny, in for a pound." You already got the series, you're going to talk yourself into spending money on the movies. But, if you're one of those people that HASN'T bought the TV series, and you're waiting to see if the whole series is worth owning, this movie doesn't automatically put "Eden of the East" into the "must buy" pile. Unless "Paradise Lost" caps the series off with something great, I think Eden is going to be a middling "maybe" show.

Lastly, I have to complain about the packaging. This is a Blu-Ray, but it comes in a DVD box. So, when I stand this next to the TV series, they don't match. There's currently no option to get this in a blu-ray box. Plus, my arch-nemesis, tiny-blu-ray-menus, continue to run unabated. Who is the hawk-eyed bastard that programs these things?

I gave the series a Four. This isn't as good as the series. Three-Stars.

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Silver Linings Playbook (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet) (2012)

This is why we go to movies. Silver Linings Playbook is that rare breed of movie where all the moving parts got put together in exactly the right way. The dialogue is sharp, witty, insightful, funny, and often brutally honest. It respects and holds true affection for its characters and the wonderful ensemble cast makes it look easy. The direction, editing and soundtrack are spot on. It is a future classic and the best movie of the year.

Pat is an underachieving substitute high school history teacher who has just been released from the Karel Psychiatric Facility after spending an eight month court-ordered stint for nearly beating the history teacher to death when he finds him in the shower with his wife. His doting, eternally optimistic mother brings him home hoping that the worst of his previously undiagnosed bipolar symptoms are under control. But his refusal to take his meds and an unfortunate incident concerning Earnest Hemingway and a window quickly dispels that optimism. Pat is in fact clueless, living inside a self-delusion bubble in which he reunites with the truly unattainable object of his obsession, his wife Nikki. Two more mismatched souls the world has never seen but he is the only one who doesn't realize it. He plods doggedly on in pursuit, oblivious to everything and everyone else around him. His illness has removed the normal barriers that prevent him from expressing the unfiltered truth as he sees it, making for some awkward, cringe-worthy, often humorous exchanges. Pat is hardly ready for the real world.

And he certainly is not ready for Tiffany. Pat's best friend invites him over for a homecoming dinner which turns out to be a blind date with his wife's recently widowed sister, Tiffany. Tiffany suffers from severe depression and her mood swings run the gamut volatile, bitter, vulnerable, stubborn, sexy, and sweet all thrown randomly into a mixer and blended at high speed. Everyone is a little afraid of her. Her depression results from her guilt over her husband's death which she attributes to her loss of sexual interest in him. She sleeps with everyone in her office in an attempt to anesthetize herself from her emotional pain. She is dead inside, just breathing air. And into this web steps the unsuspecting Pat.

From the moment they meet sparks and barbs fly indiscriminately between them, much to the horror of their hosts who believe they are witnessing a train wreck in the making. But these two lost and damaged souls immediately connect, kindred spirits seeking respite from the storm. Pat is overwhelmed, unable to come to grips with guilt over the intensity of his attraction to Tiffany and the incident sends him into an uncontrolled manic episode. Tiffany feels the same connection and it jolts her far enough out of her stupor for her to see the possibilities. When Pat turns down her offer to sleep with her the flame sparks higher, her curiosity is piqued, and her pursuit begins in earnest. As she starts to nurture and guide Pat, she develops such a flaming torch for him that it would blister the skin off any ordinary guy. But he is oblivious, content just to follow her around like the lost puppy he is. She grabs the opportunity full throttle, dragging the perplexed, not-quite-ready-for-reality Pat along for the ride.

The cast is simply brilliant. Bradley Cooper is a revelation as the bipolar misfit whose philosophy consists of working hard and staying positive to find the silver lining in everything. He and Jennifer Lawrence have such electrifying chemistry together that you find yourself rooting for them to find a way to be together from the moment they meet. Robert DeNiro comes alive in his Oscar-nominated role as Pat's Eagles-obsessed, superstitious, OCD bookie father. Chris Tucker deserves special mention as Pat's equally optimistic fellow psychiatric inmate and friend Danny ("Black it up Pat!").

But make no doubt about it this is Jennifer Lawrence's movie. At twenty two she is the real thing. Her performance here is transcendental. Even with the marvelous supporting cast holding the bar so high the movie would not work without her. She is visceral caustic and vulnerable in the same breath. Her facial expressions hide nothing she is fearless, willing to expose Tiffany's raw emotional core to everyone around her, warts and all as she juggles staying one step ahead of both Pats obsession as well as her own. The transformational changes that occur are put into motion and propelled forward by her. She bets everything with no guarantee that he is capable of giving her what she so desperately needs, willing to run the risk of diving off the emotional cliff for a chance at the real thing. Her character is the lynchpin of the story. And Jennifer Lawrence is nowhere to be found here. The success of the movie rides on her shoulders and she is brilliantly up to the task. Her talent is embarrassing.

The film is unapologetically romantic but dismissing it as a simple romance is missing the point. It deals with family, friendship, truth, sacrifice, and love as imperfect ideals worth fighting for regardless of your place in the world. It is a brave film. Do yourself a favor, go see it. It is ultimately a joyous affirmation of life's possibilities. And who doesn't need a little of that?

David O. Russell's "Silver Linings Playbook" is a big hearted and nearly irresistible concoction that presents one of the year's most unlikely romances. I've been a huge Russell fan since his debut with "Spanking the Monkey" and "Flirting With Disaster" is one of my favorite flights of outrageousness. Russell can have an edgy cynicism about his eccentric characters, but he knows how to make an audience identify with even their most offbeat characteristics. Make no mistake, "Silver Linings Playbook" is loaded with an expected array of troubled souls. But the most remarkable thing about this film (and its screenplay) is the amount of compassion it shows to just about everyone. With a stellar cast including Bradley Cooper, Jennifer Lawrence, Robert DeNiro, Jacki Weaver, Chris Tucker and John Ortiz, the movie boasts easily one of the best ensembles of the year. Each of these actors is given a fully written character and each makes a huge impression in the screen time allotted. That's what impressed me most about the film. It embraces its large cast and allows every member to shine!

Cooper plays a man being released from institutionalized care after a violent episode got him into trouble. Having lost his job and his wife, he is taken in by his parents (Weaver and DeNiro) who must contend with his bipolar condition. Cooper is single-minded in his pursuit to get back together with his wife, to the point of obsession. When he meets an odd young widow (Lawrence) dealing with plenty of personal demons, the two seem like they've got a lot in common. Of course, they seem perfect for each other but Cooper remains oblivious for most of the movie. Cooper and Lawrence have a great chemistry, even in confrontation (which is most of the time), but their verbal exchanges and smart dialogue are really what distinguish this piece. On paper, "Silver Linings Playbook" sounds like it might be a bit of a disaster. It might be filled with cliches about mental illness and stock romantic subplots. But Russell travels off the beaten path. The movie speaks volumes about family and commitment with unexpected plot detours that include gambling, football, and even competitive dancing.

Every character in the movie is a mess! Really! But you still root for them to come together. Cooper shows new acting chops, while Lawrence is smart and appealing. DeNiro has one of his best supporting roles in years, he's playing an actual character and not just a caricature of himself. His estrangement with Cooper fuels much of the movie. The saintly Weaver is so good, worlds away from her Oscar nominated turn in "Animal Kingdom" as the evil matriarch. And Ortiz and Tucker really score in smaller roles. The movie might follow standard romantic comedy conventions in its primary plot, but you've never seen them orchestrated in quite this way. The big finale, in fact, has one of the most uncomfortable (and biggest) laughs of the year as our leads strut their stuff on the dance floor. This is not all comedy, nor all drama, but an appealing blend that feels both fanciful and real. Russell obviously loves these characters and I think you will too. About 4 1/2 stars. KGHarris, 12/12.

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I didn't expect to like this film since I've disliked Bradley Cooper's past roles and because the script sounded shallow and formulaic. Initially, I thought they'd included De Niro as a come-on. In fact, the only reason I saw the film was because of Jennifer Lawrence, whose sophisticated performance in WINTER'S BONE convinced me I'd seen the breakthrough of a gifted actress.

Well, I was wrong about Cooper, wrong about De Niro's inclusion, wrong about a formulaic script, and dead-on about Jennifer Lawrence. Simply stated, this quirky, brilliant story of the evolution of love between two world-worn, emotionally troubled people -against the chaotic background of family madness -was one of the most satisfying, funny and affecting movies I've seen in recent years. In terms of clarity, continuity and heart, it surpasses the book on which it was based.

Since others have described the plot on this page, I will say that millions of viewers who have not seen the film will find parts of their emotional lives in the trials of the lead characters. They will marvel at Bradley Cooper's jaw-dropping portrayal of of a man shackled by the manic phase of bipolar disorder. They will wince at those moments in which the love between the principals starts to emerge, and falters. They will discover a performance by Lawrence that is comfortably sensual, and an actress who is equally powerful whether she is mute or screaming.

The script is complex and masterfully written, with surprising outburst of pathos and hilarity. The climax of the film -and I won't enter a spoiler here -caught me by surprise. I wept at the beauty of it, the director's mastery of realism, and the restoration of originality and complexity to American comedy.

It may be that we're all fundamentally "crazy" and that these two lovers legitimize the chaos we feel inside. It may also be that the art direction, score, supporting performances (De Niro is simply wonderful) and choreography are jaw-dropping. In the end, it's the confluence of so many virtues that make this film as fine as it is. For Bradley Cooper, it's a career-defining moment For Jennifer Lawrence, it's confirmation of what the wise always believed, and hopefully she'll be spared casting in horror films in perpetuity. She is one of our very best, and her beauty, grace and innate power to inhabit the souls of her characters -are most unusual.

While I've enjoyed it once, I plan to view it again tomorrow evening, will continue to discuss it with friends, and add it to my list of favorites.

That's not bad at all.

SILVER LININGS PLAYBOOK is a gift. Prepare to receive it because it delivers.

Read Best Reviews of Silver Linings Playbook (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet) (2012) Here

I have to be honest and say that i didn't hear very good reviews on this movie. But, because I am a movie fanatic i must always see for myself. First off, I am a huge fan of Jennifer Lawrence and that was exciting in itself. The movie was hilarious, witty, charming, crazy, confusing and in all good ways. Robert Dinero oddly made me cry of course. The overall story was amazing. Love does not always come like in fairy tales and this movie proves that. Sometimes the pain can bring two people together, and sometimes the people we need the most are right in front of us, even if we cannot see it right away. All i can say its suprizing-ly entertaining and you will not regret watching it. I suggest you watch this when you arent distracted by noise because everything that they say ,,,trust me you want to hear! I bought it the next day. GREAT movie!

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An absolutely great movie. Bradley Cooper and Jennifer Lawrence have two outstanding performances for which Lawrence won the Best Actress Oscar, not too mention the supporting jobs done by Robert De Niro, Jackie Weaver, Chris Tucker and many others.

Set in Philadelphia, the movie shows Pat Solitano (Cooper) returning home from a stint in a mental institution after a domestic incident with his ex-wife highlighted his struggle with bipolar mood swings. Pat moves back in with his parents (De Niro and Weaver) as her tries to get his life back together, hoping to reunite with his ex-wife. Things get very interesting when Pat meets Tiffany (Lawrence), a young woman with issues of her own.

If nothing more, the movie shows that life is not always perfect. Things can get out of control and spiral. All the same, with family and friends in our lives, it's always worth moving forward.

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The Warlords (+ BD Live) (2010)

THE WARLORDS (2007) is an ambitious film directed by Peter Chan, one of Hong Kong's known filmmakers. This film has a very impressive cast in Jet Li (Fearless), Andy Lau (Infernal Affairs) and Takeshi Kaneshiro (Returner). This period epic is loosely based on Chang Cheh's classic; BLOOD BROTHERS. I've seen a lot of Chinese epics and thankfully "The Warlords" is not a part of the colorful, overindulgent film geared towards U.S. audiences. Truly, this film is darker and grittier than most Chinese epics, but still has massive commercial appeal and will no doubt be popular to international audiences.

The Taiping Rebellion has plunged the country in chaos. General Quing-yun Pang (Jet Li) is the lone survivor of a massive battle between the Christian Taiping and the Qing dynasty under command. That evening, he finds comfort in the arms of comely Lian (Xu Jinglei) but she disappears the following day. Pang encounters a group of bandits led by Er-hu Zhao (Andy Lau) and Jiang (Kaneshiro) who are having difficulty in survival. As fate would have it, the three takes a blood oath to join the Qing army to quell the rebellion.

The Taiping rebellion is among the bloodiest civil war ever recorded in history. The body count rivals the ones during World War II. The Taiping rebellion has a lot to do with religion and cultural ideology, and those powerful issues have been downplayed in favor of the theme of brotherhood, love and war. The film fails to take advantage of its historical context. Quite disappointing really, apparently, the producers presume that the usual theme of brotherhood and loyalty are more universal and more appealing to international audiences. I looked up the details of the Taiping rebellion, and I have to say, even though "The Warlords" is in no means a bad film, it's full potential hasn't been achieved. Rather, the rebellion is only used as a backdrop and not really the film's main premise.

As for the battle scenes, it may well be the bloodiest I've seen so far in Hong Kong cinema. Limbs are severed and there are a few gruesome beheadings. The sequences still have the martial arts influence, but no hints of wires are shown. U.S. audiences may need hints of Chinese history to be able to fully grasp the proceedings, there's a lot of commentary to China's tumultuous past and there is some effective human drama in the brothers' contrasting ideas regarding war and righteousness. Pang is a realist while Er-hu is an idealist, I'm pretty certain you have an idea how two opposing ideologies cannot coexist. Sadly, the missing cultural impact of the war minimizes the film's depth, making the horrors of war less involving.

Jet Li gives the performance of his career since "Fearless". The man can indeed act, and now I understand why he wants to leave the shadow of Wu Shu. There is quite a lot of "manly" tear-jerking moments, and the existing love triangle between Pang, Er-hu and Lian seems to be minor plot devices in an attempt to relate to its audiences. The film is successful as a costume epic, and definitely has a lot of ambition. The style feels a little bit like a Hollywood production; expensive, huge and indeed loud. There are some emotional complexities inherent in its characters and conflicts but it becomes a little too predictable. The film is indeed large but somewhat hampered by its commercialism. Big name Asian stars, expensive production values (I heard that it surpassed "Curse of the Golden Flower" in dollar expense), drama and a China-friendly aversion to sensitive themes.

Now, this doesn't mean that "The Warlords" is a bad film, it is actually a VERY good one. The elaborate costumes, decent battle sequences, awesome set designs and the excellent performance by my boy; Jet Li does make the film a real note-worthy experience. It is just both a success and a victim of its own commercialism. For the most part, Peter Chan and company knew what they wanted to do with this film; a film that can please almost everyone (except maybe those who love happy endings) and has mass mainstream appeal for both Chinese and international audiences. The film's historical trappings feel more like a setting rather than a sense of history. Still, a lot of viewers will not be disappointed, the film is not subtle in execution, the melodramatic battlefields and the great performances by its actors are sure to please many. It may be a bit hollow in spirit but definitely solid and safe in the power it exudes.

HIGHLY RECOMMENDED! [4 stars]

NOTE: The U.S. release (region 1) of "The Warlords" has lost more than 15 minutes of original footage when compared to the Hong Kong release. It loses a lot of its emotions and dramatic impact. If you have multi-region capability, get the uncut Asian release.

Jet Li as a villain is quite a remarkable piece of casting, and everyone really holds their own in this action epic set in 1860s China. The title in English is Warlords but in Chinese it was Blood Brothers, and features three men who are doing their best to survive in a wartorn land.

Jet Li, a great general in the Imperial army, is betrayed and the only man in his army to survive. His resurrection from the dead is both fascinating and appalling to watch as his desire for power obliterates all before him. Andy Lau gives the performance of a lifetime as the head of a band of brigands, who first follows Jet Li but later becomes disaffected by what he sees and tries to turn back from the collision course the ambitious general has set them all on.

Takeshi Kaneshiro as the youngest of the three strong male leads is remarkable in terms of both his battle prowess and how loyal he is to both men, until he is forced to choose sides. Complicating matters still further is the fact that Li's character unintentionally fell in love with a woman on the road, who turns out to be the wife of Lau's character. The inevitable ending is anything but as each man meets his fate.

The action and battle sequences, music, costume, and above all, the depiction of warfare at the time, including trench warfare, makes this an Asian All Quiet on the Western Front, where there is no glory for anyone, only more bloodshed for the sake of ruthless territorial ambitions. I have watched it several times now, with a variety of friends, and everyone LOVED it, even as they were completely shocked by it. If you like action films, there is plenty to recommend Warlords, but the sheer depth of this epic is remarkable. This is a GREAT film in the true sense of the word.

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Great film. Great actors. Great directing. Ho-Sun Chan is in top form here. But, once again, just like with "Iron Monkey" and "Suriyothai" we get these "American" cut versions. WHICH SUCKS!!! I am a film school student and have studied films for over 20 years and I despise it when a foreign film is cut "supposedly" to our western liking. Who asked Magnolia to cut 13-14 minutes of the film anyway? Surely fans of foreign films did not ask for this. Read the dvdbeaver comparison to find out what is missing in the "American" cut. Magnolia, you dropped the ball on this one. I bought your versions of "Haeundae" (interestingly renamed "Tidal Wave". Haeundae does not mean Tidal Wave. It is the town in South Korea where the tsunami hits), "Chocolate", "Ong Bak 2", "Let The Right One In" (except for the subtitle complaints) and others and I am pleased with them. But, remember this, true film fans want the "director's vision" of a film, not the version that you "think we would want"!!! I am importing the Region A Megastar version with no "cuts" to the film. MAGNOLIA PLEASE DO NOT MAKE "CUTS" TO THE SOUTH KOREAN FILM "MOTHER" THAT YOU ARE RELEASING ON BLU-RAY JULY 20TH. I saw "Mother" and it is amazing just the way it is. No need to cut ANYTHING from that film. Stay true to your fans and supporters and we will always buy your releases.

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Like Red Cliff, The Warlords is a martial arts movie in a different sense of the word. While there are a couple scenes with Jet Li dishing out some wushu, the bulk of the action consists of large scale battles, sieges, and raids.

That said, there is definitely a rock hard moral core at the heart of this movie that fits with what I like about more typical martial arts movies: the sense of honor and the importance of male bonding over personal gain. What gives this movie its heart is that the brotherhood created by the characters played by the three male leads spins apart and leads to tragic consequences.

A little background on the Taiping rebellion, even a blurb from Wikipedia or the like, would be a good thing to read as the movie clearly assumes we know a bit about it. By and large though, this information would make the film richer but not knowing it does not impair your ability to follow the story. The position of each male protagonist is a little vague at the start of the film, but this again is a minor issue.

The battle scenes in this movie are astounding. Some really shocking shots with limbs being severed, etc. It's graphic, but not gratuitous. Despite all the effects and costumes and such, the film never loses its emotional core. I was surprised how much I came to care about the brotherhood of these three men in under two hours. That said, there were a few scenes that did drag a little, and this would be another slight flaw with the movie.

Of course, the length of the movie brings me to the major problem with the US release. From what I understand, 15 minutes has been cut from this film for the US release. why? Why? WHY??? Other reviews suggest the cut footage as was the case in the US version of Fearless eliminate scenes that enhance the emotional power of the story. In the case of Fearless, I luckily obtained and watched the full director's cut of the international release so I was able to see the intended version of the movie. However, no such option is available for us Yankees with The Warlords, and I have no doubt that the film suffers from the missing footage.

I find it increasingly irritating that I have to be careful to purchase or am simply unable to purchase the unedited version of so many films from overseas. DVDs and blu-rays can store a lot of information on them. There is not reason not to release a movie with the original cut as well as the 'for dopey Americans' cut. Let the viewer decide if it's going to kill them to spend 15 more minutes with the film!

Anyway, while the pacing is a little slow at times and some of the details of the story are sketchy given the lack of historical background and the missing footage (most likely), I enjoyed watching The Warlords, though I wish I had the real movie not a cut version for my DVD collection. I can't give the DVD release for the film more than 3 stars due to this poor packaging decision.

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General Pang Qing Yun is the sole survivor of his entire battalion. The Ching army was taken out against Taiping rebels in Hechuan. A woman named Lian spends the night with Pang and leaves before he wakes the next morning. Jiang Wuyang, one of the bandits that rides into the town Pang currently finds himself in, is impressed with Pang's fighting skills and introduces Pang to Zhao Er Hu. Jiang and Er Hu take Pang to their village where Pang is reunited with Lian who just so happens to be Er Hu's wife. The bandits from the village overthrow a passing food convoy and that is thought to be a resolution to their current desperation until the imperial army invades and usurps the food that they stole. Pang, Er Hu, and Jiang take a blood oath to become blood brothers before joining Lord Chen's army. With the odds against them, their 800 soldiers get the upper hand on Shu City's 5,000 as plans are put into motion to overthrow Suzhou and Nanjing, the capital. The brothers soon begin to fall apart on their rise to the top. Er Hu tends to be loyal with his word and his brothers no matter what as Pang will sacrifice anyone and even make deals with his enemies just to win while Jiang is stuck in the middle.

This movie is phenomenal. The battle sequences are stunning, the cinematography is brilliant, and the acting is top notch. The Warlords took everything that was fantastic about Mongol and made it just a little bit better. Jet Li deserves a mention. After seeing Unleashed and Fearless, it was nice to see him actually show his acting chops again. The desire to see him at that acting capacity was high, so it was quite a treat to see him at that caliber once again. After The Forbidden Kingdom and his rather stale performance in that, it's become a bit difficult what to expect from him other than him displaying how talented he is at martial arts. Fortunately, he did a great job in this as he showed just about every emotion in this film at some time or another. His fight scenes were also incredible, but that is kind of a given. Andy Lau also deserves a nod. His character is just so passionate about being honorable and loyal that when things go wrong, his reaction is just explosive. He has some really powerful scenes where he's fighting for what he thinks is right. There's a scene where a play is mocking him and his brothers while he's eating dinner. He begins to laugh, which leads to him crying uncontrollably, and then he begins laughing again. He just managed to pull it off flawlessly and it was incredibly impressive.

The battle scenes didn't pull any punches either. Blood flies across the screen as limbs roll on the ground. It's truly fantastic. They are the highlight of the film as the first half seems to not pull away from the battlefield. The film is also extremely colorful. Every scene is stunningly vibrant. There are so many memorable scenes from the film and half of that is due to how they were shot. There's a scene where Er Hu runs into a coliseum where there are just hundreds of dead bodies lying on the ground and the camera does a 360 degree motion around him capturing his emotions and the devastation that lies around him. It's amazing.

The Warlords is one of the best Chinese war epics I've ever seen. Not that I've seen too many of them, but even in comparison to feudal Japan films, it's one of the best. If you were a fan of films like Mongol: The Rise of Genghis Kahn, The Last Samurai, or Seven Samurai, then this comes highly recommended. It's the type of film that shouldn't be missed by anyone.

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The Game Plan (2007)

Having grown rather tired of this fall's onslaught of violent R-rated films, this movie is a welcome change and it's better than you might think.

Of course, there is nothing original about this film. We have another action actor who wants to prove he is something more than that. We've experienced this when Arnold went from The Terminator to being a Kindergarten Cop, when Clint Eastwood quit being Dirty Harry to become Every Which Way but Loose, and Vin Diesel gave up being The Fast and the Furious to being The Pacifier. Now Dwayne "The Rock" Johnson wants us to forget his action hero status for a more family friendly guy in "The Game Plan" by Disney.

This film has all the traditional "fish out of water" cliches you can imagine and silly humor that is a staple in all Disney live action films; however, most are forgivable here. The "fish out of water" element is handled well-enough although very predictable. As the characters grow, it is also quite touching. I thought the humor was of the "hit and miss" variety. Miss: child lost in bubble bath. Hit: allergy to cinnamon. I have to say though in all fairness that the hits are hysterical and overshadow the misses (as annoying as they are).

The plot is relatively simple in that a self-obsessed football hero is suddenly saddled with a child he never knew he had; however, and I won't spoil it, there are some very interesting twists to this set up that are not as predictable as most of the other elements in this film. Most character in this film are stereotypes that don't development and, quite frankly, don't need to. It's The Rock's character that needs to grow and he does and does so in a surprisingly believable manner.

Dwayne "The Rock" Johnson has been a better actor than he's been given credit for being. I feel much the same way about Vin Diesel. Both of these current action stars have proven themselves in a number of films and with both now having ventured into family comedy, they are growing as actors. The Rock in this film is really quite a surprise in that we learn that not only can he hold a tune nicely, he does a pleasing take on Elvis's "Are You Lonesome Tonight", but he is also an accomplished enough actor to cry on cue. Yup, you read that right! It is not a digital effect; he actually cries on cue without a break or cutaway in the take to add fake tears. I was rather impressed with that.

I was also impressed with the surprising comic performance turned in by Kyra Sedgwick (TV's "The Closer, and A.K.A. Mrs. Kevin Bacon). She isn't over-the-top evil like Glenn Close in 101 Dalmatians & 102 Dalmatians, but she is malicious and has a gift for delivering quick one-liners. She is completely enjoyable in her evil little role here.

This light fare is a surprisingly better film than I expected and it's #1 opening at the box-office suggests that I'm not alone in that evaluation. Take a break from the sex and violence currently splattering in our multiplex and go enjoy a film with your whole family that might move you more than you might expect it to.

Dwayne "The Rock" Johnson has had his fair share of battles in the wrestling ring. He was also a part of the Miami Hurricanes football team. He combines the giant ego of "The Rock" in WWE and his football skills to create Joe Kingman, a pro football player who's got everything but a championship ring. He even has something that he doesn't know he has--a daughter. On top of his game, his ego crashes hard when young Peyton (Madison Pettis) shows up at his front door. Never having any sort of responsibilities before, Kingman tries to juggle his football career, his high profile lifestyle and his new daughter. All the while his agent, a devilishly funny Kyra Sedgwick, tries to figure out if little Peyton is the real deal, or just another opportunist trying to get her hands on a piece of the Kingman pie. Will Kingman get his priorities straight, or will he succumb to the fast and easy lifestyle his lived for so long?

Rosalyn Sanchez heads up a solid supporting cast of actors and actresses who you may not be familiar with (excepting Morris Chesnut, playing a solid father-figure teammate). The story is generic and highly unoriginal, but the solid performances of the entire cast and the wholesome, family-geared direction make this story more than worthy of four stars. Everybody, even the quasi-villain Sedgwick, is likeable. Johnson shows his singing chops that wrestling fans will already be familiar with. He also has that million-dollar smile that lights up the screen. Young Pettis steals most of her scenes, even though she could be accused of boosting the sugar content a bit too much at times. Johnson's teammates are also enjoyable to watch on the screen. Their chemistry with Johnson, each other and with young Pettis is great.

If you long for the days of sugary Disney live-action family features such as the original "Herbie" films and "The Apple Dumpling Gang," "The Game Plan" is a welcome treat. It's a rare family comedy that the entire family will enjoy. Highly recommended.

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Dwayne "The Rock" Johnson extends his considerable talents to this family-friendly film. Though the premise is a familiar one (a self-centered playboy discovers the joys of fatherhood), Johnson's charm and sincerity make it worth the watch. Likewise, Roselyn Sanchez does a tremendous job in her role as ballet-instructor Monique Vasquez. Her real-life dance-training is showcased in a poignant performance with Johnson and the children (this is one of the more enchanting scenes in the film ... it is guaranteed maintain your attention).

Disney does a spectacular service to dancers and athletes alike. Quick-cuts between the football field and the ballet studio illustrate the rigors and grace of both. It shows how the two are not entirely dissimilar. This moment is well-crafted! And, yes, I know this has become a somewhat hackneyed trope, but a child will not view it as such.

Now, the character of Peyton Kelly (played by nine-year-old Madison Pettis) may prove a little jarring. While Pettis' acting is respectable, the writing for her character feels a little "off." While her "sassiness" can occasionally translate as amusing, it can too often seem acrid (such as when she launches into the "tone-deaf" bit after the potentially "tear-jerking" "Are You Lonesome Tonight" serenade). This becomes softer as the film progresses (or the audience simply becomes acclimated to her impudence) and it is certainly not jolting enough to prohibit viewing.

Most of the critical reviewers have panned this work (and I really do mean "most"). Yes, it is painfully formulaic (you can predict the entire film in the first fifteen minutes ... but what do you expect from a Disney film). Yes, the writing for Pettis' character is insulting (not all children are jaded and rude). Yes, portraying football players as "dumb" (especially in the case of Hayes MacArthur's character, Kyle Cooper) is both trite and unfair. Yes, it is another film with an Elvis soundtrack (we all saw "Lilo and Stitch"). And, yes, that Disney cannot manage to create a film without references to "bodily functions" is disappointing. BUT, "The Game Plan" does have moments of great tenderness: this is especially evident in Morris Chestnut's character of Travis Sanders. Sanders is both an athlete and a family-man. Throughout the film, he remains a strong example of a man who is both a gifted player and a devoted dad. (And, yes, maybe that's trite too, but it is also a much needed reminder).

While critics may not recommend this work, I believe that both parents and children will find it worthy of their time. One is hesitant to use such a word, but here it is ... the film is ... cute. So there.

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The Rock is not a particularly good actor and The Gameplan is a hokey movie. But if you have children like I do, then this movie will pull on all the right heartstrings. There's a bunch of these movies where a child that someone didn't know about comes into their life at just the wrong moment. Things are hard at first, then they get things going smoothly, just to have a final big bump in the road that must be overcome. We all know the plot, but it never hurts to see a movie that reminds you that your kids are the most important thing. Not to mention, my son thought the bulldog in the tutu was hilarious.

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The '07 Disney film `The Game Plan' is a predictable but satisfying family film starring the irrepressible Dwayne "Rock" Johnson and adorable little Madison Pettis as newly re-united Father and daughter. Joe Kingman ("Rock") is a superstar professional quarterback just three wins away from an appearance in the Super Bowl when his game plan is suddenly turned upside down when little eight year old Paige (Madison Pettis) appears on his doorstep and claims to be his daughter. Can Joe keep focused on the big prize and cope with instant fatherhood at the same time. If he has any chance to succeed he'll definitely need the right game plan.

No surprises here, just Disney doing what Disney does best, so get the family together and enjoy!

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Rogue

"Rogue" is top-notch entertainment in a genre that has suffered quite a bit with lukewarm entries lately.

Amazon has done another excellent job giving us the basics of this story and who the big stars are, so I keep my summary very brief. A small handful of sightseers have their boat nearly destroyed by a rogue croc and they take refuge on a small island that will quickly disappear under the rising tide in a river basin area in Australia. It really is that simple of a story, but superbly executed by the cast of familiar faces, especially the lovely and talented Radha Mitchell from Silent Hill, the director who is famous for Wolf Creek, terrific photography, and outstanding special effects that are used sparingly but effectively.

This is one intense thriller. The last "us against it" thriller that I enjoyed this much was Prey. In regards to croc films, this isn't quite as good as Lake Placid, but it is far superior to the more recent Primeval. The film isn't, however, especially graphic for it's genre. More seems to happen off camera, but that doesn't reduce the intensity one bit. Rent or buy this one, personally, I think it's a keeper as it has repeat value.

Like Jaws did back in the 70s this tale gives a lot of fictional elements to its main animal villain to make the tale more terrifying. I have to admit having worked in a wildlife park with crocodiles and knowing all about them I didn't have very high expectations for a movie set around a crocodile serial killer. But having checked out the DVD I must say I was pleasantly surprised. This is one of the best man verse nature villain films out there.

The DVD in Australia (this American release doesn't give details of what's on it) comes with some great making of the film documentaries. If you can check it Amazon's version does as well, if it doesn't and your DVD played is multizone, order the Australian version instead.

The film is well shot and the two fake robot crocodiles used for the film (see them in the special features) look so realistic the actors visibly shook with fear when filming shots next to them even though they knew they were machines. Robot animal technology has come a long way from Bruce (the up close unrealistic looking shark used in Jaws interaction with human shots). Real crocodiles in the background of the film add to the authentic look as well.

The first third of the film shows some great Northern Territory wildlife and landscapes and does resemble real tours that do go on up there. Unfortunately for these tourists (made up of Americans, British and city living Australians) when they respond to a distress flare and go up a restricted river forbidden to tour boats, a large 7 metre crocodile takes exception to their intrusion into his territory. Their boat is wrecked and they are left on an island that will be underwater when the tide comes in. Paralleling many slasher film or alien space ship invasion films, one by the humans are picked off (although you don't really get to seem them being killed which is a lot more realistic than if it had been done differently). With the water coming in they know they will soon be underwater where the crocodile has all the advantages. They must escape the island or die!

The film would have actually been a lot more realistic if it had ended after the island scenes but to make the third saga the fictional element of crocodiles storing their food in caves is introduced to the storyline which is where the viewer will actually get to see the villain up close. I don't like this factor being in the movie which is the only reason I drop this film a star in rating because as evident by a previous American reviewer people are believing the fictional element as a fact, which they will no doubt tell their kids and so forth when teaching them about crocodiles. For the record most people killed by crocodiles drown in the death roll underwater where the crocodile has dragged them as the crocodile is twisting off their arm, leg or whatever part of the body. Crocodiles don't eat the whole person (or animal) they just eat parts they have ripped off and they definitely do not store bodies in trees, logs and caves. Fatalities also occur as people bleed to death from their wounds if they are in a isolated area and of course death from shock is also a fairly large factor.

The same way many people still believe sharks are out to attack and eat them as a food source since they saw Jaws, a fact the public didn't believe before Jaws was released, and a fact that has seen many a shark killed in the name of fear. The back of this DVD cover (Aus version) says "Rogue does for crocodiles what Jaws did for sharks". I hope really hope this isn't true! If you take precautions, don't go swimming in crocodile habitats, and read the warning signs you'll be safe.

This is a great film though, and well worth seeing! It also has the entire Never Smile at a Crocodile song playing in the credits, I've often heard the chorus but never the whole song. A bit tacky song yes, but interesting to listen to in its entirety. Another man verse nature film that is pretty good is the classic Australian movie Razorback.

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Rogue(of an animal) having an abnormally savage or unpredictable disposition, vicious or solitary, as a rogue elephant.

After the huge success of "JAWS", producers have been trying to capitalize on the undersea horror genre. There have been quite a number of underwater horror films about killer crocodiles recently; "Lake Placid", "Primeval" and "Crocodile", among others. "ROGUE" is another horror film about a huge crocodile and while this film may follow the usual stereotypical plot that have plagued the genre for many years, it does have its redeeming moments. It had a very limited theatrical release perhaps because the producers felt that audiences may be a little tired of the "croc on a rampage" storyline?

Pete (Michael Vartan) is a reporter on assignment in the Australian outback. He decides to take a scenic boat tour led by Kate (Radha Mitchell), along with a bunch of other tourists. The folks are enjoying themselves, they take in the sights, swat flies, watch salt water crocs socialize (in a way) with other tourists. During the tour, Kate spots a signal flare and decides to investigate. Once in the secluded site, the group of people realizes that they are in the territory of a monstrous saltwater crocodile that swiftly sinks their boat. The tourists find themselves at the mercy of a huge predator who has a taste for human flesh and the rising waters on a tiny slump of land.

I know what you're thinking, the film must be a rethread of previous monster flicks and there is nothing to see here. Well, the film is written/directed by Greg McLean, also responsible for the torture flick "Wolf Creek". I'm not exactly sure how you felt about that film but I thought "Wolf Creek" wasn't a real effective thriller. "Rogue" does have its flaws but I think Mclean did serve up a solid thriller with his ambitious attempts at intensity and suspense, by not relying on explosions, character stupidity and an overload of blood and gore.

The direction by McLean opted for not giving away too much, too early, and I thought that was a clever move. You don't really see the croc until the 50 minute mark, but the proceedings do give hints of just how big it is by exposing its tail, mouth and just how powerful it is. The film's last act is actually the icing on the cake, when you really see just how HUGELY impressive our antagonist really is. Shades of "JAWS" anyone? The survivors of the attack actually suffer through panic, desperation and fear, but they are not really unlikable characters, just look at them the same way when you visit a new city. You would barely know anything about anyone, so I was able to look past the film`s lack of character development. The film is successful in generating a feeling of claustrophobia and helplessness, as the tide is rising and there's a gigantic man-eater swimming around, that takes them out one by one; McLean also maintains the tension by focusing on the group and not just the "hero" of the film.

Now, the film does take a hit on realism. Saltwater Crocodiles (and no matter how big) are cold-blooded reptiles so when the sun's up, they need to bask in the sun otherwise, well, their blood may stop circulating. I do watch enough of Discovery channel to know this, and well, our killer crocodile seems to be an animal on steroids that he does not need to warm himself up? The film's little "main event" takes place in a not so believable area and our croc`s savagery seem a little too over-the-top. But hey, this is a movie, right? Maybe this is the animal's "rogue" behavior in play?

The film does have the stereotypical characters but thankfully, Mclean manages to fit everything together. "Rogue" isn`t perfect, but it is a lot better than "Primeval". The film is actually is panic-induced piece, while Pete and Kate try their best to outsmart the huge animal and try to survive. The film does have a fair amount of blood and gore but most of the killings happen off-camera, and the CGI effects are solid enough for the most part. The film does deliver a satisfying man vs. monster encounter and the film's direction is competent enough that the film is easily understood and taken in. Mclean also doesn't portray the croc as mindless killing machine bent on just eating anyone in sight, this monster is cunning and he likes and stays within his territory, anyone who marches in is its food.

"ROGUE" is a film with modest intentions and I appreciated McLean's sense of restraint in his direction. He wisely avoids the flashy explosions, the usual perfunctory dialogue in its climax and the film does have a satisfying enough closure. The film is a successful blend of B-movie thrills and chills that is aimed at horror fans. The film does stay true to its limited concept and it does go straight to the conflict. "ROGUE" doesn't reinvent the "monster" genre but it doesn't hurt it either. For a film with a limited budget, it is a satisfying enough diversion.

Recommended timidly, rent it first [3 ½Stars]

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Well worth renting or even owning. If you're into killer creature flicks this one ranks among the best I've seen. Far better than Primeval and more realistic than Lake Placid the movie offers a good story with fine acting and a beautiful and forbidding setting. The fact that the movie is so realistic helps boost the suspense, so much for giant digital crocs this one actually felt made of flesh and blood. It's a pity this movie didn't get more publicity it was good enough in my opinion for widespread theatrical release, especially when one considers some of the absolute garbage that has hit the theaters this year alone.

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At first glance, the DVD cover of 'Rogue' brings to mind Saturday programming on the SciFi channel... giant CGI monsters wreaking havoc on bad actors shrieking lines like, "Look at the size of that thing!"

Don't be fooled. 'Rogue' is not that movie. It's a much, much better one. Director Greg McLean (Wolf Creek) has created a movie with more similarities to 'Jaws' to any of those straight-to-cable movies on SciFi. The emphasis is on suspense rather than gore. McLean then focuses on characterization rather than tank tops barely restraining C-cups or muscle-bound special ops teams.

The plot in a sentence: While investigating a mysterious flare shot into the sky during an Outback river tour, a group of tourists are attacked by a giant crocodile and stranded in the middle of nowhere.

McLean entwines a credible Outback flavor to the setting. Refreshingly, the animal acts more like a true crocodile than the manic monsters of most creature-features. For the most part, the characters act like real people. None of them are ex-Marines and there are no automatic weapons or female scientists wearing short shorts and tanktops for no discernible reason. The actors are good, including Radha Mitchell from 'Pitch Black' and 'Silent Hill.'

If you're looking for a fairly intelligent, well-acted, and suspenseful film, pick this up. It is a fun way to kill two hours, and 'Rogue' is probably much better than you think it is. I can attest to the appeal of this movie due to the fact that my wife (who HATES SciFi and horror movies) actually liked this one. And that is saying something. Trust me.

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The Scent of Green Papaya (1994)

This Vietnamese film is a remarkable piece of film-making. A delight for the senses, there is very little dialogue in this movie and aptly so given that the movements, sounds, facial expressions, etc. are the dominant features of the film. The story's central character is Mui, a ten-year-old girl who has moved to Saigon to work as a house maid. Mui is treated well by the mistress of the house, a woman who is still grieving the loss of her young daughter seven years ago. The fact that Mui is the age her daughter would have been had she lived makes the mistress look kindly upon Mui.

Mui soon learns her way about the household (father, mother, and two sons) under the guidance of an older maid who is also the cook. She learns that the master and mistress are not close to each other, and that the master has occasionally run off with the wife's savings to fool around with other women.

The movie's charms lie mainly in Mui's portrayal of interest in her surroundings watching an ant heave a piece of burnt bread; hearing birds sing; frogs croaking, etc. Viewers also get to see Mui's emotional growth from a naïve young child into a beautiful young woman, who eventually leaves her old household to find her livelihood in another household, where a relationship develops between Mui and her new master. This is a leisurely-paced movie that allows viewers to luxuriate in every little detail, sights, and sounds without being bombarded by non-stop dialogue or too many characters. A true cinematic gem.

I saw this movie on TV back when I was 17, and it floored me. I had never seen a movie with such power; power derived from simplicity and stillness. It inspired me to expose myself to more foreign films, and see what cinema can really portray. This movie is an experience. I would give this movie my highest recommendation (especially on bluray). Also, this directors next movie, "Vertical Ray Of The Sun" is equally as good.

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This film is sort of a cinematic poem and it looks and sounds terrific on Blu-ray. I was very impressed by the picture quality, and the film was great as well. It's not heavy on plot, dialogue or action. It's a simple story about a peasant girl who goes to work for a wealthy family in 1950s Vietnam. Even though she is a poor servant, she is able to take pleasure in the small things (like the scent of green papaya). The cinematography and the performances of the two actresses (the same girl at age 10 and then at age 20) are what make the movie great. Incredibly, the entire film was shot on sound stages in France! In a behind the scenes doc, you can see the sets being built. This film is an impressive achievement and I look forward to viewing more of this director's works on Blu-ray.

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This is a lovely French-Vietnamese film that tells the story of Mui (Man San Lu), a ten year old, illiterate girl with a sweet disposition who becomes a servant in a traditional upper middle class, Saigon household in 1951 Vietnam. Separated from her mother at such a young age, Mui takes the world in stride, enjoying and savoring all that is around her. Even the simple scent of green papaya charms her. She is definitely someone who looks at her glass as being half-full rather than half-empty.

She comes to the household like a breath of fresh air. The household consists of a mother, a father, three sons, and the grandmother, the father's mother. The mother (Thi Loc Truong) seems to be a somewhat unhappy woman. Having lost her only daughter, a child that would have been Mui's age had she lived, the sight of Mui makes her happy. She otherwise has little about which to be happy. The father (Ngoc Trung Tran), a seemingly uncommunicative man, spends his time playing melancholic music. He occasionally leaves the household for months at a time, taking with him the family's money and small valuables in order to carouse and have a good time, leaving the mother to fend for the family as best that she can. The grandmother is given to berating her, blaming her for the father's absences.

There are three sons in the household, two young ones who play pranks and torment others, as well as a much older son, whose best friend, Khuyen (Hoa Hoi Vuong), occasionally comes to dinner. It is there that he first catches Mui's eye, and she is smitten, developing a little crush on him. Ten years later, with the family on the skids, their wealth having dissipated, the father and mother-in-law now dead, the oldest son married to a shrew, a now twenty year old Mui (Tran Nu Yen Khe), who is quite lovely to look at, can no longer remain in the household, as they can no longer afford to keep her. She is to go and work in the household of the wealthy Khuyen. The mother, heartbroken at Mui's leaving, gives her valuable gifts that she would have given her own daughter, had she but lived.

When Mui goes to Khuyen's westernized household, the influence of the French being obvious, Khuyen is engaged to a very cosmopolitan and worldly woman who makes demands upon Khuyen that upset the harmony of his life. Khuyen is an artist, as he is a composer and pianist. Mui quietly walks around the fringes of his life, bringing peace, harmony, and beauty along with her. Comparisons to Khuyen's fiance are inescapable. Mui is now a beautiful young woman who still delights in the simplest things around her. One day she decides to use the valuable gifts that her former employer gave her. The artist in Khuyen cannot help but notice. It is then that Mui's life is transformed and becomes the stuff of fairytales.

Nominated for an Academy Award for Best Foreign Film, this is simply a beautiful film. With a minimum of dialogue, the director, Tran Anh Hung, who also wrote the screenplay, manages to convey much, exacting exquisite performances from the entire cast. It is Mui, however, who captures the heart of the viewer. Mui is a pure delight, patient, joyful, and loving. It is the role of Mui that is central to the film, and both actresses succeed brilliantly in anchoring the film through their respective portrayals. Moreover, although most of the film takes place in the two households in which Mui works, the film does not cease to fascinate. It is hard to believe that this film was shot on a sound stage in Paris, as the sets look so authentic. This is not a film for everyone, however, as the scenes are slow and deliberate and contain little dialogue. For those for whom beauty is of the essence, their patience will be amply rewarded.

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The Blu-ray release of The Scent of Green Papaya is truly cinematic poetry. This is how the film should be viewed ...in all it artistic High-Def glory! It's like night and day compared to the DVD release I own. The details of the sets down to the papaya seeds will leave you breathless. Trust me, if you loved the film back when, you'll love it even more on Blu-ray.

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