Clash of the Titans (2010)

I love "Clash of the Titans," but I'm terribly disappointed by the quality of this DVD. The "all-new digital transfer" that the manufacturer promises is quite possibly the worst transfer I've ever seen, enhancing the film's visual flaws while disguising its merits. In composite shots, live-action elements are so washed-out as to appear almost black-and-white at times, while stop-motion elements are garishly bright and crisp, looking more like cartoons than dimensional objects. This is particularly pronounced in shots of the flying Pegasus; the digital transfer so exaggerates the matte lines around the figure that it appears to be a paper cut-out plastered against the sky. Even the glorious Medusa segment suffers from these defects: what was, in the original (and on VHS), an atmospheric balance of rich darks and flickering red lights, becomes a clash of nearly impenetrable spots of shadow against grainy, pale-brown relief. I'm no authority on digital transfers, but my guess is that this one was done as quickly and cheaply as possible, the manufacturer's reasoning being (probably) that fans of Harryhausen will be so thrilled to have his films on DVD that they could care less what the films look like. Well, I was thrilled to have "Clash of the Titans" on DVD--but when the abysmal quality of the transfer interferes with the very effects that make the film great, my enthusiasm wanes considerably. I'd advise fans of Harryhausen to buy the video version, and to write angry letters to the manufacturer protesting their callous desecration of one of the master's greatest films.

Okay, I really like this movie and have since 1981 when it was theatrically released. It's not my favorite Harryhausen fantasy but it's in my top 5.

I ordered this blu-ray from Amazon.com a week or so ago and it just arrived today. This is where I kick myself in the head for not reading other's reviews of the blu-ray first. The transfer sucks BIG TIME or, perhaps it was just the elements used to create this blu-ray that were a mixed bag! Most (not all) of the daylight scenes were excellent but the evening and night scenes were truly horrid. From the opening scenes of the soldiers on the sandy beach right up to the end titles all I could see were large chunks of dirt that wasn't removed prior to making the transfer. Way too much film grain (much more than should be for a film of this age) and artifacts throughout.. all this clearly visible in the darker and some of the daylight scenes viewed on a 65 inch HD LED TV.

It seems the studios are really getting lazy (or is it just cheap?) in releasing newer and older films in substandard transfers.

I can name on perhaps 1 hand the films I feel are really superb transfers to blu-ray. Another 25 to 30 that are good and all the rest (approx 985 in my collection) as dismal failures as far as the quality of the transfers. I invested in Blu-ray for the promised superb quality this new format offered and to be honest I feel cheated MOST of the time to the point where I'm not going to be buying blu-rays based on how much I like/love the film but more importantly how good the quality of the transfer is. It's just a slap in the face from the studios to wait for them to make one of my favorites available on blu-ray and to be let down once again by a skanky presentation.

Two other blu-rays of recent note that I have had problems with (Gladiator and Saving Private Ryan) have been recalled by the studios for faulty transfers because we consumers bombarded them with complaints. I don't expect that to happen in this case because compared to the two just mentioned, CLASH is an older film with (I'm guessing) nowhere the amount of fans.

So if you really like this film and have a TV larger than 40 inches I'd stay away from this title. However if your TV is smaller and don't expect to be buying a larger one in the next couple of years, then go ahead and buy it coz you probably won't be able to see the deficits in the transfer.

And for all of you who won't be buying this blu-ray, do check out two other Harryhausen films (The 7th Voyage of Sinbad and Jason and the Argonauts) on blu-ray coz they look really GREAT. Sony 10 / Warner 2

Peace out.

Buy Clash of the Titans (2010) Now

What a shame, this is Ray's last feature film and they give the man a kick in his pants with this transfer. This has some of Ray's best creations and it's ruined with a washed out grainy print. I could not bring myself to give it a lower rating. The film deserves 5 stars for Harryhausen's incredible work, but the DVD transfer keeps me from giving it a full thumbs up.

The print is very watchable and at a bargain price of $5.00 it should not be passed up, but the film and Harryhausen deserve much better! Thankfully they are releasing this film on BluRay and on a new DVD, so I will update my review when it has been released and I have a chance to compare them.....I'll keep my fingers crossed that they do this gifted genius justice!

****DVD/BLU RAY UPDATE****

Save your money as the new release of this film looks to be the same old transfer and the Blu Ray isn't worth the upgrade as it just brings out the wear and tear all the more. There are no new extras either. It's a shame because this film desrves to be completely restored and preserved for future generations and old school Harryhausen fans!

****END OF UPDATE****

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Judging from the comments below, it seems one either loves this film or despises it. In the book "Roger Ebert's Movie Home Companion", Mr. Ebert praised the film, so I decided to give this DVD a try. I'm glad I took a chance because it turns out Mr. Ebert's opinion matches my own. If you harbor a child's spirit within you, if you like to entertain fantasies, or enjoy comic books, this film is probably for you.

Ebert says "Clash Of The Titans" is special effects wizard, Ray Harryhausen's masterwork, a tour de force, and having seen many of the master's earlier films, I tend to agree. His effects are achieved by stop-action animation, rear projection, modeling, etc.; traditional methods requiring painstaking effort and which lend themselves well to a film which deals with ancient Greek mythology. But there is much more here than just fantastic effects. Nearly everything about this film works for me. The mostly British cast infuses the film with a high tone. Harry Hamlin plays the role of Persius exactly right, and Judi Bowker is adorable as the lovely princess Andromeda. The production values are high, with wondrous sets and marvelous costuming. The location filming in the Mediterranean is beautiful and sometimes breathtaking.

The DVD video transfer is from a clean 35mm print and looks terrific in the 16:9 widescreen mode. The sumptuous London Symphony scoring sets a tasteful mood and effectively augments the story. I do have one gripe, however. The music track on this DVD has too much treble and the music is too loud, competing with the dialog. Whoever remixes these soundtracks should be instructed that the music is not supposed to upstage the acting.

Apart from the sound mix, I honestly can't find much to fault with the film. This ages-old epic of gods and men, good vs. evil, and fantastic ordeals braved in the name of love, is treated with respect, both in script and acting, while remaining fun. Titans is an enchanting movie. It evokes a certain sense of magic which films like Star Wars seem to have sacrificed in the name of urbane sophistication and high-tech realism. This DVD is a fine choice for those who like a touch of charm with their escapism; a gem to be enjoyed again and again, by young and old, for it truly celebrates the child within.

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Movie 3.5

Similar to a lot of people, I remember seeing this (if not bits and pieces of it) on TV growing up as a kid. If not this, then probably some form of Jason and The Argonauts or The Seventh Voyage of Sinbad. Ray Harryhausen and his people did a great job trying to captivate audiences with their work, with Clash of the Titans likely being their most memorable effort. Almost 30 years later with this Blu-ray release, nostalgia must be rampant for those old enough to recall this wondrous interpretation of Greek mythology and fantastic tale of adventure, drama, and romance. I can honestly say until a few months ago when I heard of the upcoming remake, I really didn't remember much about this film. So in preparation for its arrival I decided to give this a rent to refresh my memory. Needless to say, it had been so long, I only now realized how good of a movie this is. Granted, the special effects weren't too great for its time, but I especially like the screenplay and script. Many of the actors/actresses are also British, resulting in a very thespian quality, which I think coincidentally ties in very well to "things of the past" as Mr. Harryhausen would say. Much like how you didn't see too many Greek-themed movies back then, you really don't see much thespian-type works outside of theater houses anymore either. And even after all these years, Titans '81 still manages to carry itself despite its age. The plot is revealed right from the get-go and progresses fairly well throughout, while providing just enough excitement and intrigue to keep the audience entertained. Although, I regret to say the special effects did end up hindering it a bit. Obviously, it was not big-budget like a Star Wars or Blade Runner back then, but I think it makes up for that in innocence.

Video 3.5

Presented by Warner Bros. in 1080p at an original aspect ratio of 1.85:1, Clash '81 ranges from decent to good at best. Grain is all over the place, even in the cleanest of scenes, and accompanied by an equal amount of noise in the darker ones. Colors are a little more vibrant than the DVD, but just barely. However, detail and texture look much sharper, though can appear somewhat hazy in conjunction with the constant presence of that grain. Black levels and contrast receive a slight boost in depth as well, and shadow delineation seems a little more pronounced compared to what I saw in SD. All in all, considering this wasn't even that high of a budget, this is probably as good as the video will get without massive image manipulation having to be applied.

Audio 4.0

This is probably the most notable of improvements over the DVD. While the original sound master was only limited to 2 channels, this DTS-HD 2.0 track is surprisingly buoyant. Separation of dialogue, sound effects, and music are good, even immersing at some points like there was actual surround speaker usage from the sides. Although, high and low ends aren't too different from one another, leaving a little more to be desired, but it's good for what was available. Again, this is probably as good as it'll get. Just goes to make you wonder how a sound design like Clash '81 can get lossless audio when bigger name movies and TV series still aren't getting stuck with lossy.

Extras 2.0

Clocking in at just a little over 20 minutes, we get a very brief interview with Ray Harryhausen about his overall thoughts and experiences with the making of Titan's '81. The main segment is about 12 minutes and delves a little here and there about production, writing, and his own personal opinions on the project. The rest of the extras are about 1-minute-long vignettes of Harryhausen explaining the creatures and how they were constructed/animated. Suffice it to say, the real highlight is the 5 minute preview of the 2010 remake that talks a little about the CG designs for Medusa and The Kraken. Given how outdated Titans '81's effects are, I'm actually pretty stoked for when I get to see the remake at some point.

Overall 3.5

Clash of the Titans (1981) certainly has its roots set with a unique charm and level of nostalgia for its Greek mythology and competent storytelling. While the special effects obviously didn't stand the test of time as well as its story, the overall movie itself really isn't so bad. However, with only a decent video transfer, limited audio encode, and small amount of extras, the current SRP of $34.99 for this digibook seems a bit steep for a film that didn't even have the highest quality production of its year. If anything, watch this just for the preview of the remake. Otherwise, die-hard fans should wait for the SRP to go a lot lower for this mediocre A/V presentation.

Martyrs

Wow. No, I mean WOW.

First things first: this is positively THE most graphic, disturbing movie I've ever seen in my life. The way I felt after seeing this film was the way you'd feel after waking up from a particularly vivid nightmare. It felt like, "Whoa, did I just see that?" The monster in this film is not some deformed creature in the basement, or a supernatural hellish thing coming out after dark, or even a prowling psychopath with a taste for human flesh. The monster is very human, and very normal, and it's in a place you're least likely to find, and its motives are nothing like what you thought.

Some people compare this to Hostel. Let me tell you... Hostel doesn't hold a candle to this. Hostel is boring, trashy torture porn. This is a masterpiece that looks deep into the human psyche, and reveals a picture that's both horrifying and intriguing. The first part is a bit predictable, but the second part... Boy oh boy. You think you know where it's going, and then it hits you over the head, makes you wish for a different turn of events, makes you want to look away over and over again, and yet you can't...

This is a masterpiece. A gruesome and mind-bending experience, to be sure, but an unforgettable one. Watch it. If you dare.

I freely admit I had dangerously high expectations going into this film, having read SO many positive reviews (and some rabidly negative ones as well -as this is one of those love-it-or-loathe-it experiences), but I'm happy to say that, for me, 'Martyrs' lived up to every bit of the hype, and then some.

The problem is that, for most people, they are simply NOT going to be anticipating what this film actually IS, as opposed to what they've been led to BELIEVE it is. Namely, though it contains many ASPECTS typical of the genre, 'Martyrs' is NOT really a "horror film" in the usual sense.

Don't get me wrong, though -the film certainly IS horrifying at times, on a number of different levels. And it has a kind of nightmare poetry which continues to haunt me.

'Martyrs' also manages to convey an overwhelming sense of cumulative dread and a hellishly pervasive sense of cold, heartless, systematically calculating evil. But it actually has a lot more in common with Gaspar Noe's uncompromising 'Irreversible' and the dark lyricism of Franju's 'Eyes Without A Face' than it does with films like 'Saw' or 'Hostel'.

For, while it does have some extremely disturbing violence and gore, it's somewhat less extreme in that respect than either 'High Tension' or 'Inside' -two other notable examples of the new wave of French horror cinema.

But 'Martyrs' affected me far more than any of the above-named films (excepting 'Irreversible' and 'Eyes...' ), because of the IDEAS being dealt with and because of Pascal Laugier's remarkably artful handling of his material, aided tremendously by the harrowing, raw-nerved excellence of the acting, as well as the superb cinematography, editing, music, and make-up effects.

Indeed, 'Martyrs' is an "art film" in many ways. In fact, at a couple points it actually elicited tears from me -not my typical response to most horror films -as well as a few genuinely appalled exclamations of "Oh my God... Oh my God...", such was the level of my empathy and identification with the main characters and their ordeal.

In fact, it was this aspect of the film which enabled me to get past what would otherwise have been a big stumbling block for me, in terms of conventional movie logic -i.e. the critical caveat of illogical behavior on the part of the characters when faced with a dangerous or potentially dangerous situation and NOT getting the hell OUT of there! In fact, at a very key point in the narrative, not only do the two main characters refuse to extricate themselves from a very risky and potentially dangerous locale, they positively LINGER there for what seems like DAYS!

Now, normally this would have had me crazy and screaming in frustration at the seeming stupidity or obtuseness of the characters. But, miraculously, in the case of 'Martyrs' I hardly even registered any of this because of the particular relationship dynamic of Lucie and Anna and their unique personal/psychological histories. In other words, given the very particular qualities of these two women, a specific case could be made for what would otherwise have seemed infuriatingly inappropriate behavior.

I find it both apt and reassuring that Laugier has referred to his film as the "anti-'Funny Games'", referencing Michael Haneke's deeply unpleasant, repellently grueling exercise in audience participation/endurance. For while 'Funny Games' was also not a horror film in the exploitative/commercial sense, neither did it have, for me, the inherent spiritual aspects or, dare I say, compassion, which make me willing to return to 'Martyrs', whereas I never feel myself eager to play more 'Funny Games'.

But, more than anything, 'Martyrs' lingers in my mind as a deeply sad, disturbing, and ultimately moving meditation on the theme of pain and transcendence. And though I can see many viewers recoiling from the experience, disgusted by its brutal savagery and depressed and offended by its seeming nihilism (with the emphasis on "seeming"), I find that the film's intriguing ambiguities and moral questions make for a rich cinematic tapestry, reflective of both heaven and hell. And yet, paradoxically, it is perhaps the film's unnerving ability to convey a world of bottomless evil and merciless cruelty that kept me from giving 'Martyrs' a full five stars. Almost as though a part of me would feel guilty in doing this -as if that would be akin to giving my implicit endorsement or tacit approval of the film's pitch-black heart of darkness.

Perhaps, Mr. Laugier, you did your job a bit TOO well!

Be that as it may, clearly this film has a lot more on its mind than simply grossing out or traumatizing its audiences, though it certainly managed that, as well, during some of its controversial festival screenings. Yet I would still hesitate to recommend it to most people I know. 'Martyrs' is, decidedly and emphatically, NOT a film for everyone.

But, for those looking to be challenged as well as shaken -for those willing to be taken to deeply uncomfortable places and shown terrible things in new and unexpected ways -for those yearning to FEEL a visceral response again after years of mindless, numbing "movie-violence"... For all these people 'Martyrs' will be a welcome, if not necessarily pleasant experience, leaving them with something to actually THINK about once the end credits have rolled.

A very sad postscript to a very sad film:

Benoit Lestang, a close friend of the director, and the man who contributed the film's jaw-droppingly powerful special make-up effects, committed suicide shortly after the film's completion. He did get to see the film prior to his death and apparently was proud of his work and moved to tears by the film. As to the specific reasons for his tragic decision, little has been spoken or written about that. And, given the film's specific subject matter, one could all too easily be drawn into the temptation of making inappropriate connections and drawing conclusions, which I shall assiduously avoid.

Laugier himself has been very candid about his own personal feelings, both in regard to the emotional devastation of losing his friend, as well as the fact that the creative genesis of 'Martyrs' sprang from a long period of Laugier's own depression. And he has indicated that, in some ways, the film was perhaps his response to that depression -partially expiating it through channeling his own darkness and pain into that of the film's theme and characters.

Suffice it to say, 'Martyrs' will provide a lasting and worthy final monument to Mr. Lestang's extraordinary gifts as a supremely talented artist and craftsman. And it is precisely that artistry, in conjunction with that of Laugier and the rest of his remarkable team, that resulted in startling images of strange and terrible beauty. Images which, like the film itself, continue to linger in the mind long after the final curtain.

Peace be with you, Benoit.

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I've seen some of the most extreme horror films in existence. It really takes a lot for me to wince, and possibly even skip a scene entirely if it looks like something very graphic is going to happen. But I winced and cringed etc. over almost the entire running time of this film, so relentless is it's brutality. The movie is like a hour and half long roller coaster ride through hell.

This is not to say that it's a bad film, because technically speaking it's superior from just about every angle. And while it is sometimes is the violence that startled me, it was more about the relentless tension and fear the film builds so well. It simply never lets up. The first half of the film sets the stage for a completely surprising plot twist that gudes the story to film's ultra-disturbing second half and ultimate conclusion.

Let me be clear: if people being endlessly cut, stabbed, bloody and maniacal isn't your thing, steer clear. If women being beaten and tortured isn't your thing, steer WAY clear. I gave it a three star review because of the quality of the product, but seriously, this is one the roughest, hardest to endure movies I've ever seen. And I've seen Cannibal Holocaust twice.

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MARTYRS is an exceptional experience for various reasons. I have no plans of getting into the plot too deeply, because ruining this movie's surprises would be tantamount to a cinema crime. Would I would like to focus on are some exceptional elements. This movie delves into realms not normally touched by the horror genre. The violence is extreme and over the top, but it has a reason behind it: Albeit, a twisted and sick reason. However, it is not mindless violence without cause just for the sake of "goring" someone to death. I am not a huge fan of gore. However, this film uses it properly to convey its intended message. MARTYRS is very successful in making the audience think hard about the questions it puts forth. I find it terribly interesting that the "bad guys" seem to all come from the upper class of society and for some reason they felt distinctly Nazi-like. The film is still tumbling around in my head as I try to come to grips with its intended message. I find much ambiguity, but I also find pointed questions and fearful revelations. Another issue of note is the near absence of curse words. American horror is filled to the brim with "F-Bombs" and all other variety of offensive language. MARTYRS seems to have no use for such language. It does not need it. It is also proof that superior suspense and horror films can be made without the need for constant cursing. I found it very refreshing. There is some mild nudity, but it is not sexual in any way. The focus of the film is its stunning and shocking visuals and the message it is trying to convey. The truth is: This is not a "happy time" film experience. If you want to feel good, do not watch this film. (Watch THE EMPEROR'S NEW GROOVE instead) If you want to be spoon fed, do not watch this film. If you want to think and test your analytical powers and your ability to pay attention to nuances, this is the film for you. NO WAY SHOULD ANY CHILD SEE THIS MOVIE!!! MANY ADULTS SHOULD NOT SEE IT EITHER. Make sure you can handle it.

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Anna and Lucie are friends on a mission. They are out to face and destroy the demons from Lucie's childhood of abduction and unbelievable trauma. Unfortunately, the pair have embarked on a journey into terror, torture, and utter despair. MARTYRS appears to be straight-forward enough, especially in its first half. Then, secrets are unveiled that plunge everything into a hideous nightmare of hopelessness and agony! Sound like entertainment? Well, if this description gets you excited, you might want to seek professional help! MARTYRS is a non-stop descent that simply never lets up. Once the aperture begins closing, it chokes out all light. Still, the underlying idea is ingenious. The title comes into play in a way that astounded me. Is MARTYRS disturbing? Certainly, but in a different sense than say, CANNIBAL HOLOCAUST or PHILOSOPHY OF A KNIFE. Though there is definitely violence and gore, it is not gratuitous, and actually needs to be included (Although, the graphic nature of KNIFE is also necessary). The truly unsettling things in MARTYRS are mostly psychological / pathological. I was drawn into this story far deeper than I am by most horror films. Anna and Lucie do not deserve their fates, nor is there any trace of a Hollywood resolution. This is horror in its extremity. A masterpiece in blood...

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Mobile Suit Gundam Unicorn Vol. 4 (2010)

An absolutely wonderful blu ray and if you are worried about purchasing from any of the other sellers don't be. I purchased it from the Japan shop or whatever and it got here 4 days later (California to Wisconsin) I'm satisfied

I was satisfied completely. The unicorn series has had a profound impact on me as an anime enthusiast. The quality of picture and storyline make it an exciting journey to take part in on bluray. The order came in a timely manner and that means alot since I'm deployed overseas. Greatbuy!

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well, I have purchased every volume on blu-ray-this one from bandai-ent just before they closed permanently...on my birthday! what a gift! hopefully we will get to see the end of gundam uc at least on bd. anyhow, this episode shows what the conflict on earth is like, it shows many different angles of the struggle along with some character history. the battles are awesome but the gundam aspect of this episode is lacking, it's more about everyone else. which is great but in the end we watch gundam for gundam. it also introduces new characters with almost no history and wipes them out before you get to know them-but it's still a great episode and well worth the money.

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The Texas Chain Saw Massacre (1973)

First, the movie. The Texas Chainsaw Massacre is probably one of the scariest movies ever made. It was unique for its time, and there's still nothing quite like it today. The plot doesn't sound like much2 women and 3 men make a drive to rural Texas to check out a graveyard that has been 'defiled', and to also relax and enjoy themselves. This last part of their vacation plan doesn't go real smoothly, as they make the mistake of wandering into an area where an insane, backwoods, inbred, cannibalistic sociopathic family live. Things get more and more horrifying from there.

I've heard people complain this movie isn't scary and not gory enough. As far as the gore, it is fairly low-key by today's standards (though I'm sure my mother wouldn't want to watch it, and it couldn't be shown un-cut on regular network TV). There's not a lot of blood till the end of the movie, but the acting is so good, and the screams of the victims so wrenching, your imagination fills in the rest and it actually is painful to watch. I will agree that the movie is kind of slow to get startedI admit the first time I saw it as a teenager I was getting impatient for some action. However, the last half of the movie more than makes up for it.

But if you think this movie isn't scary, I seriously doubt you've watched alone, at home, at night, with all the lights off. The first time I saw it was in the daytime, and it still made my hair stand on end. When I got the Special Edition DVD I unwisely watched it after midnight with the lights off. I couldn't sleep until the sun came up. The opening scene of the rotting corpse in the cemetery wired to a headstone alone made my skin crawl. The scene where Pam first discovers Leatherface's room, with the furniture made of bones and the chickens in bird-cages, gets scarier each time I see it. The last 20 minutes, at the dinner table, has to be one of the most grueling and realistic scenes to sit through ever made. The final few images--well, over 10 years went by between the last time I saw the movie and the time I watched it on DVD a few weeks ago, and I *still* could remember those shots so vividly it was like I saw it yesterday.

The DVD is incredible-the transfer is so crisp that it seems like the movie was filmed last year instead of in the early 70's. Since I'd only seen it on "pan & scan" VHS, I never really appreciated how beautiful some shots of the rural setting are, and also how well-thought out and carefully put together most of the cinematography is. Breathtaking, actually. Until the commentary pointed it out, I never realized how perfect and effective the long, continuous shot of Pam hesitantly getting up off the porch swing and slowly walking to the screen door is. This movie does not look at all amateurish, even though it was made on an extremely low budget.

The DVD is packed with cool and interesting special features. First, the commentary by Tobe Hooper, Gunnar Hansen aka Leatherface, and director of photography Daniel Pearl is fascinating. There's lots of subtle but powerful elements in the movie I missed till now-for instance, the lack of almost any score or soundtrack that gives it a documentary feel, making it that much more disturbing. Hardcore fans of this movie know already this was NOT an easy shoot by any standards, but their accounts of how much energy and work it took to get certain things right, not to mention the really tortuous things many of the actors went through...well, if any actor deserves to be paid millions for a movie, this cast certainly earned it. The dinner scene was the most horrendousthey could only do one take, it went on for 20+ hours, and this was in 110 degree heat with no air conditioning. Gunnar Hansen said that by the end, he was so out of it he started to think he wasn't acting. Kind of gives the tag line "Who will survive and what will be left of them?" a whole new meaning.

There's also some deleted and alternate scenes, including some "lost footage" never available before. With many of them, you can read the script excerpt of the scene first. There's a hilarious blooper reel-the quality isn't that great, but you'll laugh your butt off. There's lots of production notes and stills, along with shots of rare publicity material. A couple scenes are broken down shot by shot, with Hooper explaining why he made the directing and editing choices he did. There's even more, I just don't have room for it all. The menu is also pretty great. I highly recommend the Special Edition to anyone who is a fan of TCM. You'll be able to spend hours enjoying it, and they couldn't have done a better job. My recommendation (for what it's worth) is to get this one fast, because it would be a shame if it went out of print and so many people missed this wonderful collector's edition.

As a massive horror fan from the UK (where this film is banned) I had to wait many years to see this film, and after all the hype and expectations which I had built up I was half expecting to be dissapointed when i finally watched it...how wrong could I be? This film had me gripped instantly. The film builds up suspense like no other and when the murders do actually happen they are not ruined, like many other horrors, by almost comical deaths, they are nasty! This film is gritty and raw, with documentary like visuals which only add further to the sense of fear which you can almost smell. The acting is brilliant, its laid back yet energetic at the same time. Never have I seen fear portrayed as realistically as Marilyn Burns haunting display in this movie (but then again I never looked at myself in the mirror while watching the film). All of the factors in this film mix to make an evil couldron of depravity, that'll make you too afraid to look but even more scared when you close your eyes. This film is the freakiest i've ever seen and to say i enjoyed it seems kind'a sick as the killings are so realistic and depraved, but there's no denying it, I loved it.

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The DVD edition of "The Texas Chainsaw Massacre" is simply essential for all TCM fans. For a movie that's achieved almost mythical status among its devotees, the unearthing of unknown and unseen gems from the making of TCM is a treasure trove. On the DVD, you get outtakes and bloopers, trailers and TV ads for the original movie and its inferior sequels, scores of publicity stills, and an alternate audio track featuring Tobe Hooper, Gunnar Hansen and cinematographer Daniel Pearl giving a running commentary of the film as it plays. Their comments lend much insight into how TCM was made, the impact of the film, and updates about what happened to various cast members. The film itself has been restored to a vibrantly colorful print, and the viewer has the option of watching the film in stereo or in its original mono mix. If only every DVD could be this lavishly issued... If you haven't seen the film yet, you must know that this is a landmark horror/suspense film. Far from the river of blood its title suggests, there's relatively little killing in the movie; its strengths lie in a palpable atmosphere of Texas heat and dread; black as oil humor, and heart-in-your-throat suspense. Its reputation as a sick, gory slashfest comes mainly from its myriad inferior imitators. Check out the DVD and make your own judgment.

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First things first: this is not a true story. There was no cannibalistic serial-killer family in the 1970's Texas, this movie was loosely based on the exploits of Wisconsin murderer Ed Gein and the rest is fantasy.

However, what this is is one of the most horrific movies ever made, incredibly visceral and violent even though very little blood is used. The villains range from demented to sadistic, the heroes from sympathetic to annoying. The movie's cheif fault is that its teenagers are, for the most part, very poorly developed. We only get to know two of them, so when they wander into the clutches of Leatherface it's less painful for the audience, if incredibly painful for the characters.

However, the movie excels in so many aspects that this minor point is quickly overlooked. The hot, humid texas atmosphere is perfectly filmed, adding a layer of foreboding to the already tense atmosphere. The killings are done in a variety of ways without being far-fetched and ridiculous (interestingly, only one is killed with a chainsaw) and the acting credible, especially Gunnar Hanson as Leatherface.

The Best horror movie of the 1970's, and one of the greatest of all time. 9/10

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When Pioneer released their first DVD of 1974's "The Texas Chain Saw Massacre" on October 6, 1998, it did not include the Tobe Hooper/Don May approved transfer that was used on Elite Entertainment's 1996 LaserDisc. Somehow, Pioneer got their hands on a backup copy, a workprint, that didn't have all of the digital restoration that the LD transfer had. Because of this, Pioneer's transfer suffers from being too dark, bad encoding resulting in still images appearing to move, color bleeding, and black and white lines occassionally popping up during the picture. Pioneer screwed up, bad. What's worse, five years later in 2003, Pioneer announced it was rereleasing The Texas Chain Saw Massacre on DVD as a 30th Anniversary Special Edition (even though the 30th Anniversary wasn't until 2004), but this was really just an attempt to cash in on the remake. Shamefully, Pioneer released the same disc from 1998 with the same flawed transfer and tried to pass it off as something new. The cover art was new, and very much inferior to the 1998 art, but everything else was exactly the same. Pioneer knew this was a flawed transfer. They didn't care. They wanted to profit over doing as little work as possible. Thankfully, Chainsaw fans are finished with Pioneer and their lousy DVDs. On September 26th 2006, Dark Sky Films (a division of MPI Home Video) will release a 2-Disc Ultimate Edition DVD of The Texas Chain Saw Massacre (1974). Finally, we will be getting a brand new, totally remastered, 16x9 enhanced transfer. Don May supervised this transfer in 2003 for the VOOM HD Satellite Service and has made a few more tweaks since then. This will be the transfer we should have had years ago; the way Chainsaw should look. No more of that botched non-anamorphic junk that Pioneer gave us. All of the extras on Pioneer's DVD(s) commentary track with Tobe Hooper/Daniel Pearl/Gunnar Hansen, deleted scenes and alternate footage, blooper reel, props and set footage, photo galleries, TV spots and trailers will be carried over to this Dark Sky release. New additions will include a commentary track with Marilyn Burns/Paul Partain/Allen Danziger/Bob Burns/David Gregory, the 80 minute "Shocking Truth" documentary from 2000, a 74 minute "Flesh Wounds" documentary, a tour of the Texas Chain Saw Massacre house with Gunnar Hansen, "The Shocking Truth" outtakes, and radio spots. Toss your Pioneer DVDs in the garbage and get ready for the Ultimate Chainsaw experience.

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Curse of the Golden Flower (2006)

Recalling the critical reviews of "Curse of the Golden Flower" upon its release, I seem to remember a pretty split decision. There were those that proclaimed the film a tawdry and violent melodrama while others declared it a beautiful epic. Well, in all fairness, it is a beautiful, yet tawdry, excessively violent melodramatic epic. And I mean that in all the best ways! Chinese director Zhang Yimou has put together an eye-popping spectacle of sets, costumes, and effects--complete with his customary flair for dreamlike action sequences and an astonishing color palette.

Telling a soapy tale of dysfunction within Emperor Ping's clan circa The Tang Dynasty (928 A.D.), "Curse" has all the lurid ingredients of a modern-day potboiler. There are illicit affairs, murderous schemes, generational secrets, and gruesome acts of violence. Similar to the setup of "The Lion in Winter," "Curse" brings the Ping family together and lets them attack each other with a refreshingly unhinged viciousness. But while "Lion's" carnage was largely verbal, no such claim can be made with this film. With elements of "King Lear" firmly in place, the pace of "Curse" accelerates so rapidly--you know the characters are headed for disaster.

Central to the remarkable cast is the gorgeous Gong Li as the Empress. As the catalyst of most of the film's action, Li is the film's most pivotal performer. The female center of this "Flower" (which includes Chow Yun Fat as her husband and their three sons/heirs), Li practically devours the role. Full of passion, rage, lust, and plenty of secrets--she has never been given a showier role and definitely rises to the occasion. The performances are so good, so alive, you want to stick with the tale to the bitter end. And no matter how outrageous this film can get (and the madcap finale certainly pushes conventional sensibilities), it is always grounded with the actors.

Forget Shakespeare's most violent tragedies, "Curse" sports a body count that even the Bard would surely envy. Not since the wickedly over-the-top killing spree during the finale of DiPalma's "Scarface" has a movie devolved into such an unabashed show of bloody lunacy. Ridiculous at every turn, the film succeeds by embracing its excesses. The final showdown left me marveling at the staged choreography and laughing at the inspired, yet insane, debauchery. I won't contend that "Curse" is an artistic masterwork that rivals Yimou's previous films "House of Flying Daggers" and "Hero"--but I will say that it is massive entertainment. A frantic, blood-soaked opera of lust and vengeance (with no apologies), I loved "Curse of the Golden Flower." KGHarris, 11/07.

Outstanding! Incredible cinematography, exceptionally ornate sets, very appropriate and well-done music, academy award-level acting, I keep trying to come up with more superlatives to use for the movie! I thoroughly enjoyed every nanosecond of it. It held my interest so well that I simply could not stop watching it, twice! The sets are exquisitely detailed and opulent, the martial arts used were excellent. It is subtitled, so if you are not accustomed to reading English while trying to pick up on the tonal inflections of the actors you may miss much in their performances...unless of course you speak Mandarin. The plot was Shakespearen in both it's quality and its intricacy. The whole movie centers, and stays focused, on the life of the Imperial family and an upcoming coup within it. One of the other reviews noted that the Imperial physician's wife was having an affair with the Crown Prince, but I think they mis-stated. It was her daughter, Chan, having the affair and the mom became insensed with anger when she found out, since she was mother to both...and they didn't know it. There is so much intrigue and a very complex plot, yet somehow so well-written that I did not find it hard to follow at all.

This is an excellent example of the best of Chinese film-making, and I think an outstanding period piece as well.

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I note that an earlier reviewer saw the 'making-of' featurette. and it's

a good intro into peeling away the layers of this quasi-Shakespearean melodrama. There's something dramatists like, the theme of the darkness beneath the beauty.

Slow starting, Director Zhang moves faster and faster telling the tale of unfolding faces (in an asian sense) and the complexities of relationships,

veering every so-often in to soap-operatics. Yet with extravagant graphics/ production qualities and a nice pattern of on-and-off action with teary or sneer-y confrontations and trysts, even the maybe too-dramatic elements work well.

One measure might be that in re-seeing, the layers get more intense and understandable, adding weight to the conflicts; a plus for buyers versus renters.

Now, if only a quality version of RAISE THE RED LANTERN would be released, Zhang Yimou's stature as a world-class director would be rightly, finally, established. With his successes this millennium, it might just happen for the man...

Read Best Reviews of Curse of the Golden Flower (2006) Here

As depraved and corrupt as the House of Thebes, as morally bankrupt as the Hubbard/Giddens family in Lillian Hellman's "Little Foxes" or George and Martha in "Who's Afraid of Virginia

Woolf," (all of which this film calls to mind) Zhang Yimou's "The Curse of the Golden Flower," though huge in scale is at it's core an intimate family (albeit a majorly dysfunctional family) drama which unfolds during the Later Tang Dynasty (923-936 AD), a time of corruption, dictatorship and warfare--with a mind-blowing, color-soaked brilliance and an almost insane excess that does over-ripe justice to the passions and intrigues that are raging full throttle inside the palace.

The sinister ensemble cast includes an evil emperor (Chow Yun Fat), his desperate wife (Gong Li), his three wildly contrasting sons and heirs (Liu Ye, Jay Chou and Qin Junjie), the troubled imperial doctor (Ni Dahong) and the doctor's bitter wife (Chen Jin) and naive daughter (Li Man), both of whom have secrets that could destroy an empire.

Though all of the performances are first rate, Gong Li as the pathetic consort to the Emperor and Jay Chou as Prince Jai show us the pain and heartbreak behind all the bravura acting: these are brave performances that not only come from the mind but also from heart and the soul of these performers; a particularly difficult task based on all the grandeur and pomposity surrounding them.

"The Curse of the Golden Flower" is eye-poppingly gorgeous to look at yet Zhang Yimou nonetheless has managed to, in the midst of the thousands of extras, millions of flowers and opulent and decadent costumes, produced a very thoughtful and tragic drama about a family that can't resist its basest impulses and in the process demolishes and destroys itself from within: love exists here but its a love twisted upon itself and dessicated by the bile and vomitus of distrust and depravity.

Want Curse of the Golden Flower (2006) Discount?

`Curse of the Flower' is a gorgeous masterpiece. Filled with the uniform pageantry of The Tang Dynasty (A.D. 928), the layers of beauty are unfolded to reveal the household of the Emperor (Yun Fat) whose dramatic crisis is intimately revealed amidst the busy hive of his kingdom. Treason, incest, and treachery against kin are concretely provided for a drama of Shakespearean proportions. The queen (Empress) of the hive is ailing with what the Emperor believes to be anemia. After ten years of ancient herbal medicine, she is no means closer to a cure. More hemorrhaging is the rivalry amongst the two sons who spar for succession like Cain and Abel. Jai (Jay Chou), the elder, appears like the humble, reluctant successor; while his bitter young rival, Wan (Liu Ye) has a sword to grind with his past and a manipulative lover who has no little influence over him. The poor Emperor, revealed with no clothes, is wise to the point of tempering his judgment amongst poisonous ingratitude. Heavy wears the crown for a man who resiliently defies the Shakespearean line, "Death hath murdered sleep." Suspenseful, the plot lines head for a climax during the Chrysanthemum Festival for which the Empress intricately prepares.

Stylish on every score, 'Curse of the Flower' could have been an overwrought melodrama with not enough substance, but story and décor only bring out the best of one another. Never did I feel like this offering was tainted by trivialities. I neglected this cinematic offering on the suspicion I was going to get an ancient and foreign offering of 'Kill Bill, No. 1' with tiresome martial arts scenes. Judiciously, the dramatic and combat scenes are gorgeously choreographed and timed to meticulous precision without draining the attention span of the audience. The battle scenes are innovative in a way reminiscent of , 'Crouching Tiger, Hidden Dragon' except with more stunning results. If nothing else, it contrasts new horizons of technical achievement that make 'Matrix' borrowing seem stale.

Intense but expert acting and meticulous craftsmanship combine to make a magnificent epic adventure. 'Curse of the Golden Flower' is a singular achievement for director Yimou Zhang and all involved who assembled an excellent Eastern tragedy.

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Hamlet (1996)

Part of the genius of Branagh's interpretation of Hamlet is in the use of the techniques of the cinema to enhance the production. Branagh has not condensed the acts like some mass market soup, as was done in Olivier's 1948 Oscar-winning production, or in, say, Zeffirelli's 1989 Hamlet lite starring Mel Gibson (both excellent, though, within their scope), but has kept every word while directing our understanding so that even those only casually familiar with the play might follow the intent and purpose with discernment. Recall that for Shakespeare--the ultimate actor's playwright who wrote with precious few stage directions--interpretation was left to the direction and the actors, an open invitation that Branagh rightly accepts.

The use of flashback scenes of things implied, such as the amorous union of Ophelia and her Lord Hamlet abed, or of a vast expanse of snow darkened with distant soldiers to represent the threat of Fortinbras' army from without, and especially the vivid remembrance in the mind's eye of the new king's dastardly deed of murder most foul, helps us all to more keenly appreciate just what it is that torments Hamlet's soul. I also liked the intense closeups. How they would have bemused and delighted an Elizabethan audience.

Branagh's ambitious Hamlet is also one of the most accessible and entertaining, yet without the faintest hint of any dumbing down or abbreviation. A play is to divert, to entertain, to allow us to identify with others whose trials and tribulations are so like our own. And so first the playwright seeks to engage his audience, and only then, by happenstance and indirection, to inspire and to inform. Shakespeare did this unconsciously, we might say. He wrote for the popular audience of his time, a broad audience, it should be noted, that included kings and queens as well as knaves and beggars, and he reached them, one and all. We are much removed from those times, and yet, this play, this singular achievement in theatre, still has the power to transcend mere entertainment, to fuse poetry and story, as well as the high and the low, and speak once again to a new audience twenty generations removed.

Branagh himself is a wonderful Hamlet, perhaps a bit of a ham at times (as I think was Shakespeare's intent), a prince who is the friend of itinerant players. He also lacks somewhat in stature (as we conceive our great heroes); nonetheless his interpretation of the great prince's torment and his singular obsession to avenge his father's murder speaks strongly to us all. Branagh, more than any other Hamlet, makes us understand the distracted, anguished and tortured prince, and guides us to not only an appreciation of his actions, wild and crazy as they sometimes are, but to an identification and an understanding of why (the eternal query) Hamlet is so long in assuming the name of action. In Branagh's production, this old quibble with Hamlet's character dissolves itself into a dew, and we realize that he was acting strongly, purposely all the while. He had to know the truth without doubt so that he might act in concert with it.

I was also very much impressed with Derek Jacobi's Claudius. One recalls that Jacobi played Hamlet in the only other full cinematic production of the play that I know of, produced in 1980 by the BBC with Claire Bloom as Gertrude; and he was an excellent Hamlet, although perhaps like Branagh something less than a massive presence. His Claudius combines second son ambition with a Machiavellian heart, whose words go up but whose thoughts remind below, as is the way of villains everywhere.

Kate Winslet is a remarkable Ophelia, lending an unusual strength to the role (strength of character is part of what Kate Winslet brings to any role), but with the poor, sweet girl's vulnerability intact. She does the mad scene with Claudius as well as I have seen it done, and of course her personal charisma and beauty embellishes the production.

Richard Briers as Polonius, proves that that officious fool is indeed that, and yet something more so that we can see why he was a counselor to the king. The famous speech he gives to Laertes as his son departs for France, is really ancient wisdom even though it comes from a fool.

Julie Christie was a delight as the besmirched and wretched queen. In the bedroom scene with Hamlet she becomes transparent to not only her son, but to us all, and we feel that the camera is reaching into her soul. She is outstanding.

The bit players had their time upon the stage and did middling well to very good. I liked Charlton Heston's player king (although I think he and John Gielgud might have switched roles to good effect) and Billy Crystal's gravedigger was finely etched. Only Jack Lemon's Marcellus really disappointed, but I think that was mainly because he was so poorly cast in such a role. Not once was he able to flash the Jack Lemon grin that we have come to know so well.

The idea of doing a Shakespearean play with nineteenth century dress in the late twentieth century worked wonderfully well, but I know not why. Perhaps the place and dress are just enough removed from our lives that they are somewhat strange but recognizable in a pleasing way. And perhaps it is just another tribute to the timeless nature of Shakespeare's play. The mirrors in the great hall added to the effect of a vast and indifferent castle environment, and in the scene with Ophelia and Laertes returned tended to magnify the focus.

There is so much more to say about this wonderful cinematic production. It is, all things considered, one of the best Hamlets ever done. Perhaps it is the best. See it, by all means, see it for yourself.

--Dennis Littrell, author of "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!"

There is a moment at the start of this film when Hamlet, until then holding himself rigidly erect through sheer force of will, seizes a moment of privacy and literally deflates with exhaustion and despair. In itself, this perfect gesture would mark Branagh's portrayal a masterful work. But what follows raises his performance to the sublime: He embarks on the "O that this too too sullied flesh would melt, /Thaw, and resolve itself into a dew..." soliloquy not with Burton's anger, Olivier's melancholy or Gibson's bitterness, but with an exhalation that embodies the emotion most genuine given the circumstances: overwhelming grief. This is a perfect note, and what follows shows an understanding of the play's mental and emotional landscape that puts other portrayals to shame.

I have seen many performances of Hamlet, but I have never seen one as perfectly pitched as this. Branagh's Hamlet is strong, resourceful, thoughtful and restrained. Branagh purposely rejects the psychological poses that other actors find so hard to resist. After all, Hamlet and Richard III are the two Shakespearean plays that afford actors the most range. It's hard playing the Dane on a leash when one can go wild with existential abandon and not only dodge the charge of overacting, but actually attribute such excess to the character. There are few meatier roles in the repertoire that simultaneously offer the actor such depth on the one hand and such leeway on the other.

For me, such moderation exemplifies Branagh's devotion to Shakespeare. It must have been tempting for a man of his talents to show off. But to forego such gestures, to offer in its stead restraint, is to put service before self.

For, of course, Hamlet is restrained. His very life depends on it. His whole course of action is based on it. His safety revolves around it. Hold off the will to strike, restrain the impulse for vengeance, apportion each action in only the most miserly measure. The walls have ears, conspiracies abound and death lurks around every corner. In such an environment, is it plausible that a man of Hamlet's intelligence would show his hand by indulging in excess? A restrained performance feels right because a restrained course of action is the only course possible for our hero.

This does not stop Hamlet from making bold gestures. But such gestures must always be made under cover, and here again, Branagh shows his creative mettle. The Player King scene provides a counterpoint. Branagh lets go here and shows his excitement when the occasion demands it. Likewise, his graveyard response to Ophelia's death: the cover of madness conflates with reality because Hamlet's act cannot be sustained forever. Branagh knows exactly when to allow the cracks to show.

Those used to earlier works may find Branagh's version overly long and laboured. Many directors have cut out scenes and soliloquies in a misguided attempt to "tighten up" the production. Branagh makes what I believe is the right decision: to leave them all in because every scene, every soliloquy adds texture and is indispensable to the whole.

The best Hamlet I have seen.

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Phenominal acting by Kenneth Branagh makes this film both entertaining and a fine addition to anyone's library, be they a Shakespeare afficionado or simply looking to enjoy a good film. This is a refreshing switch from the stereotypically stale rap such a wonderful playwright is encumbered with. While it does take some time to watch, this is not necessarily a bad thing. As a result, there are always new things to discover with susequent viewings. Admittedly, the language itself is a barrier at first. For me, it is much more difficult to comprehend without the text before me. But, once realization dawns, I would say it is well worth the wait. Currently, my favorite part is when Hamlet tells his uncle to go to hell on the first tape. The delivery is subtle enough to elude most on the first pass, myself included. While this is not a line unique to this film, as the text exists in others, it is a high point for me. Kenneth Branagh makes the film, though. Accolades are also due equally noteworthy actor Charleton Heston for a brief but inspiring appearance. I am eagerly awaiting this title to emerge on DVD, as I hope many others are too. Perhaps a public outcry would prompt the distributor to arrange its (hopefully forthcoming) release.

Read Best Reviews of Hamlet (1996) Here

Yes, finally Warner Bros. has confirmed that this film will be issued on DVD sometime in 2006 for its tenth anniversary. Rumors of legal problems delaying the release (some stated even by WB themselves) were apparently just that -rumors. [Or, whatever it may have been, they can't talk about.]

The DVD is expected to have Branagh's "full cooperation".

Check here for more details:

Want Hamlet (1996) Discount?

This is one monumental piece of filmmaking. To the dectractors, for whom it was probably too long for their MTV attention spans, I can only say, go back to Britney Spears and save your comments for something you know something about. I'm sorry, but these responses really get me ticked in this instance. This is the "full" text, as written. Every word is a gem. Every scene is necessary for a full apprecition and understanding of Shakespeare's scope and genius. I didn't detect a dull moment or a lapse in directorial love and care for the duration of the film. Even Robin Williams, who I find annoying of late, was perfectly cast. The cameos, supporting roles, and stars all shone equally. This film is a triumph on Branagh's part, even better than his masterful Henry V. He's followed in Olivier's footsteps and even superseded him in many respects. I didn't for a moment doubt any of his choices, either as actor or director. For me, this is the definitive Shakespeare recording of the modern era. Enough said.

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The Caine Mutiny (1954)

THE CAINE MUTINY remains one of the finest films ever made about the Navy. It was also one the U.S. Navy had a complex relationship with. On the one hand, the navy provided considerable access to naval vessels. Significant scenes were shot on at least three: the destroyer-mine sweeper used to represent the Caine, a light cruiser at the very end, and the U.S.S. Kearsarge, which represented Halsey's flag ship the U.S.S. Enterprise, though he later moved to the U.S.S. Missouri. Despite this remarkable cooperation, the Navy very nearly withheld its approval for the film. It was afraid that the public might imagine that the story represented actual events or that it might be imagined that there had been a mutiny aboard some ship. Only after the filmmakers agree to begin the film with a historical disclaimer did they approve.

More than anything, despite the presence of ships, the film is mainly a showcase for great acting. The quality of the cast simply can't be exaggerated. There are a host of stellar performances, and they even have such future stars as Lee Marvin in throwaway parts. Humphrey Bogart absolutely dominates the screen with one of the finest performances of his career. Most of the fan and critic polls I have seen over the years of the greatest movie stars of all time invariably place Bogart in the number one spot, and when you see him in this role, and then realize that he has 7 or 8 roles just as great, it is easy to see why. He is such a forceful presence that one would imagine that he wouldn't have been capable of a variety of roles, yet you contrast this film with THE MALTESE FALCON and THE AFRICAN QUEEN, and you realize that he had a capacity to play a surprisingly wide range of roles. Lt. Commander Queeg lacks almost all of the qualities of Rick in CASABLANCA, and possesses a host of lamentable ones as well. The scene in which Queeg cowardly has the U.S.S. Caine quickly outrun the landing crafts it is assigned to protect and then retreat to safety as fast as possible is made all the worse by the courage his characters in other films display. Queeg's final crack up on the witness stand at Lt. Maryk's court martial is justifiably famous, and is among the great scenes in cinema. It is now impossible for any character in any film to play with a pair of steel balls and not think of Bogart.

The rest of the cast is hardly shamed by Bogart. Van Johnson, as the loyal, enormously capable, conscientious Lt. Maryk is superb. (This is, by the way, the only film in which the make up department didn't cover the quite large scars on his forehead that he suffered over a decade earlier in a serious car wreck, which resulted in a steel plate being placed in his forehead.) Robert Francis, who had a promising career cut short at the age of 25 in a plane crash he suffered a year after this film, is solid as the young, idealistic Ensign Keith (though the parallels between his hesitancy to stand up to his mother and marry the woman he loves and his hesitancy to stand up to his commanders isn't developed as much as it is implied) holds his own against stiff competition. Fred MacMurray, who spent his entire career bouncing between utterly lovable and absolutely reprehensible characters, here takes the latter course as the complex, spineless Lt. Keefer. His character adds a delicious degree of ambiguity to the film. Jerry Paris, who would later play Rob and Laura Petrie's friend in THE DICK VAN DYKE SHOW, is excellent as the ship's other junior ensign. Tom Tully managed an Oscar nomination for Best Supporting Actor in his stellar performance as Lt. Commander DeVriess, the first commander of the Caine. Jose Ferrer (who is, by the way, George Clooney's uncle by marriage), whose screen roles never seemed to come up to the level of his talent, is outstanding in his small but memorable role as the mutineers' defense attorney.

On a minor note, I very much enjoyed the very unusual location scene in Yosemite National Park. Although we take location shots for granted today, Hollywood in the thirties, forties, and fifties was only very slowly willing to undertake location shots. It is hard today to realize how radical it was for directors like John Huston (who shot parts of THE TREASURE OF SIERRA MADRE in Mexico and THE AFRICAN QUEEN in Africa) or John Ford (who shot extensively in Arizona for his Westerns and in Ireland for THE QUIET MAN) to shoot on location. The general preference was to build sets on Hollywood backlots. It is so unusual to see location shots that no sound film was shot on location in Chicago (many films were made at the old Essanay Studios in Chicago in the teens and twenties) until the superb Jimmy Stewart CALL NORTHSIDE 777. The scenes in this one, therefore, set in Yosemite are pretty unique.

It's a tradition for television stations to show a selection of war movies over the Memorial Day holiday and it is fast becoming a tradition for the studios to release a slew of war themed DVDs to celebrate the contribution of the nation's veterans in time for the last Monday in May.

Special mention this year goes to Columbia who are releasing collector's editions of two classics that had already been afforded a release on those shiny silver discs.

First up is "The Caine Mutiny" which was first released on DVD back in late 1998. That bare bones version was widely panned for its poor transfer, which featured an overabundance of digital noise and was presented in basic stereo.

Those failings have been corrected for this most recent digitally remastered release. Here we are presented with a quite exceptional picture and soundtrack and a nice smattering of special features.

Based on a Pulitzer Prize-winning novel by Herman Wouk the film (which itself was nominated for seven Academy Awards in 1954) details the tension between the captain of a World War II era minesweeper (played superbly by Humphrey Bogart) and his crew. Bogart's character is overly paranoid and viewed by some as displaying cowardice in the face of battle.

Playing the part of the executive officer, Lt. Steve Maryk is Van Johnson who, spurred on by third in command, the spineless Lt. Keefer (Fred MacMurray), finally takes control of the ship when the safety of the ship and crew are threatened. Queeg's stubborn insistences to maintain the heading of the ship in a typhoon, flying in the face of good seamanship, forces Maryk to take action and he, along with Ensign Keith, are charged with mutiny upon return to port.

It is here that the movie truly shines. Reluctantly defending the two is the always-excellent Jose Ferrer, and the scene where he interrogates Queeg on the stand is spellbinding.

Complimenting the movie Columbia have added an interesting scene specific audio commentary by Program Director of the Film Society of Lincoln Center Richard Pena and filmmaker and producer Ken Bowser. The two detail the difficulties the filmmakers initially faced when confronted with an initially uncooperative Department of he Navy, careers of the actors involved and the context of the film in relation to a political environment that saw Hollywood filmmakers blacklisted.

Apparently the Navy has never had a mutiny onboard one of its ships (a fact which leads to the placement of a disclaimer to the beginning of the picture) and they were none too pleased with the fictitious account. However, following a change in command, they reversed their decision and offered the use of dockyards, ships, aircraft carrier and even real sailors for the movie.

Both Pena and Bowser return for the two-part documentary on the making of the movie. Running for 18:48 and 16:16 respectively they are joined by Film Critic Bob Castle.

The three begin by discussing the mood in Hollywood at the time. Apparently movie audiences declined rapidly from 1946 to 1962 with the advent of television and greater foreign competition and so a nervous industry was looking for a "sure bet." Producer Stanley Kramer had bought the film rights to "The Caine Mutiny" book before it became a bestseller for $60,000. The book was a major selling point that led to the producers being able to cast the movie with a strong ensemble. Castle mentions some of the un-credited roles to illustrate this and Bogart reportedly read the book and actively campaigned for the role of the captain.

Rounding out the special features are trailers for "Walking Tall: The Payback," "Hard Luck" and "Edison Force." None bear any thematic connection with the main feature.

Recommended

Buy The Caine Mutiny (1954) Now

This is truly a classic movie. Based on the novel by Herman Wouk, The Caine Mutiny is a good drama. The cast includes Van Johnson as the Exec. Is he a mutineer or did he save the ship? Fred Macmurray is cast against type. Don't look for My Three Sons here. Jose Ferrer is the defense attorney who has to save the career of Van Johnson. All of these are excellent performances but pale in comparison with Humphrey Bogart's. He is totally believeable as Captain Queeg. Was he insane or just misunderstood? Who was guilty of mutiny. Look for Lee Marvin, Jerry Paris and Claude Akins in supporting roles. This is excellent entertainment and should not be missed.

Read Best Reviews of The Caine Mutiny (1954) Here

Humphrey Bogart gives another top rated powerful performance in this classic drama with a first rate professional cast including Fred MacMurray, Van Johnson, Jose Ferrer, E.G. Marshall, Tom Tully, Lee Marvin, Robert Francis, Claude Atkins, and Arthur Franz.

Captain Phillip Queeg (Humphrey Bogart) is in command of the USS Caine. Very unpopular with the men he gradually becomes more and more paranoid and his chief officers believe he is no longer competent to be in charge of the ship. His Executive Officer Lt Steve Maryk (Van Johnson) suspects that Queeg is a very sick man and not fit to command the ship due to his wild and erratic behaviour. Lt Tom Keefer (Fred MacMurray) feels the same way but is not prepared to make a stand against the Captain. During a violent storm Queeg loses his nerve and Maryk takes over the command only to be accused by Queeg of mutiny. ("Mr Maryk, if you question my decision once more I'll order you off this bridge". Bogart to Van Johnson). Maryk does take over the ship against Queeg's wishes and when back on land charges of mutiny are brought against him. The trial that follows forms the main focus of the film (and for me it was the most interesting) with some very tense and impressively acted dramatic scenes showing Bogart at his best. Lt Barney Greenwald (Jose Ferrer) is engaged as defending counsel for Maryk who is being charged with mutiny. However, things begin to look very bad for Maryk when Tom Keefer is called to give evidence and fails to support him. Some other witnesses are also unable (or reluctant) to show that Queeg was unfit to command the ship and Greenwald appears to be losing his case. Then Captain Queeg is called to the stand and has to face some strong questioning from Greenwald leading to the dramatic climax of the film.

Some favourite lines from the film:

Humphrey Bogart (to crew): "You people think you're very clever, but you're not fooling me".

Bogart (to Van Johnson): "Mr Maryk, you may tell the crew for me there are four ways of doing things aboard my ship. The right way, the wrong way, the navy way, and my way they do things my way we'll get along".

Johnson (to Fred MacMurray): "I don't get it. Is the captain off his head or isn't he? Is this record I've kept correct or not?".

Johnson (to Bogart): "Captain, I'm sorry, but you're a sick man. I'm relieving you as captain of this ship under article 184".

Bogart (to officers): "You'll all hang for conspiracy for mutiny".

Bogart (on witness stand): "Ah .... but the strawberries! That's where I had them. They laughed at me and made jokes, but I proved beyond a shadow of a doubt, and with geometric logic, that a duplicate key to the wardroom icebox did exist".

Jose Ferrer (to the officers): "Sure, I got a guilty conscience. I defended you Steve because I thought the wrong man was on trial. So I torpedoed Queeg for you. I had to torpedo him and I feel sick about it".

"The Caine Mutiny" was directed by Edward Dmytryk who was also responsible for "Raintree County", "The Young Lions" and many other classic films. "The Caine Mutiny" was remade as a TV movie in 1988 with Eric Bogosian, Jeff Daniels, Brad Davis and Peter Gallagher. I have never seen this so I can't comment on it. However, I did see the Bogart version several times and doubt if anything else could come up to that standard. TV movies are seldom as good as the big screen originals.

Bogart was nominated for the Best Actor "Oscar" for his performance in this film but was unfortunately beaten by Marlon Brando in "On the Waterfront". The film received a nomination for Best Picture but the award again went to "On the Waterfront". Actor Tom Tully was nominated as Best Supporting Actor for his role as Captain DeVriess but the award went to Edmond O'Brien for "The Barefoot Contessa". Even though it failed to win any Academy Awards "The Caine Mutiny" remains a very important dramatic and exciting film and the acting from all the principals was excellent. Another memorable Bogart winner that should not be missed.

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While the movie is a great piece of acting with a couple of exceptions, the movie does not hold a candle to the superb book of the same name.

Some actors are poor character choices. Francis is not the right man to play the baby-faced, heavy set, Willie Keith. The actress, May Winn who uses the same name as her character appears to be a whimpy, love-struck night club singer, not at all like her level-headed counterpart in the book. Van Johnson comes through even if he is not the crew-cut, barrel-chested Maryk portrayed in the book. Bogart and McMurray are superb choices for their roles, as are Jose Ferrer, E.G Marshall, and the one who plays Captain DeVries.

The movie is entertaining and worth the purchase, but my suggestion is to see the movie first, and read the book second. That way, the movie will not disappoint.

While I found the book far superior, I recommend you proceed full speed ahead with the movie.

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V for Vendetta / Watchmen / Constantine (Triple-Feature) (2012)

Warner hits another home run with this 3 disc set that features the Blu-ray individual releases for "V For Vendetta", "Watchmen" (not the multi-disc special edition) and "Constantine".

All three movies look quite nice in their Blu-ray presentation and all the special features that were on the individual disc releases are here as well (which is a nice plus for people who thought they might be short changed because this is an inexpensive release).

"V for Vendetta" is based on Alan Moore's graphic novel of the same name (as is "Watchmen")and the theme here is fantasy based graphic novels/comic books.

If you haven't picked up this set from the exceptional to the merely decent ("Constantine"), all three are worthwhile to pick up at this price.

"V" and "Watchmen" are the best of the bunch here (with "V" slightly edging out "Watchmen" for me).

I LIKE "Constantine" but wish it was a much better movie and that the crack, imaginative visual effects were matched by the storytelling.

Recommended.

this is a really great set, you get three comic book movies (all three of which are quite good) they all have special features and all in all it's a great package

first off is the packaging, they put all three discs in a single case, it's compact and the discs are easy to get out so A+ (it also doesn't have any of that "recycling bullcrap where they take out chunks of the case)

second off the movies themselves,

V for Vendetta: this movie is worth the price of the whole set by itself, it's a combination of an action/suspense thriller that is the highlight of the set. the action is fluid and beautiful, the dialogue is pure poetry, and the foreshadowing has a nice balance of easy to get things and more difficult ones which makes it so that you feel great about catching a tidbit here and there but also makes it even more enjoyable on return viewings where preexisting knowledge lets you catch the subtle foreshadowing.

Watchmen Director's cut: first off props to warner bros for putting the directors cut on here instead of the basic version, it adds a lot of value to this set. this movie is quite good though I must say it was very overhyped but on a second watch it was true to the comic most of the way through and generally was a fun movie.

Constantine: this one came as a complete shock, I had only heard meh reviews for this movie so I didn't have much hope for it going in but honestly it was the high point of the set. it's a great story that's quite interesting, you don't need to have read the comics to understand it, it uses some great cgi (the graphics themselves are actually kind of low quality but the art style that is used with it masks the deficiencies quite well to give a few scenes some beautiful scenery), keanu reeves's emotionless acting actually complements the characters so he doesn't feel out of place, and it's just a fun movie. the only thing I had an issue with is the special features, first off there are quite a few on the constantine dvd second off they are in something closer to VHS quality than they are Blu-ray quality which is really a shame given how interesting some of them actually are.

overall I highly recommend this set, three great movies at a solid price. you can't go wrong with this set.

Buy V for Vendetta / Watchmen / Constantine (Triple-Feature) (2012) Now

I love watchmen and V for Vendetta. I havnt seen Constantine yet, but the video quality of these movies is amazing. Great buy for only 13$

Read Best Reviews of V for Vendetta / Watchmen / Constantine (Triple-Feature) (2012) Here

Constantine the clear cut worst movie of the set, and still worth an occasional watch, but the gems are V for Vendetta and the Watchmen. I owned V and Constantine already, enjoyed both, but I had them on DVD and with a 1080p TV, BluRay is a much better way to go, I did not have the Watchmen and only just watched it for the first time. This movie is not your usual happy super hero movie, it's closer to an extremely dark, and thoroughly adult version of The Incredibles. You see this movie collecting dust in so many value bins that you question if it's worth watching. The question shouldn't be whether it's worth watching, but how many times is it worth watching. It plays out a little obviously for a bit with you feeling like you have the ending guessed at, and then it flops, didn't see it coming, and man, makes sense. V for Vendetta is another good dark hero movie. From what I've read, if you loved the graphic novel, you may feel ripped off by the movie, having not any experience with the written version, I greatly enjoyed the movie. Get this, now, it's worth it if you like one of the movies, it's great if you like two, and for three BluRays at this price, all on their own individual disk, it's a great value.

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When buying a set like this you have to have little expectations for packaging. I will say I was very pleased to see each movie had it's own disc. Furthermore the artwork on the discs appear to be the same as if you bought the original. Note I have three of these sets and they are all like this. I'm very pleased.

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Casablanca (Two-Disc Ultimate Collector's Edition) (2008)

One of the greatest movies ever and an enduring American classic is back for another DVD go-around! Say it isn't so. In 2003, I snapped up the impressive 2-Disc Special Edition DVD. In 2008, I couldn't resist going Blu-ray with the comprehensive Ultimate Collector's Edition. I didn't think that a few years later, Warner would be trumpeting an even more advanced collection. How many times are we expected to dip into the same well? I mean, I know it's "Casablanca" but when is enough actually enough? And to use their own terminology, when does ultimate really mean ultimate? I'm not going to synopsize the film or offer a traditional review, I suspect if you're shopping this pricey new version that you are well aware of the merits of the film itself. Instead, I will highlight what is included. Is it worth the upgrade? That's an individual answer, to be sure, but if you are an enthusiast who owns the Ultimate Collection or a casual viewer that already has the Blu-ray edition--the conclusion might indeed be "no." If, however, you have yet to go Blu on this title or are a compulsive completist/collector--now may be as good a time as any to pony up the bucks for this limited edition set.

Contents: This box set will be a Blu-ray/DVD combo pack with 3 discs, the third disc being dedicated to three feature length documentaries. It is a numbered Limited Edition, only 50,000 will be made available. The double wide display box contains several new collectibles including a 62 page production art book (with never before seen photos, communications, and archived documents about the film), a full size reproduction of the 1942 movie poster, and four drink coasters. I love this silly collectible stuff, but what is it with coasters in these deluxe sets?

Transfer: Both the DVD and Blu-ray are boasting new 2012 4K transfers. Arguably, this is the one aspect that might make me seriously recommend an upgrade. For my money, though, the previous Blu-ray release is extremely satisfying and competent. It is NOT a transfer that was begging for a polish.

NEW Special Features: 2 Documentaries (about 45 minutes of content total):

1) Casablanca: An Unlikely Classic

2) Michael Curtiz: The Greatest Director You Never Heard Of

Feature Length Documentaries On Third Disc (all previously released):

1) You Must Remember This: The Warner Bros. Story (2008)

2) The Brothers Warner (2008)

3) Jack L. Warner: The Last Mogul (1993)

OLD Special Features: Items from the Ultimate Collection will all be carried over. They include:

1) Commentary by Roger Ebert

2) Commentary by Rudy Behlmer

3) Introduction by Lauren Bacall

4) "Now Voyager" Trailer

5) Newsreel footage

6) Vaudeville Days short

7) The Bird Came C.O.D short

8) The Squawkin' Hawk short

9) The Dover Boys at Pimento University or The Rivals of Roquefort Hall

10) Great Performances: Bacall on Bogart

11) You Must Remember This: A Tribute to Casablanca

12) As Time Goes By: The Children Remember

13) Deleted Scenes

14) Outtakes

15) Who Holds Tomorrow?

16) Carrotblanca Vintage Cartoon

17) Scoring Stage Sessions

18) 4/26/43 Lady Esther Screen Guild Theater Radio Broadcast

19) 11/19/47 Vox Pop Radio Broadcast

As you can see, it is a comprehensive list of extras. All told, there is over 14 hours worth of material, but only about 45 minutes of it is new. Worth an upgrade? Probably not if you own the Ultimate, but you won't catch me giving "Casablanca" less than 5 stars. KGHarris, 2/12.

This 2009 release of "Casablanca" is identical to the 2003 Special Edition release, except it's packaged in a regular DVD case as opposed to the cardboard case of the original. The first disc contains two commentary tracks (one with Roger Ebert, one with historian Rudy Behlmer), a two-minute introduction by Lauren Bacall, and a gallery of trailers. The film transfer is also identical to the original release, but this film looks about as great as it possibly can on DVD.

The second disc contains the one hour and twenty minute 1988 "Bacall on Bogart" documentary and a thirty-five minute making-of documentary "You Must Remember This: A Tribute to Casablanca". Next is a seven minute feature with Bogart's son and Bergman's daughter titled "As Time Goes By: The Children Remember", along with the eight minute 1995 cartoon spoof "Carrotblanca". A selection of deleted scenes and outtakes, totalling about seven minutes, are of particular interest here (though there is no sound for any of them), and a "Production Research" gallery. Of lesser interest is the premiere episode from the 1955 "Casablanca" TV series titled "Who Holds Tomorrow?", it's a noble failure and clocks in at about nineteen minutes.

As far as special features go, the only thing the "Casablanca" Ultimate Collector's Edition has over this release is the hour-long 1993 documentary "Jack Warner: The Last Mogul" on a third disc. It's quite entertaining and informative, particularly for film buffs, but it's really the only reason to purchase the 'Ultimate' edition. That is, unless one cares about a small book of production photos, office memos, lobby & poster cards, and a passport holder and luggage tag emblazoned with "Casablanca".

Buy Casablanca (Two-Disc Ultimate Collector's Edition) (2008) Now

Perhaps not in all of cinema's history has there been a movie with such brilliant writing, scoring, acting, and numbers of emotional close ups.

Casablanca is a legend of nearly 70 years, but thanks to Blu Ray technology it doesn't have to feel that way. Watching this classic in 1080p is truly an experience, and I have to praise Warner for providing us with the absolutely best possible transfer this film has ever seen. There's not a trace of grain or flicker or anything you'd expect from a film this old, and the result is stunning. If you've seen the movie before, it's time to relive with this remarkable new technology. If you've somehow missed it on TCM, get cultured and experience one of the greatest films in our history in a way no generation has ever been able to do. Blu Ray. It not only improves the viewing experience, but it invites the viewer right into the moment. With clarity as perfect as this, you forget you're even watching a film and instead feel as though you've tapped into the memories of the characters portrayed.

I don't feel the need to mention the movie's plot, as most I'm guessing have either already seen it before or can find that out elsewhere, so I want to end this review with what you are probably most wondering about anyway. Is the Blu Ray transfer worth buying this for? If I haven't made it clear enough already, YES. I've seen some poor Blu Rays transfers, but this is not one of them. In fact, I'd go so far as to say it's one of the best I've seen. The extras, though I haven't experienced them yet, look interesting, including an audio commentary by movie critic Roger Ebert. All in all I'd say that this release is definitely worth getting even if Casablanca isn't your favorite movie of all time. It is a classic, and it is an experience, and with Blu Ray it's better than ever before.

Read Best Reviews of Casablanca (Two-Disc Ultimate Collector's Edition) (2008) Here

It's hard to believe that when Casablanca was filmed at Warner Bros. Studios in 1942 it was "just another" of the 50 or so films that the studio was producing every year, as Lauren Bacall points out in the documentary about the film included in the special features. The movie was an instant success with audiences everywhere, and won three Academy Awards including Best Picture. Called "America's most popular and beloved movieand rightly so" by The Motion Picture Guide, and "The best Hollywood movie of all time" by Leonard Maltin, Casablanca was voted the #2 film in a list of the top 100 films of this century by the American Film Institute.

Set in refugee strewn French North Africa in 1942, Rick Blaine (Humphrey Bogart), a night club owner, and his friend Captain Louis Renault (Claude Rains), Prefect of Police, enter into a wager as to whether or not Resistance Leader Victor Laslo (Paul Henreid) will be able to escape Casablanca and reach the Free World. When Laslo arrives in Casablanca, Rick is stunned to find him accompanied by his ex-lover, Ilsa Lund (Ingrid Bergman). Filled with mystery, suspense, intrigue and romance, Casablanca will remain a favorite of classic movie lovers for years to come.

The supporting cast include Conrad Veidt, Sydney Greenstreet, Peter Lorre and Dooley Wilson as Rick's piano playing confidant, Sam. The entire cast are superb, the settings are excellent, and the cinematogrophy is wonderful.

The song "As Time Goes By" was made famous by Casablanca, as it's melody is entwined throughout the film, and it too is now a classic, filled with romance and nostalgia.

This is one film that absolutely MUST be in your DVD library!

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Even after 70 years, the greatness of CASABLANCA remains timeless. This captivating classic, so vividly played out and cinematically crafted, is a textbook example of the Hollywood studio system at its absolute best.

The 70th Anniversary Blu-ray Edition restores the film's pictorial splendor, surpassing the previous version which used too much DNR. This time the film's inherent grain texture isn't smoothed away along with a measure of sharpness, but is evenly configurated resulting in perfect black and white image resolution that replicates 35mm film.

CASABLANCA is offered both as a Blu-ray/DVD special combo package and as a single Blu-ray disc. The big set comes with an array of bonus material, much of which was bumped over from the previous Blu-ray edition, including the commentaries by Roger Ebert and Rudy Behlmer. There's also some photographic and printed memorabilia, and a few new documentaries on the making of the film, on its director, Michael Curtiz, another on the history of Warner Bros., and one on its chief mogul, Jack L. Warner. The single Blu-ray has all the video/audio extras except the two Warner documentaries, and doesn't include any memorabilia items.

One of my all-time top favorites, CASABLANCA is a movie I enjoy playing again and again, and if that's true of you, then this upgrade is a must.

Outlander (2008)

I got a chance to see this in the theatres thanks to a friend of mine with a sharp eye. It was only released in a VERY limited engagement in my area, only one theatre ran it for a week. What a shame!

This movie is a must-see for fans of sci-fi movies like the first Terminator, movies like Ice Pirates, or Pitch Black. It has its own wonderful mythology, and the casting is great. Could've seen more of Ron Pearlman, though.

Yes, there are a couple of cheesy moments, but the good stuff far outweighs the bad. Very very enjoyable film. Looking forward to a disc release, and hopefully an extended edition rumor has it that Weinstein and Co trimmed 15 min off the end to make the movie fit on one less reel, saving money.

Plenty to read about how the W brothers buried yet another fine film, but those two are a case study in having great films distributed incorrectly. Aside from them what a great sci-fi film.

We have inter-planetary travel, love, loss, awesome looking dragon creatures with firefly (glowing) capabilities, all intertwined within the Norse time period of our history. Caviezel has just the right look to be the believable yet fearless fighter that hunts these creatures across the universe.

The effects looked adequate, and excelled during any of the ship sequences off planet. I have read most of the criticisms about pacing, time period gaffs and such, but overall I think they made a solid film. The DVD has over 32 minutes of deleted scenes that help answer some of the questions raised while watching the theatrical cut (which runs 115 minutes itself). The alternate opening would have helped with the end but watching a space ship spiral towards Earth works better. The scenes with his Captain would have been nice to see in the main cut, as would most of the others but oh well. Some nice informative supplements for the special effects also.

Customers have been asking for this since last year, and playing it alone has generated quite a buzz. A worthwhile owner for fans of the film that would of course look beautiful on Blu.

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Rarely have I seen such attention to detail in a movie of this type. Rarely do I watch a movie without working on some craft project while it's on. Usually I love to pick movies apart for whatever ridiculous scenes, lines, and implausible situations are offered. Not this one!

Within the first ten minutes I'd set down the needlework to give my full attention to watching the story. Within an hour I knew I would need to own this DVD (not a common impulse for me). Vikings in a believable setting and not a horned helmet in sight. Architecture, clothing, homes, everyday items, all done with much care and it makes such a difference! The Outlander's past history works in giving him his new fate. A few events in the story might have been stretching things a bit, but the creature was beautifully done, the scenery was gorgeous, and the people suited their roles. It's a work of art and I totally enjoyed it from start to finish!! This is a movie I know I would enjoy watching more than once an all too rare occurrence these days.

Read Best Reviews of Outlander (2008) Here

The first I ever heard of Outlander was in an ad page in last month's Fangoria. It looked and sounded like typical straight to video B movie fair. This is sometimes a very good and fun thing, and other times absolutely dreadful. From sifting through some other Amazon reviews regarding this film I found that it had a very, VERY, limited theatrical run and apparently was bashed by critics. Well, I still haven't read any 'professional' reviews for Outlander and I'm here to tell you that it's totally worth two hours of your life, especially if you're a creature feature fan and, even better, a sword and sandels epic fan.

Basically, the premise of this movie is if Army Of Darkness was taken seriously. We have a space man(from another dimension? The future? Antoher planet?) who crashes his space ship onto earth in the year 709 and brings a big monster with him, that of course escapes and starts problems for the local Viking villages and tribes. That's it. That's the story. Nothing monumental or groundbreaking but totally fun. Hell, this movie has the type of story I would have written myself when I was ten and wanted even more to see it in the multiplex.

Don't get mislead by the Sci-Fi sounding premise, this is nothing close to true Science Fiction. It's a big action/horror/ monster movie on the most base levels. There's no science or hypothesis of the future or past of man to be found. Sorry, it just doesn't reach that high above it's B movie roots, and that is not always a bad thing if it's done well. It's obviously one of those films that has many different producers, most of which are not from the states, but the budget and level of polish on the production could be matched to any of the big summer films coming out now. The sets are good and have the dirty lived in quality required for anything involving Vikings. The CGI creature is mostly convincing. There's a few shots where the beast looks less then stellar but not many. The filmmakers were even smart, considering budget and suspense, by not revealing the creature in full light until the center of the film. It reminded me of the old Roger Corman creature features, but he waited until the third act, well, because his monsters never looked that convincing and were always more convincing when off screen. This could've been a big summer film of 09. Of course it's not a remake, a film based on action figures, one of several sequels to 20 year old properties, and of course there's no car, fast food or toy tie-ins to speak of, but it still could've given me what I long for this summer, something NEW.

The cast is all on spot. Jim Caviezel(The Passion of the Christ, The Thin Red Line, Frequency) stars, and I've always found him to be an underrated actor. He's turning into the king of big films that don't get a shot theatrically but become fan favorites on home video thanks to this and Highwaymen(if you haven't seen it, check it out). The movie even throws us the usual respected older actor in the form of John Hurt to play the Viking king. He's good as always and brings that extra John Hurt-ness he always brings to his roles, big or small. If you've read Beouwulf you can figure out where the plot is going and what it's riffing on but the added Sci-Fi trope helps throw you off for a bit. This isn't going to go down as one of Caviezel's great performances, but he does lend dramatic gravity to what essentially is the typical monosyllobic hero with a past role. After about an hour his characters comes more into his own and leaves behind the usual action character cliche's thanks to him. Ron Perlman shows up late into the film as an opposing tribes leader. He's not give much to do, and I'm not sure why they cast an actor of his caliber for such an nothing part, but it's nice to see him anyway.

The DVD looks and sounds great. Plus, it's loaded with special features. We get some neat special effects tests and animatics of the action scenes, which there are plenty of, and while they're nothing ground breaking, they are done well and leave one feeling satisfied. There's also a great commentary track by the writers, director, producers and special effects technicians that covers so much ground there is no need for a making of doc. They also react to their critics and talk about the original forms of the script. Of course there's also 40 minutes worth of deleted scenes, all of which were rightfully ommitted from the final film. There is an intersting alternate opening that's worth a look though. Can't say the same for the alternate ending.

At least give this one a shot at a rental. You won't be disappointed. Sure, the man from outer space might turn some viewers off, but I emplore you to open your mind and just smile while the B movie ride takes you away. Don't be scared off by the lack of Happy Meals and Tom Cruise level of star power tie-ins. This is a quality B picture on the level of all the big budget B pictures you'll be plopping down 12 bucks to see this summer in theatres. Yes, I'm looking at you Transformers 2 and Terminator:Salvation.

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This is one of the better movies I've seen in a while (theatrical releases included). The characters are rich, not forced into stereotypes (e.g., the jealous rival). The extended backstory is revealed in manageable bits that add to rather than detract from the suspense. Plus, Jim Caveziel, Jack Huston, Sophia Miles, Ron Perlman, and John Hurt how bad can it really be? Take a risk and rent this you won't be disappointed.

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