Steel Magnolias

There is a scene in Sleepless in Seattle when Sam (Tom Hanks), Suzy (Rita Wilson), and Greg (Victor Garber) are discussing what are frequently referred to as "chick flicks." Whatever the criteria for selection, there are many candidates for this category which usually include Steel Magnolias. After seeing it again recently, I decided that calling it a "chick flick" demeans what director Herbert Ross and his cast and crew achieved. This film really does have wide and deep appeal to both and men and women of all ages. Of greater significance, it seems even better each time it is seen again. The reverse is true of almost all other films which touch our hearts. As in Robert Harling's play on which it is based, all of the main characters are women: Clairee Belcher (Olympia Dukakis), M'Lynn Eatenton (Sally Field), Truvy Jones (Dolly Parton), Annelle Depuy Desoto (Daryl Hannah), Ouiser Boudreaux (Shirley MacLaine), and Shelby Eatenton Latcherie (Julia Roberts).

MacLaine and Roberts were later nominated for an Academy Award as best actress in a supporting role; a split vote probably cost both an Oscar. My own opinion is that Field, Dukakis, and Hannah were equally deserving of that nomination. In terms of plot, not a great deal happens. The film's energy is established and then sustained by the interactions between and among the five older women. Keep in mind that this was originally a play whose plot focused almost entirely on the shared experiences of those women. Some of the scenes are hilarious, with MacLaine and Dukakis primarily responsible. However, the film also includes one extended situation which has a genuinely sad conclusion. (It would be a disservice to those who have not as yet seen the film to say any more about that.) I think the acting is first-rate throughout. Most of this film is highly entertaining but whenever necessary and appropriate, Ross examines serious issues with great skill. Two points need to be reiterated: Steel Magnolias can and will appeal to men as well as to women, and, it is more enjoyable each time it is seen again. Those who share my high regard for it are urged to check out Fried Green Tomatoes (1991).

With all the attention Julia Roberts is getting these days, it's an excellent time to buy and watch the film that contains her best performance, Steel Magnolias.

As the doomed but optimistic daughter of Sally Field and Tom Skerrit, she holds her own in a cast of movie divas, including Shirley MacLaine, Olympia Dukakis, Dolly Parton, and (in her best film work, as well), Darryl Hannah.

The film is basically a warm, upbeat character study of a group of women friends, played out in a beautiful Louisiana bayou town. The story begins with Roberts' wedding, then carries on through the ups and downs of the friends' lives. The male characters in the story are barely seen, and occasionally come across as insensitive (Roberts' husband), or buffoons (Hannah's boyfriend), yet one of the joys of this movie is that you come to love the women so much, you don't mind the men's shortcomings, and start liking them, too!

The standout performances of the film are from Roberts, and MacLaine, as a spinster with a sarcastic tongue, and, ultimately, a heart of gold. Her scenes with Dukakis are hilarious, yet full of the warmth that makes this film so special!

A couple of things usually overlooked, but worth mentioning; the enchanting film score (I wish the soundtrack would be rereleased!), and a bit part by Janine Turner, before 'Northern Exposure' made her a star.

This is a very special film, for both Roberts' fans, and anyone who wants to believe in the healing powers of friendship. Yes, this film can be defined as a 'chick flick', but guys, you'll end up enjoying it, too!

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In 1989, audiences were treated to an all-star cast in the film "Steel Magnolias", which follows the lives of several women who are all friends in a small Louisiana town. The film was directed by Herbert Ross (1927-2001), who directed "The Goodbye Girl" (1977) and "The Turning Point" (1977, for which he received an Oscar nomination for Best Director). It was written by Robert Harding, who had originally written "Steel Magnolias" as a play and also adapted Olivia Goldsmith's novel into the screenplay for "The First Wives Club" (1996).

The story begins with a young woman, Annelle Dupuy (Daryl Hannah), who is new to the Lousiana town and planning to work as a beautician for Truvy Jones (Dolly Parton), whose husband Spud Jones (Sam Shepard) is an often out-of-work contractor. Impressed with her abilities, Truvy hires Annelle and they receive their first customers of the day: the wealthy widow Clairee Belcher (Olympia Dukakis), the responsible mother M'Lynn Eatenton (Sally Field), her engaged daughter Shelby (Julia Roberts) and the eccentric/antisocial divorcee Ouiser Boudreaux (Shirley MacLaine). Since one of the activities that most of the ladies enjoy doing is gossiping, when Ouiser begins to interrogate Annelle about her life, everyone is all ears as Annelle explains her troubled marriage and vanished husband. Shelby then invites Annelle to come to her wedding, which Annelle does and meets a man who becomes very interested in her: Sammy Desoto (Kevin J. O'Connor). Shelby's new husband is Jackson Latcherie (Dylan McDermott), and her outspoken father, Drum Eatenton (Tom Skerritt), often enjoys teasing Ouiser about her aging dog. Shelby suffers from diabetes, but is determined to live as much of a normal life as possible, even when it comes into conflict with M'Lynn's concerns for her health.

With its witty script, wonderful story and engaging characters, "Steel Magnolias" is a very entertaining and emotional film. Julia Roberts received an Oscar nomination for Best Supporting Actress, but disappointingly, Sally Field was not nominated for Best Actress for her exceptional performance, especially during the very emotional funeral scene. Olympia Dukakis, Shirley MacLaine and Daryl Hannah performed superbly in their roles, and Dolly Parton was very well casted for her role as Truvy and did an excellent job. Memorable scenes in the film include the opening scenes at Truvy's beauty salon, Shelby's wedding, the Christmas fair, Shelby revealing her pregnancy, other scenes at Truvy's, Annelle's wedding shower, M'Lynn at the hospital, the funeral scene and the closing Easter scenes. Overall, I rate "Steel Magnolias" with 5 out of 5 stars and highly recommend it on widescreen DVD.

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This is the story of five women who basically socialize at Truvy's Beauty shop. The actresses are Dolly Parton (Truvy) Sally Field (M'Linn -if that's how you spell it) Olympia Dukakis (Clairee) Shirley MacLaine (Ouizer) and Daryl Hannah (Anelle)and of course, the one and only Julia Roberts as Shelby.

Basically, the story revolves around Shelby who is an active person but who also has a serious case of diabetes. Shelby marries in the movie and wants very much to have a baby which, of course, would not be good for her health. Around this bittersweet main theme are a lot of other sub-themes, many of which are funny, some of them very touching, and all of them adding to the overall good quality of this movie.

What I appreciated was the realism in the depiction of women's friendships. At a time when the sneakiness and manipulativeness of girls' (and sometimes women's) friendships is being discussed, cussed, and dissected, this movie shows what friendship between basically good hearted women is really like. To be sure, the gals get on each other's nerves and not all is sweetness and light, but for the most part they care a lot about each other's welfare, and at the toughest times, they band together and support each other big time.

I would recommend this movie to anyone -including men -in fact, I have been pleasantly surprised to find out that a lot of men enjoy the movie.

But yes -you do need to have an ample supply of tissues handy! I cry every time I see certain parts of the movie, and I've lost track of how many times I've watched it.

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As already mentioned here a number of times, yes, it reeks of a chick flick. But on the simple metric of number of one-liners per minute, I simply cannot think of a better comical powerhouse! The script to this movie is an example for screenwriters.

The hilarious star-studden ensemble is set in southern US, a small Louisiana town. The camaraderie is contagious and nostalgic, and the life of the characters so identifiable you'll be involved with the film immediately. There's almost several subthemes, each character has a peccadillo to share.

But the main focus of the film is the relationship between Sally Field and Julia Roberts, a domineering mother and her strong-willed but physically weak daughter respectively, the latter also plagued with diabetes. And there is a lot of time spent on Daryl Hannah's strange character development as well as the film covers a year or two via holidays.

To me, that is what most undermines the film -I would much rather have seen more time spent on Parton and MacLaine, and even Dukakis, whose lives, in the brief glimpses we are given, seem much more interesting, and whose characters are by far much more alive and vibrant. Their barbs and quips are a compelling reason alone to watch this movie again and again!

At any rate, this is a movie you should definitely watch if you haven't already, and if you have, watch it again. What a wonderful slice of life, drama and delectable humor!

Apocalypto (2006)

Even with all the controversy surrounding Mel Gibson last year (and doesn't it seem as if each new week brings another celebrity meltdown?), I still looked forward to seeing "Apocalypto." Why? If for no other reason--the subject matter, subtitles, and lack of star power made it a bold choice for a major studio release. Films of this nature generally go into limited distribution to develop an audience and critical word of mouth before expanding, if they ever do. But with Gibson at the helm, "Apocalypto" debuted with much fanfare and backing just in time to be considered for 2006's Academy Awards. For some reason, though, I still missed "Apocalypto" at the theaters. I have heard every description imaginable from those that have seen the film--from the "best movie ever" to "excessively violent and disturbing." And while I wouldn't go to either of those extremes, "Apocalypto" is certainly an accomplished adventure picture.

Set in ancient Mayan times, "Apocalypto" is essentially the harrowing journey of one man, a youth named Jaguar Paw (a convincing Rudy Youngblood). Living a simple and isolated existence, his tribe are very at home within the forest. One day, the unthinkable happens. They are attacked by another group with apparent intentions of enslaving whomever they don't kill. Youngblood's wife and son are stranded in an underground well, many others are murdered, and Youngblood is among a dozen or so who are rounded up and marched out in bondage. The subsequent journey leads to a fantastical temple sequence, where it becomes clear that the prisoners are not to become slaves--but sacrifices. The remainder of the film deals with how Youngblood can escape this situation. The temple scenes feature a cast of thousands, ritualistic and brutal slayings, and a mob mania that is terrifying and believable. Racing against the clock to save his wife, Youngblood must escape back through the jungle--where all he has to help him are his cunning and an almost spiritual connection to his surroundings. The action is practically nonstop, it's inventive, and it is beautifully staged. Much of "Apocalypto," therefore, is absolutely riveting and wildly entertaining.

For the purists who will debate the film's historical accuracy, I will neither deny or confirm the legitimacy of the events that transpire within "Apocalypto." While there do seem to be some liberties taken with the historical timeline (as evidenced by a surprise in the ending--which I enjoyed despite its implausibility), I really don't think that this film aspires to be a "historical document." Gibson has made an adventure story using a Mayan backdrop. The feel and look of his picture stay as valid as possible to the timeframe, however, I never interpreted this picture as a "true" story. Guess what? Fictional liberties are taken in every motion picture. Otherwise every motion picture would be a documentary--and even documentaries have an angle or slant which make them less than "true" in many cases. "Apocalypto," at heart, is an effective action picture that makes interesting use of its Mayan setting.

I guess "Apocalypto" is not for the squeamish--however, the violence depicted is by no means unusual by modern film standards. You can see much worse in today's "torture" cinema, those films that pass for horror with current audiences. I suppose what makes "Apocalypto" more vivid is that the violence is in a believable context. There are some beheadings and some hunting scenes, but the brutality is intrinsic to the story "Apocalypto" is telling. I don't believe serious minded filmgoers will be put off by seeing some savagery depicted in a film about ancient Mayan cultures--it's not as if this is a Merchant/Ivory production with tea parties and witty banter.

I do recommend "Apocalypto." Beautifully filmed, the technical merits of the film are beyond reproach. The cinematography, score, and editing all enhance this exciting tale. I imagine these elements really shone bright for those who saw this on the big screen. A great action picture that is for adults--check it out. KGHarris, 03/07.

A welcome change of pace for us who feel Hollywood keeps making the same picture over and over again. The first part of this film is the most unconventional but also hard to endure as only bad things seem to happen to the characters but once Act II arrives and the chase begins, grab on !. I can't remmember the last time a film had my stomach in knotts like this one.

Some people here in Mexico have complained about the film's historical accuracy since by the time the Spanish arrived in America, the Mayan civilization had already been taken over by other groups. In any case, Hollywood films are not the best way to learn about history.

When Braveheart came out over 10 years ago I remmember a friend telling me: "who would have thought Mel Gibson was a real director", 2 films later he keeps surprising me with his directing skills. It's too bad the public has let themselves be convinced by the media that he's the most evil person to ever come out of Hollywood which is absurd. I guess they feel the more they discredit him the more they discredit "The Passion of the Christ".

Great work Mel !

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Apocalypto is a story about a Mayan man's, Jaguar Paw, epic journey. His peaceful, content village is attacked by a superior tribe and his people are slaughtered and enslaved. He escapes and has to deal with great obstacles while trying to race back to save his wife and child.

When I first heard what this was about and saw the trailer I feared that Mr. Gibson was losing his touch. The movie looked plain boring.

I can't remember the last time I have been so wrong.

I work for a production company that made a film with Mr. Gibson in the past and decided to write him to share how I felt about his work. Below is a copy of the letter I sent him:

"Dear Mr. Gibson,

I am writing to tell you how beautiful and powerful I think Apocalypto is. I first saw it one month ago and have seen it four more times since. I believe it is one of the best films ever made.

The story was magnificently crafted with characters and emotions I found I could easily relate to. It triggered emotions within me as I watched. I laughed hard with the characters. And I felt their fear, pain, hatred, love and desire. The gaps (between expectation and reality) were opened wider than in any movie I've seen in a very long time. My mind throbbed with contemplation when the old story teller told his people of how man took until the Earth had nothing left to give. I grew uneasy as I realized the similarities between the Mayan narcissism and that of great civilizations since, especially our (America's) own.

The epic chase was powerful and cerebral. Jaguar Paw's exhaustion and need was palpable. It is the greatest chase ever better than The Fugitive.

The cinematography was bold and vibrant. When combined with the powerful sound and fantastic casting, the story took hold of me from the opening scene right through to the credits.

Mr. Gibson, you have become one of my favorite directors. You now have two films on my short, all-time-favorite-movies list, which includes American Beauty, Braveheart, Forrest Gump, Pulp Fiction and RKO 281. Apocalypto not only entertains, it evokes strong emotion and inspires soulful contemplation. Apocalypto is a true masterpiece. You are a master storyteller.

Sincerely,

[Scrutinizing Consumer]"

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Apocalypto `s main merit resides in the original treatment which received this story placed in the Maya era. The film was planned according the classic patterns of a symphony of just three movements. The First one is the warmth Adagio where the viewer realizes the rituals and customs of a pacific tribe, and a casual encounter with a foreign tribe, the second movement has to do with the violent scenes of fight and defeat of the pacific tribe, whose leader: "Jaguar paw" will undertake the epic challenge to survive along the dynamic final movement And through the first two movements everything is OK, but the febrile human chase along the last third of movie is what it deserves the jewel of the crown. Shocking sequences and chilling fact will happen that will hold fixed to your seat. Gibson recreates the hero's journey with absolute realism with some commercial concessions here and there, that don't avoid the spectacular dynamic of the movie.

Go for this one!

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Mel Gibson does it yet again bigger and better!

Whether you love him or hate him, obviously the vast majority rule that Mel Gibson can not only act, but direct movies with the best of them. The tale of the tail tells all.

Hoo-hum Box Office sales, but the lead in DVD sales. That's with no doubt due to his ranting and subsequent arrest. But overlying all of this is the absolute high quality of storytelling and savage beauty he can lend to a film. This is without a doubt one of the best films ever made.

Filled with such raw beauty and savage violence, Gibson is smart enough to balance it with showing the love and caring his characters evoke. Not just rely on great action seqeunces, or special effects. The downfall of many a director.

This movie shines beautifully on my 65-inch HD T.V. Better than the theater. If you don't own a huge HD TV, then you must purchase one to get the full effect of such awesome filmed movies.

A must have for your library.

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Lost Boys Triple Feature (The Lost Boys / Lost Boys: The Tribe / Lost Boys: The Thirst) (2012)

I REALLY LOVE THIS TRIPLE FEATURE DEAL! I'M GOING TO BUY MORE.. WELL ACTUALLY I HAVE BOUGHT ANOTHER ONE ALREADY. NOT OF THIS ONE I MEAN OTHER ONES. ANYHOO! I'M SLOWLY TURNING ALL MY REGULAR DVD'S INTO BLU RAY AND IT HELPS SO MUCH MORE TO HAVE THEM LIKE THIS! YOU WOULD NOT BELIEVE HOW MUCH ROOM I'M GETTING BY DOING THIS! AND I LOVE THEY PUT ALL THREE MOVIES ON THEIR OWN DISC AND ANY SPECIAL FEATURES ARE STILL ON WITH THE MOVIE IF THEY CAME WITH ANY! HIGHLY RECOMMEND THIS MOVIE SET AND ANY OTHERS!

I initially only wanted The Lost Boys... but after some perusing I found that it was being sold in blu-ray as a triple feature for less $ so I said why not besides Cory Feldman is in all three and that works for me.

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Because the movie was a Blu-ray and it had all the upgrades from the standard DVD and huge upgrades from the older VHS tapes; "The movie picture and sound was Grrrrrrrreat!!!! Their speedy service was awesome and as such, I hope to purchase more from them in the future too!

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Who doesn't love the lost boys... So the others arent as good as the first but fun entertainment and worth it for the original, which is one of my favorite movies.

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I would recommend to others! I really enjoyed watching them because I like to watch scary movies sometimes. Great Storyline!

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Michael Flatley Returns as Lord of the Dance 3D - REGION FREE - UK Import

To start off M.F. is up to his high standard of dance. He is totally rocking it once again! I have the original Lord of The Dance on VHS and the Feet of Flames. Sorry but Feet of Flames is the best out of the three it gets a 5 star! This newest production would have been awesome to watch if it wasn't for some of the camera angles and way too many cut a-ways at very integral moments in the dances. The slow motion shots are really annoying. It also seems to me that this is not just one show that was shot. If you watch closely you will see Bernadette Flynn on the stage left then all of sudden she is stage right before coming to dance in the middle. Also on the "Planet Ireland" performance she seems to be missing in some shots then back again. As I was watching it all the way to the end I was wondering where the "Siamsa" number was. I found out it is a DELETED SCENE! Why?! It is one of my favorite parts. For those who have never seen one of the Lord of the Dance productions it is a really good start. I encourage though to get the older ones too. Guess I have been spoiled with the previous ones.

It's impossible to review this video without referencing the original production of 20 years ago. I have watched that video many times, and have seen it live three times (once with Flatley, twice without); needless to say, I'm a fan. There is no doubt that the audio and video on this disk are both spectacular. And Michael Flatley certainly still has "the chops" to pull off the dancing; in fact virtually the entire company is flawless. Then why only four stars? The new production. There is soo much flash from the lighting effects, it's sometimes difficult to see the dancing. The costumes are also a bit strange (especially for the men) and, as with the lighting, distract from the dancing. Also, three scenes were cut from the main production (the two soprano solos and the "Siamsa" dance routine). These ARE included in a "deleated scenes" section, but I don't know why they were cut in the first place. Bottom line: I'm sure that I will watch this many times in the future but if they ever release a remastered Blu-ray version of the original, it will be my hands-down favorite.

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I am speechless (and breathless) after watching the latest reincarnation of The Lord of the Dance. Flatley is no spring chicken but is a cardiologist's dream in form and stamina. He dances with the vigor and precision of a 20 year old. The production is vibrant, colorful and endlessly inventive as it evolves from scene to scene. The direction of the film version seen here, the technical excellence visible throughout, the perfection of the dance and dancers; sorry to gush but as a long time fan of Flatley, I never thought I'd see the day when he would out-do himself. Dancers, actors, musicians, techies, rabid dance and theatre fans --order this today. You won't regret it. What a glorious experience!

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Id never really seen a full lords of the dance show and had only seen it being performed at gala evenings etc so i wondered how they were going to pad out a whole show. Wonder no more as the show was spellbinding from start to finish with excellent 3D and a scorchingly clear 7.1 audio soundtrack, i will watch this again and again as it gives goosebumps every time, absolute perfection!

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Fabulous. It's hard to believe how awesome this man is. This is my favorite version of LOTD. He cut out the singing, kept the violins, and jams hard on his flute. Bernadette Flynn playing Saoirse, the Irish Coleen is wonderful as usual (I miss her long hair, though), but I do prefer Gillian Norris over Ciara Sexton as Morrighan, the Temptress (possibly the long hair thing again...). I have seen the show live 3 times, watched the videos (river, LOTD, and flames) hundreds of times, and am very happy to have this new material. The songs are played a touch faster, and the more demanding speed of the steps is perfectly executed with every tap. Buy it now, and enjoy! Thank you Michael, you are the greatest.

The Loss of a Teardrop Diamond (2008)

Tennessee Williams is the heart, mind, and voice of the South, and Jodie Markell has made an extraordinarily beautiful film of his screenplay, "The Loss of a Teardrop Diamond." Exquisite in its detail and dramatic force, the director does not shy away from Williams's view of a rotting, decadent, romantic Gothic Southland. And in Bryce Dallas Howard (with alabaster skin and raven-black hair) and Chris Evans, she has possibly the most handsome cinematic-couple since Dame Elizabeth Taylor and Montgomery Clift in "A Place in the Sun." This film is a great achievement, not to be missed.

Jodie Markell has created a period piece with timeless appeal! This never-before produced screenplay by Tennessee Williams came to light at the right time and in the right hands. Markell's insightful direction and Bryce Dallas Howard's brilliant performance transport the viewer to 1920's Memphis with its juxtaposition of high-class southern charm, architecture and posh parties to the inner turmoil brought about through the accompanying societal expectations. Howard's portrayal of a "fallen" southern belle, Fisher Willow, is both heartbreaking and breathtaking. The high-value teardrop diamond earring she wears which is lost represents Willow's desperate struggle to hold onto her inheritance at all costs -monetary and personal. The viewer is seamlessly transported into Willow's world of truth vs. lies, genuine vs. fake, awake vs. asleep... as she is forced to face her past and present demons on the journey of discovering her true self (and true love, ie Chris Evans) in the process. You don't have to be a Tennessee Williams fan to get swept away by this film!

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I find it strange (or maybe just typical for an antsy media world) that this film was shunned so widely, if not overlooked. Also, there seems to be a recurrent animosity against Bryce Dallas Howard as an actress that I find hard to justify. I can think of few others who are showing such promise at an early age.

And as for the screenplay that is the inevitable draw of the film, it certainly falls canonically among Tennessee Williams' lesser works; yet even his lesser works have always carried much magic, and an idiomatic command of poetic elegance that no American writer since has matched.

We all know well Blanche's ruminations about paper lanterns as a metaphor for magic in the world; people far smarter and wiser than me have called those words among the most deeply felt ever written in the English language. In this film, Fisher Willow has her moment too, hers more nuanced than the melodramatic flourish of Vivian Leigh's delivery. She pines for the company not of strangers, but of people who have meaning, who aspire to art and creation, and so forth. They are words meant to be heard spoken, rather than spit out in this no-name review on the Internet.

So all of that is to say, the best you can do is ignore the shrugging critics and watch this film. It does the legacy of Tennessee Williams justice, it is beautifully shot on a very low budget, and it is a fine performance by a budding actress who absorbs the playwright's intentions elegantly.

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Beautiful and exquisite Tennessee Williams script with wondeful performances and flavor of the period. A must have for Williams fans.

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"The Loss of a Teardrop Diamond," is a real gem but it is not for everyone. If you are not a big Tennessee Williams fan, you probably will not like it. If you are unfamiliar with Tennessee Williams, then you are better off watching "A Streetcar Named Desire," or "Cat on a Hot Tin Roof."

Admittedly, this is not one of Williams' best stories. The reason the film works so well is the acting and directing.

I had seen Bryce Dallas Howard in a few other films but they did not prepare me for this absolutely thrilling performance. This is not just the best performance of the year but it is the best performance in the past several years. She brings the character of Fisher Willow to life the way that Vivian Leigh did for Blanche DuBois. In many ways Fisher Willow is like a young version of Blanche.

Fisher is a typical Williams' heroine. She initially comes off as a selfish, self centered, Southern Belle but underneath she is much more fragile than anyone suspects. Bryce Dallas Howard is able to bring this out with such complexity and nuance that we can sympathize with a character that we should not care about so much. Even in her best moments she seems as though she could shatter at any moment.

This performance alone is enough reason to see this film.

The story follows the familiar themes covered in other Tennessee Williams stories: loneliness, loss of wealth, fall from grace, and battling interior demons. The teardrop diamond could represent the wealth and status her family once had. It is not just a $5000 jewel. It is a symbol of what her family once was and what was once the old South.

Jodie Markell does an impressive job directing. Her style is old school. She knows when to let the camera linger and when to let the scenes play out. The film does not seem rushed and it never drags. The cinematography is gorgeous with burnished orange dominating the color palette.

"The Loss of a Teardrop Diamond," may not be one of the four best movies made from a Tennessee Williams story but it is not far behind. This is mandatory viewing for any fan of Tennessee Williams.

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Beethoven Symphonies 1-9 (2013)

In 2001, during the month of February, the Berlin Philharmonic conducted by Claudio Abbado, were in residence at the Accademia di Santa Cecilia in Rome to play all nine of the Beethoven symphonies. The first eight symphonies were recorded for television by the renowned music film producer Paul Smaczny and directed for television by Bob Coles. The 9th had already been recorded in Berlin the year before with a distinguished cast of singers -Karita Mattila, Violeta Urmana, Thomas Moser, and Eike Wim Schulte, along with the Swedish Radio Choir and the legendary Eric Ericson Chamber Choir -and it is that performance that is included here. These performances have been released on four single DVDs previously, but this compilation box set of four discs is now available from Euroarts for an amazingly low price, much lower than than if you bought the single discs. You can read other customer reviews of the single issues here: Beethoven Symphonies 1, 6, and 8 / Claudio Abbado, Berlin Philharmonic, Beethoven Symphonies 2 and 5 / Claudio Abbado, Berlin Philharmonic, Beethoven Symphonies 3 and 9 / Abbado, Mattila, Urmana, Moser, Schulte, Berlin Philharmonic, and Beethoven Symphonies 4 and 7 / Claudio Abbado, Berlin Philharmonic. I have not reviewed the single issues but will not linger here to offer a review of each disc. I will simply say that for me Abbado is the master conductor of the present age and that his Beethoven interpretations, using the recently completed Bärenreiter edition of the symphonies done by English musicologist Jonathan del Mar, are almost universally hailed. The main achievement of this edition is the removal of hundreds of errors that crept into the first edition and have been perpetuated, or have multiplied, in subsequent editions. Abbado chooses to use somewhat reduced string sections in Symphonies Nos. 1, 2, 4 & 8, as is fitting for their gentler spirit. These same Rome and Berlin performances have been issued in a CD box set Beethoven: The Symphonies [Box Set] and in my view are generally preferred to his earlier issued traversal on Deutsche Grammophon Beethoven Die Symphonien (Symphonies 1-9) / Abbado, Berlin Philharmonic, which in addition is hugely more expensively priced. Interestingly, the present DVD box set costs less at Amazon than the CD box set. Go figure!

Interpretively these performances tend to be a bit on the fast side, with absolutely clear sonics and transparent balances. The men and women of the Berliner Philharmoniker, a younger group than we had been used to even a decade earlier, play like angels. Abbado himself had just been through a harrowing bout with stomach cancer and looks very thin but otherwise healthy in these performances. He says of this period, 'Music is the best medicine. More than any other form of therapy, it is music that has helped me through these last few difficult months.' Visually, the performances on DVD are neatly photographed. In several of the symphonies -Nos. 3, 5, 6 & 7 -the viewer has the option of viewing the performance in a 'Conductor's View' in addition to the usual 'Concert View' by use of the 'angle' button on the DVD's remote control. The 'Conductor's View' simply focuses on Abbado from the orchestra's perspective.

In addition to the bonus of the 'Conductor's View', there is, on the disc with with Symphonies Nos. 4 & 7, a half-hour interview with Abbado talking about his understanding of and response to the music of Beethoven.

These performances gave me enormous pleasure and I can't recommend them highly enough.

Running time: 6hrs, 34mins; Format: NTSC 16:9; Sound: PCM Stereo, DD 5.1; DTS 5.1; Substitles: German, English, French, Italian, Spanish; Region code: 0 (worldwide).

Scott Morrison

I will defer to Mr Morrison's previous review posted here for more details. This is an amazing deal for a complete Beethoven symphony cycle on DVD $30 for a 4 DVD set! Great conductor/orchestra/audio recording and nice 16:9 widescreen, for those with newer TVs. A great aquisition for a new or discriminating collector I am glad to own it.

But just a heads-up. This is a very different Beethoven and Berlin Philharmonic from the Karajan era. I mean almost a polar opposite extreme. Abbado has gotten into the whole newer performance practice of "fast and light" versus "slow and weighty". I am not judging here, just pointing it out. You will see/hear smaller orchestras, wooden flutes and lighter dynamics more akin to Gardiner than Karajan. The whole thing is a little "nicer" than the Beethoven I am used to but the trade-off is an incredible attention to detail and subtleties of dynamics.

The great thing about Beethoven is that it can really work with different approaches. So I recommend this set highly but just know that it is only one approach to this essential repertoire. (Bernstein with the Vienna Phil is a good alternate)Bernstein: Beethoven Symphonies Nos. 2, 6 & 7 or for the "complete opposite" I mentioned earlier Karajan Beethoven The Symphonies Boxset / Herbert von Karajan, Gundula Janowitz, Christa Ludwig, Jess Thomas, Walter Berry, Berlin Philharmoniker

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This set of all nine Beethoven symphonies provides a great deal of pleasure for a remarkably modest price. The added excitement of witnessing a live performance visually while enjoying the benefit of superb sound is what makes this a special journey through the Beethoven symphonies for me.

Not one of the performances will become my favorite; and given the biases we build up over time, including the fact that we tend to become attached to the first performance of a given work that really moves us, this is not a surprising result, nor one that should particularly dissuade the potential buyer. I do have to register a small amount of disappointment, however, because Abbado is one of my favorite conductors; and I was hoping for a few more revelatory moments than I encountered.

The collaboration of one of the world's best conductors and similarly superlative orchestras has produced performances that are at a very high musical level, containing much beauty and not a little virtuosity. I believe that Abbado has carefully considered and honed every phrase of the music, bringing to bear many years of experience and finely tuned sensibility; in addition, he has updated his interpretations to benefit from corrected editions of the scores and has also incorporated a style that is more in keeping with current performance trends, such as hewing more closely to Beethoven's tempo markings and generally eschewing any Romantic excesses. While all these things give us much to admire and recommend these interpretations as almost definitive, I found them to be just a little too much on the "safe" side to excite me if I remove the visual element. For all their excellence, these are performances that are neither fast nor slow, neither opulent nor austere, neither quirky nor routine, with the result that they fell a little flat with me.

I admit, and in fact insist, that Beethoven symphonies are not a good place for conductors to make highly personal statements--stray too far from a straightforward interpretation, and a conductor risks justified wrath at tampering with the sacred; but once in a while someone adds personal touches that make for a truly great performance for all time, for example Bruno Walter's Columbia Symphony recording of Beethoven's Sixth. It may not be correct, especially in terms of today's sensibilities; but it is unique in the best of ways. Abbado has the temperament and supreme musicianship to bring off a similar feat, and yet in this set I do not see that he has.

The modern avoidance of anything remotely approaching sentimentality in presenting the work of such a classical and architectural composer as Beethoven is probably as it should be, but I cannot wholly buy into it. As a result I found several instances in which opportunities for expression were passed over, especially in the first three movements of the Ninth. Adhering too closely to Beethoven's tempo markings leads to a sense of trivialization and sing-song-y-ness in several other places, too. A bit surprisingly, though, I actually enjoyed the brisker pace taken in the slow movement of the Ninth.

A few very brief impressions of these performances by individual symphony: No. 1, too bouncy; No. 2, not enough humor; No. 3, probably the best of the lot; No. 4, unexceptional; No. 5, really quite exciting; No. 6, not "pastoral" enough; No. 7, possibly tied with No. 3 for best of set; No. 8, not sunny enough; and No. 9, rallies in the end for a rousing last movement, with outstanding contributions from chorus and soloists.

Well-balanced and nicely spread-out audio is further enhanced by the choice of three different mixes: PCM stereo (CD-quality, or better, for the purist and for those lacking a surround-sound setup), and both Dolby Digital and DTS 5.1 surround modes. Those, like me, who like a little heavier bass and a more enveloping surround sound, will probably like the DTS the best.

One quibble with the production (and one that does not apply, for obvious reasons, to the other packagings available of this performance of Symphony No. 3, in which it occupies a disc all to itself) is that the pairing of the two longest symphonies, Nos. 3 & 9, on one disc leads to an unfortunate hesitation of play in the last movement of Sym. No. 3 as a layer-switch occurs to accommodate the greater-than-two-hour length of the disc. First, it would have made more sense to have avoided the problem altogether by swapping the Sym. No.3 with Sym. No. 2 so that one of the discs would have had Sym. Nos. 3 & 5 and another would have had Nos. 2 & 9. The current arrangement that has one disc consisting of only Symphonies Nos. 2 & 5 and with no added special feature, while crowding Nos. 3 & 9 onto one disc, just doesn't make sense. The layer-switch burp could also have been avoided by making the switch occur between movements, or even between symphonies; letting the switch occur just wherever layer #1 ran happened to run out of space was careless.

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This set is incredible. Everything is amazing The music, The interpretation and The execution. The Sound quality and the video are unreal as well. Just get it, you will not be dissapointed

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This Abbado/Beethoven cycle has been repackaged and is available at a bargain price. I would snap it up as it is generally a superb set. Symphonies 1-8 were filmed at live concerts in Rome. Abbado has a scaled down orchestra and these performances are lithe and vigorous. I cannot think of any of the eight that are not excellent interpretations. My surprize was the Seventh, the work I heard last. Taken at a generally brisk pace, is an absolute knockout; it should have you moving around with the music. The sound and filming qualities are quite satisfactory.

The set concludes with a Ninth that was recorded in Berlin. Unfortunately this performance seems quite flat and uninspired; certainly well below the elevated Rome standard. Given the excellence of Symphonies 1-8 one can still confidently acquire this very reasonably priced cycle. I have returned to it on many occasions with undiminished pleasure.

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Enchanted (2007)

"Enchanted" (2007) has to be one of my favorite Disney movies in years; it is a return to the type of classic movies that were produced under Walt's supervision, but it also acknowledges the times we live in without being too negative. Right off the bat, I was amazed to be able to watch a film that had no profanity and other than the topic of divorce, hardly any adult situations. Of course, there is some 'wink-wink' adult humor that will go over the head of children, but even that is pretty tame. How refreshing to know that an excellent movie can be made without looking like the 10pm news or a tawdry reality show. PLENTY of fun references to vintage Disney films, and a number of cameos by some Disney favorites.

The film begins as a typical classic Disney animated film would; Julie Andrews narrates the story of Prince Edward (James Marsden) from Andalasia, who must find his true love to marry, and his evil stepmother Narissa (Susan Sarandon), who does not want to step down from her throne and will do whatever she can to thwart Edward's search. Enter Giselle (Amy Adams), a maiden of the forest with plenty of animal friends. She too is searching for her true love, and through song and fate, Edward & Giselle meet, fall in love, but are separated by Narissa, who sends Giselle out of the toon world and into the harsh reality of present day New York City. While Edward and Giselle attempt to reunite, a hardened divorce attorney, Robert (Patrick Dempsey) & his daughter attempt to help her along the way. Giselle's positive attitude and belief in true love has a profound effect on Robert, who has apparently been embittered by his own divorce (what actually happened to his first wife is somewhat nebulous, and basically left open for interpretation). Robert is already seeing someone; Nancy (Idina Menzel) is the romantic girl he has been dating for the last five years. No plot spoilers here; you will have to see how it all comes together.

This film rests on the able shoulders of Amy Adams; in the role of Princess Giselle, she could have easily done a parody of Snow White, Cinderella, and the other Disney Princesses. However, she brings warmth, charm, humor, and great emotion to her character; she is totally believeable. James Marsden again shows off his tremendous vocal talent, and as a toon Prince, he gives a letter perfect performance. Although he is a little one-dimensional at times, it works perfectly with the plot and how the movie progresses. Dempsey also does a wonderful job in his role, with just the right amount of bitterness; it is very apparent that he underneath he believes in romance but what happened with #1 has forced him to change. The only weak link in the cast is Sarandon, which is a shame. She is one of our finest actresses, and yet her characterization just misses the mark for me; she lacks the power and evil that we expect from a Disney Villain; in the climax of the film, she almost appears to be yawning through her part. It is the power and force of a Disney Villain that makes their "fall" so enjoyable; evil must be very evil for the triumph of good to be truly satisfying. Still, it hardly detracts from the overall product. The songs in this film will stay with you after you watch the movie...in a good way. Rarely have I immediately been overcome with the desire to purchase the soundtrack from a film in recent years. Overall, a definite 5 stars for this movie.

The DVD is a different story; although there are extras, it does seem like Disney skimped on them. The highlight is the behind-the-scenes look, "FANTASY COMES TO LIVE," at 3 sequences: "Happy Working Song," "That's How You Know," and the Ballroom finale sequence. Seeing the layering of the CGI effects and Amy Adams having to "act" to nothing ("Happy Working Song") gives an even greater appreciation of her talent. You will also learn that one of the dancers from "Mary Poppins" has a cameo in the "That's How You Know" number. There is also an "extra," PIP'S PREDICAMENT: A POP-UP ADVENTURE, that tells the tale of Pip's alerting Edward that Giselle was no longer in Andalasia. MAYBE very young children will find this amusing, but personally, it was a little on the lame side. There is also a "Hidden Mickey" that is basically a promotion for the Bluray version of "Enchanted." The deleted scenes are fun to watch, as is the blooper reel. Neither are very long though. The Carrie Underwood music video for "Ever Ever After" is also included.

I am sure (or at least I hope) there will be a 2-disc special edition in the near future. So, for this 2008 Widescreen edition, I give it 4 stars instead of 5 due to the lack of extras. The movie itself still packs a wallop!

This film is a delight from beginning to end. It really is a film the whole family can enjoy. My 11 year-old was "enchanted" by it, my 16 year old son was laughing hysterically, and my wife and I were never bored once.

This film falls into the "fractured fairly tale" genre much like The Princess Bride which is a difficult genre to produce successfully. To add to the difficulty level this film also tackles the switch over from cartoon world to the real one. "Enchanted" succeeds here as well. The cartoon world is a tribute in style to the old fashioned cartoons we all grew up with, but the comedy and approach of the cartoon component works and is in funny balance to the real world scenes.

Amazon and other reviewers have done a good job summarizing this film and with the traditional elements of most Disney classic cartoons, there isn't much I can add here, so here is my hits and misses approach:

The Misses:

(1) The ending goes a little over the top with effects and seems a bit out of place, although it's still fun and interesting.

(2) The songs are good, even above average in spots, but not nearly as good as prior Disney efforts.

The Hits:

(1) It's a great marriage of cartoon and real world storylines.

(2) The film nails the fractured fairy tale genre right on the head.

(3) The story is engaging no matter what your age is. My whole family truly loved this film.

(4) For the genre this film has terrific acted. Amy Adams is someone anyone one of us would want to marry (or adopt). Her role of the misplaced Princess in New York City is difficult to get a handle on without grating on one's nerve, but she manages to get us to love and adore her. Patrick Dempsey is simply perfect in his role and who would ever think that James (X-Men Trilogy Marsden could sing and act so lightheartedly. Of course, Susan Saradon as the evil witch is perfectly cast and she manages to not go over-the-top as Glenn Close did as Cruella DeVille in 101 Dalmatians. The supporting cast of both familiar and unfamiliar faces are wonderful in their roles. This film is perfectly cast and makes one wonder why there isn't an Oscar category for casting as the person who did it for this film would surely have won it.

(5) Good blend of cartoon, real world, and special effects (even if the end goes a bit wild).

(6) The humor in this film will have you on the floor laughing until your stomach hurts. I kid you not, this film is absolutely hysterical as it pokes gentle fun as Disney's more traditionally family films. Some humor is a bit contrived in a few spots, but many seem like ad libs too.

I can't speak enough good things about this film. This is one to treasure and watch with your family over and over again. I'm sure that I will always find something entertaining in this film even on my 100th viewing.

Respectfully Submitted,

Steve Hedge, May '08

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***1/2

"Enchanted" is a fish-out-of-water tale that is also an homage to "Snow White," "Sleeping Beauty," "Mary Poppins," and countless other Disney classics that have come before it. Here, a fairy tale princess (Amy Adams) crosses over from the world of animation to the world of live-action, without losing her cheery disposition and otherworldly charm in the process.

On the day she is to be wed to her long-awaited Prince Charming, the beautiful Giselle is tossed out of the storybook kingdom of Analasia by a jealous evil queen (Susan Sarandon) who has no intention of letting some pretty little upstart usurp her throne. When Giselle finally finishes falling, she lands smack dab in the middle of a live-action Manhattan that is only a tad less immaculate and a shade less colorful than the cel-animated world she calls home. The plucky heroine is both dazzled and a bit confused by this strange looking world where the people don't seem quite as friendly or optimistic about life as the inhabitants of Analasia. Giselle is befriended by an unromantic, decidedly commitment-phobic divorce attorney (Patrick Dempsey) who doesn't know quite what to make of this odd, undoubtedly deranged creature who, when she isn't inspiring critters to help her tidy up the apartment or breaking out into full-throated, spontaneous song, is extolling the virtues of true love and declaring her undying faith in happily-ever-after endings.

Most of the fun of "Enchanted" lies in watching this almost impossibly cheerful, utterly imperturbable former cartoon character going up against the harsh realities of the real world (as harsh as the "real world" in any Disney film can be, that is), yet maintaining her sunny disposition throughout. The filmmakers have devised some spot-on parodies of the typical Disney musical number, replete with high-pitched warbling, a chorus of singing animals, and lyrics that reflect an unquenchable conviction that all is for the best in this best of all possible worlds. At times, the idea of the film is better than its execution, opting, as it often does, for silliness and strained slapstick over sophistication and wit. And sometimes, even the concept itself falls flat, as when we are left to ponder whether these creatures, with their weird behavior and exotic garb, would really be all that out of place in Times Square. And, regrettably, the filmmakers couldn't resist throwing an utterly superfluous, CGI-generated dragon into the mix at the end.

Yet, for the most part, the movie is clever, bright and beguiling, and boasts a wonderfully ditzy performance by the lovely Miss Adams that brings the whole sugarcoated confection to life. The material many be stretched a bit beyond its breaking point, but "Enchanted" casts a spell over its audience anyway.

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Leave your cynicism outside the theater and enjoy "Enchanted," starring the talented Amy Adams. She is captivating as Giselle, the lovely, wholesome, and naïve young woman who is convinced that all she needs to make her life complete is her one true love. Alas, Prince Edward, aka "Prince Charming," has a rather unpleasant stepmother, Queen Narissa, played with raucous glee by Susan Sarandon. Narissa wants to thwart the lovers so that she can keep the throne for herself. She hatches a diabolical scheme in which she sends Giselle to a far-off place where innocent people are eaten for lunch--New York City.

"Enchanted" adheres to the conventions of the "fish out of water" genre, which was used successfully in such films as "Elf" and "Splash." Giselle emerges from a manhole wearing her tiara and an ornate wedding gown. Luckily for her, she runs into a kindhearted divorce lawyer, Robert Philip (Patrick Dempsey), who is bewildered and bewitched by this strange creature. Besides having a ridiculously optimistic outlook on life and a sickeningly sweet disposition, Giselle has a way with animals (including rats, pigeons, and cockroaches--this is New York, after all) who help her clean house and run errands. Robert's daughter, Morgan, is soon smitten with Giselle; this sweet and pretty lady represents everything that a little girl dreams of in a mother. Robert's girlfriend, Nancy, who has a more down-to-earth and practical disposition than Giselle, is less than entranced by this interloper whom she senses may be a rival for Robert's affection.

The director, Kevin Lima, wisely encouraged his performers to play their parts straight, with nary a wink at the audience. Bill Kelly's witty screenplay pokes fun at such fairy tale clichés as the wicked stepmother with her arsenal of poisoned apples and the plastic, square-jawed prince gallantly wooing his fair damsel. Among the many amusing visuals: Giselle uses curtains and other fabrics that she finds in Robert's house to make cutesy, off-the-shoulder dresses; a chipmunk accompanies Giselle to New York and keeps popping up in odd locations to warn her of the danger that she's in; Giselle strolls in Central Park with Robert and everyone bursts out in merry song.

Amy Adams is adorable as she tries to adjust to an urban environment as well as the realities of modern romance. James Marsden is an appropriately vapid Prince Edward and Susan Sarandon camps it up as the vicious queen. The gorgeous Patrick Dempsey nicely evolves from a bitter realist to a man falling under the spell of a beautiful and soft-hearted woman. The music and lyrics by Alan Menken and Stephen Schwartz are charming, and the animation is effectively eye-catching. "Enchanted" is great fun. Kids, take your parents!

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Whether you have kids or not, this Disney movie is a delight for people of any age. The characters are top-notch led by Amy Adams who amazes me in her portrayal of a to-be princess who's a fish out of water in NYC. Her performance is so charming, so sweet and just plain believable that it really makes you happy watching her and the story. I can't say that about a lot of films including Disney movies.

The rest of the acting is perfect with a story that is quite entertaining. The musical numbers are great too with Amy involving some cool film effects using animals in the scenes. And they don't over-do the music in this one which can drag a film down at times.

You won't be disappointed in this movie and I recommend it on blu-ray if you don't own it. Either way, you'll be happy you bought this gem of a flick.

Enjoy!

10 (2011)

In 10, Dudley Moore gives a five star performance on two fronts as both a comic and music genius. Film fans may be unaware that Moore scored several films and performed as a concert pianist in his career in addition to his acting talents.

Moore plays a fortyish songwriter who has developed the mother of all mid-life crisis's. Julie Andrews (who looks fantastic here BTW) shines as his impatient love interest and Bo Derek is lovely as Dudley's fantasy girl. Brian Dennehy and Dee Wallace-Stone are very good in supporting roles.

The DVD transfer is good especially for a film that has a little age. The sound is mono only which is disappointing but understandable. This is one of Blake Edwards best films and a must see for fans of romantic comedy. It is sad and sobering to realize that both Moore's and Andrew's gifts have been diminished by illness. Grab this DVD and take time to remember how really talented they both are.

Dudley Moore plays a fellow by the name of George Webber. Webber is a wealthy, accomplished & respected musician who has a great many friends and admirers. There is one problem. He is in his 40s and begins to experience his mid-life crisis. He is restless & bored with life. Although settling in to middle age, he finds that he is still attracted to women in their 20s (a "problem" that I myself experience).

By chance, he spies a beautiful young woman (played by Bo Derek) who is on her way to her wedding. She is the most gorgeous creature he has ever seen and he immediately becomes obsessed with her. This obsession leads to a great many mis-adventures that lead the viewer through the balance of the film.

While it is not apparent on the surface, I would characterize 10 as a dark comedy. It is somewhat morose to think about getting older and no longer being young & vibrant. The creative ways in which the film differentiates Moore's character from the young lover of Bo Derek's persona are almost creepy.

Aside from the tragic loss of youth, the film is also a commentary on the issue of people's personalities not matching their exterior appearance. While she is beautiful, Bo Derek's character is found to be quit wanting on the personality side of the ledger. She is shallow and superficial. Insofar as being a worthwhile person, she can hardly compete with George's girlfriend (portrayed by Julie Andrews).

Of all of Blake Edward's films, this one is probably in the top 5. It is insightful into what troubles we human beings as we grapple with your mortality and the decline of our bodies. On the upside, there is also some gratuitous nudity, although they could have shown a LOT more of Bo Derek. If Amazon had a 10 star rating, I would give this one a 9!

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This is a magnificent comedy about a male in a mid-life crisis who sees a beautiful women and becomes infatuated. Bo Derek made a career of this movie. No acting skills at all but her desirous beauty alone makes her perfect for the role. And Dudley Moore? This is movie also made his career. In a supporting role, Brian Dennehy starts his career with a great role as a bartender. Also, my kudos to Blake Edwards.

Probably most under-appriciated is the magnificent score, particularly the songs of his lust and yearning for Bo Derek. But it's never as real in real life and Moore finds this out. Anyone married for 5 years who hasn't seen this movie should curl up for an afternoon with this on the tube. It's a classic of marriage, love, and life in Los Angeles.

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Blake Edward's film "10" is probably among one of the funniest movies to come out of the 1970's.It is both a celebration and condemnation of the sexual antics (post pill/pre-aids)of our society during the "Me Decade".In the story, Dudley Moore (in one of his best roles)plays George Webber, a Burt Bachrach style composer, who seems to have everything including wealth, fame, talent and a wonderful girlfriend (marvelously played by Julie Andrews). Unfortunately George has just celebrated his 42nd birthday and is having a huge mid-life crisis.He does this by fixating on a just married beauty(played by the ravishing Bo Derek)who is the "10" of the film's title.George, hilariously chases her down to a Mexican vacation resort, where he learns the lesson, that one must be careful, what one wishes for.The "10" might be a beautiful girl, but she is ultimately an empty person, who lives for nothing more then self-gratification. This is a really funny movie farce that seems to give us a little of everything.The scenes of physical slapstick probably can only be rivaled by Blake's own "Pink Panther" movies.The dialogue is witty and delivered with the best of comic timing.But what ultimately makes this movie is the performances by Dudley Moore and Julie Andrews.Both actors play their characters with both heart and emotion. These two have such a wonderful chemistry together (even when they are fighting) that you wonder how Moore's character can even have such an idiotic mid-life crisis.Finally, I must mention the movie's funniest scene and it's use use of Ravel's 'Bolero'. In the scene, Moore tries to seduce the beautiful Derek, who infuriatingly insists, that he keep re-starting the "mood music". Never has a piece of classical music been put to such comic effect.It led to the real life '70s fad of using 'Bolero'as "make-out music". This is a really a funny movie that will provide you with a great night of comic entertainment.

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One of the best all-time real life comedies. They don't make em like this anymore. Bo Derek is amazing, Dudley Moore is brilliant. This is one of the five best movies I've ever seen. If you like rock-em sock-em far fetched explosion's and car chases, move on. This is a realistic, well written, well acted, real life story of a middle aged man going through mid-life crisis. It's not a male bashing or female demeaning movie. It's a good realistic story about some really interesting people going through what most people go through at some point in time. The movie came out around 1980 but you don't get the sense that your watching an old movie when your watching it. It's timeless. One of those movies you will watch more than a couple of times over the years.

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The Cannonball Run (2011)

Cannonball Run is a guilty pleasure. No one would ever say it's a good movie, but it's a like train wreck, you find yourself staring. Burt Reynolds tries to live his glory days of Smokey and The Bandit, bringing along the same Director, Hal Needham as well as a slew of falling stars to prop him up. Its as if all of them knew their careers were sliding and it was one last ditch effort to make a great noise. Don't get me wrong, many of these people are talented. Lets explain the premise first. The 'Run' is an auto street (or highway) race, based closely on a real race that was run throughout the 70s that went from New York to California. It was highly illegal, and probably a lot a fun. There is even an appearance by one of the original drivers, Brock Yates, who is now an editor for Car & Driver Magazine and makes an amusing appearance as the MC, explaining how the race goes. Reynolds is JJ McClure, a former race car driver and mechanic who is the standing champ in the race. Eager to keep his title, he is desperate to win again. In this race though, that doesn't just mean going fast, anyone can go fast, but sooner or later, you will get stopped. JJ and his strange friend, Victor (Dom Delouse) adopt a personality of two paramedics driving a patient cross country. Apparently this worked in the actual race one year. The supporting cast of competition includes Jamie Farr as an overzealous Sheik in a hopped up Rolls Royce, Roger Moore playing a comic version of his James Bond character driving his popular silver Austin Martin, Mel Tillus and Terry Bradshaw playing a couple of southern boys cruising in a stolen race car and my personal favorite, Dean Martin and Sammy Davis Jr. playing womanizing, gambling hard drinking priests driving a red Ferrari (they aren't really priests). All this adds up to a movie where every scene you see a star. Dean and Sammy steal the show in almost every scene they're in, they are class acts adding something unattainable in most pictures of this caliber. The racing antics are not quite as funny as the beginning scenes where all the characters are introduced, but it is entertaining. The best part of the movie comes at the end though where the bloopers are shown during the closing credits. It's worth the price of the DVD alone. Don't expect a great movie out of Cannonball Run, all you can really expect is a good time, but isn't that what it's all about?

A zany cross country race based on an

actual event called "The Cannonball

Sea-to-Shining-Sea Memorial Trophy Dash." The brainchild of writer Brock

Yates, who competed in the first Cannonball in 1971. The object is to

drive as fast and as safely as possible from Connecticut to Redondo Beach, California.

In every Cannonball, no driver or person has ever been injured.

The worst case, a team or two put behind

bars for no more than an hour.

"The Cannonball Run" is based on real

characters and adventures. It was penned

by Yates, who makes an appearance in the early stages of the movie as the "organizer."

Burt Reynolds headlines an all star lineup as "J.J. McClure" a wealthy

entrepreneur who, along with his

'executive assistant' Victor Prinze,

played with great verve by comedian

Dom DeLuise. Victor has some issues.

In times of 'mortal danger' his personality changes from mild mannered

mechanic, into an alter-ego called

"Captain Chaos" who wreaks havoc on

some less than respectable hombres we encounter along the way.

Farrah Fawcett is teamed with J.J. and Victor when she's kidnapped in their ambulance.

Jack Elam as "Doctor Nikolas Van Helsing" provides lots of laughs

and few chills when needed.

Veteran performers Dean Martin and Sammy Davis Jr. join the ensemble as

a pair of priests in a souped-up Ferrari.

Roger Moore makes a departure from his

'James Bond' character playing "Seymor Goldfarb." An individual who believes he's

Roger Moore. It's a great spoof and Moore plays it with perfection.

Mel Tillis and former quarterback

Terry Bradshaw show up as just a

couple of good ol' boys ala "Dukes

of Hazzard" style, toting cases of beer but sans the "General Lee."

Tara Buckman and Adrienne Barbeau are seen throughout the film in their

custom black Lamborghini Countach,

breaking speed limits and the hearts

of some unsuspecting law enforcement

officers along the route.

Jamie Farr from "MASH" is cast in the role of a Sheik obsessed with winning the Cannonball

in a hot-rod Rolls Royce.

The Cannonball Run was directed by

Hal Needham who brought us "Smokey and

the Bandit" and "Hooper." Hal and Brock

were partners in a Cannonball held in the late 70S. Needham sets a flat out,

pedal to the metal pace for "Cannonball" and it doesn't let

up till the finish line.

After twenty years, this film still makes you laugh. Rent it tonight :)

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I watched this because I adore Dean Martin and the Rat Pack, but only after putting off watching it for so long--I was afraid it would be really stupid and not be worthy of being Dean's next to last movie. I had no reason to fear :) . It is absolutely hilarious! The second one is a million times better (more Dean & Sammy and a huge plus with Frank), but this one's great. It's just crazy and silly and a ton of fun.

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Okay, so I first saw this film at the age of 10, and we all know that a 10 year old is easier to please than an adult. However, I still love this film now (15 years later!), and not just for the fast cars and all-star cast. Of course the plot is almost non-existent but who cares? It's refreshing to see a film which doesn't take itself too seriously (a point that Dr Popinofsky seems to have missed in his review). It's called fun, Doc. F-U-N. If we're not allowed a bit of pointless fun from time to time what's the point of even getting out of bed in the morning?

I accept it's probably not to everybody's taste but it still makes me giggle!

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I must admit that my expectations were not too high on purchasing this Blu-ray, but I'm glad I was wrong. The movie itself needs no real explanation, tons of stars (a little too much Burt Reynolds for my taste, though), fighting (Jackie Chan's first Hollywood movie) and fast cars add up to some great entertainment. Picture quality is very good considering the price and the disc even manages to squeeze in a commentary. The highlight has to be the out-takes displayed during the credits, so funny!

If you want a movie that doesn't require too many brain cells, this is the one for you. Just plain fun

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Chicago Cubs: The Heart & Soul of Chicago

Great combination of Soul of the Second Citys Beloved baseball team! The Music and Interviews enhance the experience of the heart being the Chicago Cubs!

we are delighted with the Vidio, even my 10 year old grandson who is a great cubs fan with his Dad enjoyed it.

the leave in Minnesota and i gave them the vidio for Easter, i know the will always treasure it,special the Chicago history and the segment on Ron Santo,a great ball player and so much more.

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I lived about 20 miles north of Chicago for many years. I now live in Indiana and a dear friend lives in Colorado. I sent my friend a copy of this and she loved it. Then she loaned it to her daughter ... well, you know how that goes, then it's loaned to someone else and before you know it, it's mia. During the course of the coming year, I would like to get one for my friend, one for each of my grown children and one for me. I feel like just about anybody would enjoy this one.

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My hubby is an avid Cubs fan and he was so excited about this. He said it was amazing and a great bday gift.

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As a Chicago native, I know a good history when I see it and this is without peer. Came on time and in great condition. Thank you very much.

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Invisible Target (Ultimate Edition) (2007)

Benny Chan's Invisible Target has burst onto our home screens in both a regular and Blu-Ray disc format. This crime film about the aftermath of an armored car robbery in Hong Kong stars Nicholas Tse, and Jaycee Chan (son of Jackie Chan) this film starts with a huge explosion in the midst's of Honk Kong's business district and ends with the fight of a lifetime with two veteran renegade police officers and their "by the book" sidekick against the surviving orphans of a supreme gang (three men and a woman). It is comedy, chaos and lots and lots of martial arts all squeezed into 130 minutes. This film is a must see for everyone who loves Asian cinema and non stop action.

The blu Ray DVD itself is beautifully presented with a clear, sharp picture and speaking of explosive ... sound that will blow you out of the room. The Extras include scenes cut from the final production, a detailed commentary by the actors and director Benny Chan, and a behind the scenes look at exactly how all the chaos and martial arts were filmed. Stunt doubles were not used in this film, and the result is many bits of business that you will want to view more than once, and with the Blu Ray disc you can.

Highly recommended.

Saw this movie when it first came out on dvd a few years back, and it was much better than I thought it would be. Lost my dvd during a move, and when I saw it was offered on Blu-ray, got this one instead. Movie looks crisp and the sound is incredible!

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I thought this movie was among one of the best recent Asian action/martial arts movies. Along with Jackie Chan's son, Jaycee Chan, Nicholas Tse and Shawn Yue made an excellent, and at times humorous, trio. The pacing was good, and the stunts were top notch as well. Just seemingly nonstop, powerful action, with some tense and thrilling moments, as well as some emotional scenes. To me, it had the makings a classic martials arts movie, in the same vein as Jackie Chan's Police Story series. I sure hope these guys, the three main actors I mean, get together again sometime to make another martial arts movie...

Overall, if you're a fan of martial arts/action movies, you'll love this!!

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Patton (1970)

Very first thing! There is only one version of Patton on Blu-Ray you should get if you want a proper transfer. Follow this link if you're not already on the correct product: Patton [Blu-ray]

If you're not sure you're linked on the correct one, it's the one with a full upper torso shot of Mr. Scott with the American flag hanging behind him. That's the remastered version. All versions with half his face off to the right with a gray/white background are the older, waxy transfer.

Second thing. To those who waited with me for the remaster, all I can say is WOW! It looks beautiful. Detail is strong and the image is once again alive. You can find comparison screen shots of the two version over at blu-ray.com. Their review of the remaster also explains their error in giving such high marks to the first blu-ray pressing of the film.

Only read on if you're either bored or don't fully know what the deal is with the two different versions.

Now that Amazon has combined all Patton reviews to be displayed on all versions of the film, I will sum up my original review of the 40th Anniversary Digi-Book Blu-Ray Edition to encompass a more, `in general' tone. To those wondering why so many people found my review helpful, it was because I researched and found important information about that particular release and felt a duty to inform all future Patton Blu-Ray purchasers that the 40th Anniversary, Digi-Book edition was in fact the same, horrible, DNR mess that had been available on Blu-Ray for a few years prior, just in new packaging. But the biggest reason for my review was that I knew (thanks to Bill Hunt at The Digital Bits) there was a properly re-mastered version being worked on and I felt a need to inform people so that if they wanted a good transfer, they would need to wait a bit. Now that my review is visible on all versions, I can see how it would frustrate people to read everything I had written, from the original review to all the updates on the progress of the re-master. So I shall summarize and make it more appropriately broad in an attempt to be more helpful to everyone.

Now, about the film. Patton is a classic among classics. This is perhaps one of George C. Scotts best performances of his career. And although the film has many inaccurate accounts for the sake of artistic liberties (what true story film doesn't?), all the way to the end with the `all time' ox cart dodge, the performances and cinematography are what make this movie a timeless classic. Yes, it is slow. At least for today's ADD, plot line spoon fed, 3D with no actual depth loving audiences. But to those who prefer story to gimmicks, I would call it "paced", and not slow. This is a dialog heavy film. Do not go into it thinking otherwise. And it is long. But not dull. George C Scott even won an Oscar for his performance and famously rejected it stating that he did not feel he was in competition with other actors and had this to say about the Academy Awards, "The whole thing is a goddamn meat parade. I don't want any part of it."... This film is almost like a very well directed, greatly acted, stage production. Accept the set pieces are amazing, real, and captured on a now rarely used 70mm film stock. So if you are interested in a summed up version of who General Patton was and his incredibly important role in winning WWII, than this would be the film to watch. So good in fact, that they've never attempted an actual remake of it...yet (studios, please don't).

On to the Blu-Ray issues mentioned above. If 50% of this movies awesomeness is the beautiful cinematography, than no one should be subject to a sub-par version of this film on the PQ front. What I want to do here is give everyone yet another heads up. At this time, the version linked above is the only version of Patton you should purchase on Blu-Ray. All others, the original release a few years back, the 40th Anniversary Digi-Book edition, and even the copy in the 4-Pack War Movie collection, should be avoided at all costs as they are all the same, awful, waxy looking transfer that was done when few people fully realized what Blu-Ray should be used for in the HD market.

In Blu-Ray's infancy, studios often tried to get rid of all film elements that made a movie look less "HD" by today's standards of things being shot digitally. I believe they felt that if there was any grain or softness to a film, it would make people think it was not an HD master and possibly make people not want to jump to Blu-Ray. The fact is, anything shot on film will have grain. It's one of the many elements that give film a life and character of it's own. And even though Patton was filmed on 70mm film, meaning a much finer grain structure than typical film stock, the studio decided to wipe all grain off of the image for the first pressing anyway (known as DNR, or Digital Noise Reduction). DNR is why we get a `waxy' appearance on faces and other objects on screen on some Blu-Ray discs. Much like a moving wax museum. Much of the detail is lost due to this process as well. I'm not sure why, but some people still like this. But to film purists who want a movie to look as it looked while in the theaters, this is unacceptable. Unless it's Pixar, people shouldn't look waxy. This is exactly what happened with the original pressing(s) of Patton on Blu-Ray.

Thankfully, not only have studios realized that Blu-Ray and an HD displays true role should be to accurately represent the original work as best as possible, but the complaints were heard about Patton as well and a re-master has been in the works for a few years now. It was released on November 6th of 2012. If you are looking for a version of Patton that is true to it's original intent and look, than that version is the only one you should get.

Yes, this may have gotten long. But trust me, not nearly as long as the original post, which I will be archiving in the comments section.

And once again, if you're purchasing Patton on Blu-Ray, be sure it's this version and this version only: Patton [Blu-ray]

P.S. I am leaving my stars low because the title my review is specifically linked to is the Digibook edition.

"Patton" offers one of the great marriages of actor and role with George C. Scott's riveting portrayal of the notorious American tank commander. As a film biography "Patton" forgoes the rise of the celebrated general and merely hints at his ironic death because of injuries suffered in a traffic accident, focuses entirely on his military career commanding troops in North Africa, Sicily and France during World War II. The strength of the script by Francis Ford Coppola and Edmund H. North, as well as of Scott's performance, is that the paradoxes of Patton are completely embraced. Not even Patton's loyal cadre of staff officers can keep him from shooting off his mouth every time there are reporters around, but then neither German Field Marshall Rommel or English Field Marshall Montgomery can beat him on the battlefield. Karl Malden's performance as General Omar Bradley is just as solid as Scott's, presenting a man whose personality is the complete antithesis of Patton. Viewers find themselves identifying with the German captain who is the intelligence expert on Patton and arguably the only person in the film who really understands or respects the American general. But the more I watch "Patton," the more I am very impressed with the battle sequences of director Franklin J. Schaffner ("Planet of the Apes," "Pappillon"), which were staged live and full-scale without special effects of miniatures. Schaffner provides not just the large spectacle of a desert tank battle, but smaller and equally memorable moments, such as a soldier falling dead in the snow. "Patton" deserved its Oscars.

In terms of extra features on this DVD, the second disc features the 1997 50-minute retrospective documentary, "The Making of Patton: A Tribute to Franklin J. Schaffner." Recent interviews with the cinematographer, composer, etc., are blended with audio interviews of Schaffner and Scott from 1970, newsreel footage of Patton, along with clips and publicity stills from the film make a fitting tribute to the late director. The audio commentary on the first disc is really more of a lecture on Patton by Charles M. Province, the author of the book "The Unknown Patton" and founder/president of the General George S. Patton, Jr. Historical Society. Province more than adequately fills in what the movie leaves out about Patton's life. On the second disc Jerry Goldsmith's Oscar nominated musical score is presented in stereo, including alternate takes and a series of radio spots. You certainly have to appreciate what Fox has put together here: This is a "Special Edition" DVD priced as a regular DVD, a real treat for those of us who remember being mesmerized by George C. Scott giving that profanity laced opening speech standing in front of that giant American flag.

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The Fox "Cinema Classic Collection" edition of PATTON offers a far superior picture transfer than the previous THX edition. The new image looks to be from actual 65mm elements and is far less grainy than the old transfer, which looks to have been from 35mm dupes. However, sometimes colors are a little unstable in new image, with often pinkish hues and reddish flesh tones, but most of the time the picture looks fine. The soundtrack seems the same as the old edition, which was just fine. All of the extras from the previous edition have been retained, and the new commentary by screenwriter Francis Ford Coppola is interesting.

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When this movie was released, it was almost immediately recognized as one of the finest, most accurate and most sensational biographies ever filmed. The unique integration in "Patton" of such fine acting, such a wonderful script, and the filming itself combined to make this a gorgeous film to watch, be entertained with, and also learn from in terms of its historical value as an absolutely superb depiction of a most controversial man and his times. All that said, this is a movie best enjoyed with the kind of visual clarity, terrific cinematography, and matchless Technicolor it offers by way of DVD technology.

George C. Scott gives the performance of a lifetime as the ego-drive, brilliant, and iconoclastic Patton, marvel of the U.S Army, a man the Germans are convinced is far and away the single best General the Allies have, and they watch him convinced he is the only logical centerpiece for American plans for the impending invasion of Europe. Of course, they didn't understand the politics of the day, or the degree to which Patton was his own worst enemy. Yet the progress of the story on the screen convinces the viewer of the accuracy of the German command's judgments of him; he is at once bold, brilliant, and innovative, willing to improvise as he goes along to seize the opportunity of a given moment, attempting to grab hold of the ever-present chaos of the situation to transform it into an asset he can employ to gain advantage and win the engagement.

Such men as Patton (and MacArthur and others) are uniquely suited for war; they do not ordinarily fare well or survive with much public acclaim during less extreme and bloodcurdling times. The fact that Eisenhower, for example, succeeded so well as President is probably due more to the fact that he was less a battlefield commander and leader of "desperate men in combat" like Patton than he was a superb organizer and a natural politician. The movie "Patton" is an investment in both great entertainment and a colorful, dramatic, and educational video you can share with your sons and daughters to help them understand better the chaos, contradictions, and cruelties of war. Enjoy!

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I have always loved the movie "Patton". It is a true classic and a treasure in cinema. I give 3 stars to this special edition because of the following reasons. I cannot understand why 20th Century Fox chose to add the Documentary "Ghost Corp" which seems to want to imply that Patton abandoned the XX Corp and particularly the 94th Infantry deliberately with no reason. Horrible incidences happen in war, this one happened because Patton was on his way north to fight a little annoyance called THE BATTLE OF THE BULGE!, also he was going to rescue the 101st Airborne surrounded by German Forces at Bastogne from being ANNIHILATED!. In the documentary "The making of Patton" there is a clip from Oliver Stone stating that the movie "Patton" was responsible for Nixon invading and bombing Cambodia, which, according to Oliver Stone, forced the Khmer Rouge to kill millions of Cambodians. He states that only two movies he knows of ever influenced history; "Patton" and of course his movie "JFK". Naturally his (Oliver Stone)'s movie was in a good way. "Patton" just caused destruction and death. My view of this is that 20th Century Fox wanted to be politically correct and shield itself from anyone anywhere at anytime thinking that they would glorify war. I have never ever heard of a single person thinking seriously that the movie "Patton" glorified war. Whoever thought that at Fox is an idiot and obviously does not think much of the audiences' intelligence that watched "Patton". Oliver Stone is simply pitiful. He wishes that he could make a movie that would live in people's hearts like "Patton" does. He will never touch that greatness, his films will never obtain that level of affection in people's hearts. People don't love "Patton" because it is a war picture. We love it because it is great, it resonates in our hearts and it gave us an image of a complex man and the great men around him who sacrificed, bled, and accomplished heroic deeds. It is positive and gives us hope, unlike the depressing, hopeless, and disposable garbage that Oliver Stone puts out.

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