Monsieur Verdoux (Criterion Collection) (1947)

If the willingness to take risks is the mark of a great artist -and I believe it is -then Monsieur Verdoux is one of Charles Chaplin's greatest films. And amidst all the controversy stirred by his portrayal of a serial wife killer, it's easy to forget that it's also a hilarious black comedy with plenty of sharp lines that would have succeeded even without its sociological message.

Chaplin's ability as an actor is pushed to a new level on this film through his portrayal of a morally ambiguous, unscrupulous ex-bank clerk who has no qualms about putting a body into an incinerator in his backyard. While much has been said about this film's break with Chaplin's Little Tramp character, careful examination reveals that Henri Verdoux is just a logical, and daring, advancement in the character: The more devilish, sometimes sadistic sides of the Little Tramp taken to their inevitable conclusion, where comic mischief crosses over the line to villainy. And it's highly compelling, the perfect foil to Chaplin's most heartwarming films (eg. City Lights and Modern Times), allowing Chaplin to express an insidiousness hitherto unexplored. Martha Raye nearly steals the show as the airheaded, supernaturally unkillable Mme. Bonheur (the name itself means "happiness"), and Marilyn Nash is winning as the Belgian derelict who inspires a spark of compassion in Verdoux. The conclusion of this character relationship is one of Chaplin's most complex writing feats: Imagine the ending of City Lights twisted into a dark, steely, uncompromising version of itself.

There are certain moments when the film does threaten to fall into self-involvement -in his later years, Chaplin did let his ego take ahold of his work -but in the case of Monsieur Verdoux, he uses this larger-than-life persona so well, and it fits the character so snugly, that the ego becomes an advantage and adds to the depth of the character. And the script has none of the self-conscious mix of silent film and talkies that plagued The Great Dictator; Chaplin had grown quite well into dialogue writing, allowing him to formulate moments of murderous irony that are cuttingly funny. ("Don't pull the cat's tail...") I have no problems with the ending speeches in this film as I did with the final speech of The Great Dictator: In the context of this story, they fit in quite well. Verdoux at the end is a man who has given up all hope, and he seems to mock his own fate and character while unmercifully unveiling his anger at the world. The speeches are not meant to be taken for face value, and I find them thought-provoking and fascinating rather than moralistic or self-important.

I first saw this film at Symphony Space in New York City and the audience was laughing so hard it was in tears. With modern audiences generally less inclined to judge a film by its "moral standing" (Kill Bill, anyone?), Monsieur Verdoux can be seen for what it is: A hilarious, complex sociological examination which identifies social ills while at the same time taking part in it. In that, it is unique in the Chaplin canon and deserves to rank among his most important films.

A quick note about this DVD edition: For some reason, the bonus materials for this film are far less numerous than on the other DVDs in this series -hence the single-disc package and lower price. By the standards of this series of reissues, the DVD materials are really quite scant -a useful yet brief half-hour documentary featuring good insight from director Claude Chabrol, a trailer, some storyboards. The picture and sound are of good quality, however, and the film is one to own. Highly recommended.

In his autobiography, Charlie Chaplin called "Monsieur Verdoux" (1947) "the cleverest and most brilliant film I have yet made." Though not without its faults, this sardonic black comedy remains his best foray into sound. Chaplin's detailed performance as the business-minded Bluebeard is a masterpiece of screen acting. However, the supporting cast ranges from excellent (Martha Raye) to amateurish (Marilyn Nash) while the final minutes get bogged down in endless talk. Chaplin later admitted that "Monsieur Verdoux" could have used a bit more pantomime and less dialogue. Still, it's a thought-provoking and hard-hitting film. Henri Verdoux and the Little Tramp have much in common.

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That was the campain in the 40's, when the public didn't want to accept this film. After a few weeks of running, it was abandoned in all cinema's. The people expected a Little Tramp, instead, they got a Bigamist Lady Killer. En mass they decided to boo the film and stay away.

However, this is not what Monsieur Verdoux deserves. In every scene you see Chaplin's quick brain, keen eye and swift feet at work. Some of the love scenes are absolutely hilarious, even in this day. Martha Raye (the wife who refuses to me murdered) is a scream. The film is intended as a parody on Society prior to WWII; if you watch it with this in mind you'll be able to enjoy it tremendously.

Before Chaplin decided to make this film, he had just gone through one of the most turbulant periods in his life. His divorse with Paulette, being harrased by a neurotic former love, meeting Oona and soon to be banned from the States, accused of being a Communist had taken it toll. Chaplin fought back in the only way he knew how: by making a comedy to tackle the present cruel (at least to him) society.

This DVD quality is as good as you can get; there a no evidence of film aging. However, the text on the back of the cover is a great disappointment. I happened to read it before I watched the film (as most people do to see if the film is what they were looking for), and not only was this the dullest description of a film I ever saw, but worse, it actually managed to give away the entire film including the FINAL scene! If you decide to give this film a chance (which won't be a disappointment, garantueed), avoid reading the back of the cover at all costs.

This is a five-star film, but one star off for the cover. Shame on Image Entertainment!

Read Best Reviews of Monsieur Verdoux (Criterion Collection) (1947) Here

When Chaplin set about to tell the tale of MONSIEUR VERDOUX, he wanted an actress for the role of the indestructible Annabella who could hold her own in the comedy department. He looked no further than stage/radio/movie star Martha Raye, who was known for her improvisational skills and was fearless when it came to comedy. Raye considered this the high point of her career, to have been chosen by the man she considered The Master as a co-star. Without exception, critics hail the rowboat scene when Verdoux is trying vainly to murder the obnoxious Annabella as the highlight of the film. Given the right director, Raye was matchless in comedy and also proved to be a capable dramatic actress in a precious few roles (Jumbo, The Gossip Columnist). Watch this film, if only to appreciate the comedy genius of Martha Raye. Oh, Chaplin ain't bad either.

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Many people seem to have a hard time stomaching this movie, I think in large part because, despite all possible warning to the contrary, people go see this movie with the idea that it will be like Chaplin's earlier movies, with him playing a character that either symbolizes human virtue or directly espouses Chaplin's views. These people are sorely dissapointed, because Chaplin's character, Monsieur Verdoux, is neither virtuous, nor does he express Chaplin's personal ideology. In fact, sometimes people come out of this still holding the point of view that this is just a regular Chaplin movie and are disgusted with Chaplin's apparently murderous tendencies!

The basic plot has been oulined here many, many times, and I don't think anything can be gained from going over it again; I will simply provide my views on what the characters mean so that those who watch this movie for the first time can at least go into it without drastic misconceptions. Verdoux is a French bank clerk layed off as a result of the depression, he sees no alternative but to marry women, obtain their assets, and murder them, in order to support his family. He loves his family (son and invalid wife) dearly, but despite this is cynical about the world, viewing it as a hostile place where one has to be hostile in return to survive in it. NOTE: Chaplin is NOT Verdoux (although they have some similarities: more on this later), at least, Verdoux is not Chaplin's vision of an ideal human being. In fact, Chaplin's ideal, which in earlier films took the form of the Tramp, is most nearly expressed by a female ex-con that Verdoux runs into. I forget exactly what she says, but one essential point is that a little kindness can make the world a wonderful place. Her optimistic world view is at direct odds with Verdoux's cynicism, and in fact Verdoux tells her that her optimism is corrupting his philosophy. There is much else that I could say about the themes of Monsieur Verdoux, but it is better if you simply see the movie, which I highly recommend.

Looking at the film in a fair and balanced way, however, it does have flaws. The only one of real importance to me is that Chaplin makes the character of Verdoux too sympathetic, especially at the end, with his statement to the court, which comes off, at least partly, as an excuse for his atrocities, rather than as purely an indictment of the hypocritical, inhuman world he lives in. My view of Verdoux is that he is a product of the mechanized, impersonal, ungrateful world so briliantly satirized in Modern Times, as inevitable as the Sun rising in the East, and not that he is a wise person (not that his statements at the end are what I would call wise, but they contain elements of wisdom that invite one to place trust in what Verdoux says). Perhaps at least part of this half-sympathetic portrayal is that Verdoux's disillusionment, his lashing out at a world that has turned his back on him, were traits that Chaplin at this stage in his career deeply identified with, and perhaps he couldn't help but put a little of himself into Verdoux. At any rate, these minor quibbles are no reason, I think, to deny the film the status of a classic masterpiece.

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Days of Heaven (The Criterion Collection) (1978)

MOVIE:

Terrence Malick is one of the greatest filmmakers alive, and after Sergio Leone he is my second favorite director of all time. In his career that spans almost 40 years he has only made four feature length films. What I love about Malick's films is that they are poetry; they break all the conventions of filmmaking. When you sit down to watch a Terrence Malick film you are readying yourself for an experience. The way he examines human nature in every single one of his films is extraordinary. Every one of his films also deals with man's impact on nature and he slowly erases the lines between sanity and insanity. His directorial debut was with Badlands starring Martin Sheen and Sissy Spacek; a haunting story of lovers on the run from the law. His next film is still undoubtedly one of the most moving pieces of cinema ever created, Days Of Heaven.

Days Of Heaven tells the story of Bill (Richard Gere) and Abby (Brooke Adams); two young people in love trying to make ends meet and find work. The two go around pretending to be brother and sister as to protect themselves from the outside world. At the beginning of the film Bill gets in a tussle at the steel mill and accidentally kills his boss. Now Bill, Abby and Linda (Linda Manz) hop a train to go work on a farm to harvest wheat. The story is told through Linda's perspective. Linda is the real sister of Bill and she is barely a teenager. It's interesting that Malick lets the story unfold through the eyes of an innocent child; I think it gives complex situations in the film a simpler point of view. As the story unfolds and they work on the farm Bill finds out that the owner of the farm is dying of a terminal illness. The farmer is played by Sam Shepard in his first major role. Bill hatches a plan for Abby to get the farmer to fall in love with her. That way when he dies he will leave all his assets to her and they will become rich. As can be imagined after a full year passes the farmer is still alive and tensions begin to grow that leads to an inevitable climax.

The number one aspect of this film that garners so much attention is the cinematography. The story goes that Nestor Almendros started the picture but about a fourth of the way through he had to leave due to a prior commitment. Cinematographer Haskell Wexler came in and shot the rest of the picture according to Almendros's standards, but in the end didn't receive any credit on the film. Almendros went on to win the Oscar for Best Cinematography that year. All quarrels aside one can't deny the brilliance of the film's photography. Every frame is crafted with absolute detail that in some cases will give you goose-bumps. They shot most of the film during "magic hour"; that twilight period right before the sun sets. It creates a perfect backlight that if framed correctly can create haunting silhouettes. It seems as if there is always a ring of fire on the horizon that is slowly getting closer, which it in fact does. During the scene of the locust plague a lantern breaks in the wheat fields and the entire farm erupts into flames. It symbolizes rage in the characters as tensions mount, but I don't want to spoil anything for those who want to experience the film for the first time. All in all this film is a visual feast that will stay in your mind's eye.

Since the film is extremely light on dialogue it relies on two major elements. Cinematography being the first thing I discussed and Ennio Morricone's score being the second. Morricone's incredibly dark and foreboding score is a haunting masterpiece. It underscores the human conflicts being depicted in the film and of course has tragedy spelled out plain and simple with the tone right from the beginning. The first time I saw the film I cried because of the subtle power of this Oscar nominated score. The haunting elements of it will resonate with you for quite some time, and honestly this score is the major source of emotion in the film. It accentuates Malick's themes perfectly.

So, what is this film ultimately about? One could spend all their time writing about a Terrence Malick film and every word could be wrong and right at the same time. His films need to be experienced, because it is absolutely impossible to try to describe how his films affect you. In my head I saw this film as an exploration of love and how human nature is a flaw that can allow our emotions to consume our rational side. If you've seen The Thin Red Line, Badlands or The New World then you should have a good idea of what Days Of Heaven will be like. It's a surprisingly short film at only 94 minutes, especially if you compare how long his last two films were. Thanks for sticking with me for this entire review/analysis. I really like to do more than the average critique when it comes to important films like this.

SPECIAL FEATURES:

Audio Commentary:

Since Terrance Malick is the most elusive filmmaker ever (not a single interview ever?) the commentary track features editor Bill Weber, art director Jack Fisk, costume designer Patricia Norris, and casting director Dianne Crittenden. This is a fascinating track that really delves into just how much detail can be found in every single frame of the movie; a must for film enthusiasts.

Audio Interview With Richard Gere:

An interview conducted in 2007 just for this release. Richard Gere examines how he came to doing the movie. He discusses how he really wasn't into film but rather theater. However, he saw Badlands and was immediately interested if Terrence Malick was directing. He does ramble a bit, but he does offer some insight. The fact that it's a 22 minute audio interview set to stills and footage of the movie makes it kind of a bore to sit through.

Video Interview With Sam Shepherd:

This 12 minute interview from 2002 is an interesting look at how Malick got Shepherd into acting. He talks about how he was more into writing at the time, but he decided to do it just for the hell of it.

Video Interview With John Bailey:

Bailey was Nestor Almendros's camera operator and this is by far the most interesting interview on the DVD. It's a 20 minute interview and it is incredibly in depth. He uses a lot of lingo that may go over the head of casual viewers. He explains in detail all the techniques they used and it really opens up a lot. It's a really fascinating interview that uses visual examples throughout as he talks.

Video Interview With Haskell Wexler:

Wexler was the cinematographer who took over for Almendros and in the end received no credit for his work on the film. In this 11 minute interview he explains his relationship with Malick and how he came to take over for Almendros. It's a great first hand account from the man himself.

41-Page Booklet:

The booklet contains an essay by Adrian Martin and a chapter from Nestor Almendros's autobiography.

VIDEO:

When you buy a Criterion DVD you are paying for perfection. This remastered version was supervised and approved by Terrence Malick. The original 1.78:1 aspect ratio is maintained exactly with absolutely zero flaws in the transfer. The new high definition transfer was created from a new 35mm interpositive struck from the 35mm A/B roll original negative. Thousands of instances of dirt and scratches were removed and the resolution is magnificent because they mastered the DVD at the highest bit rate possible. I just wonder when Criterion is going to make the move to Blu-ray?

AUDIO:

A brand new Dolby Digital 5.1 surround track was created for this release. The old track was tossed and this new track was remastered at 24-bits from the original 4.1 magnetic tracks. Every effort possible was implemented to reduce clicks, hiss and crackle. This is fantastic, I love Criterion so much.

BOTTOM LINE:

Days Of Heaven is one of my favorite films of all time and I certainly think it's Malick's best. The film will overwhelm you with its visual power and you certainly won't forget it. Criterion has done a great service by remastering this film and I can only hope that Malick's other films will eventually get the same treatment.

How fitting it is that the best movie Richard Gere has ever done, and will ever do, is the one where he probably talks the least. Of course, dialogue isn't what's so breathtakingly beautiful about Days of Heaven, one of the forgotten greats of all time. It's the cinematography (maybe the best of all time, sorry I left this off my list, folks), the sad story that runs through the film, and the overwhelmingly aching tone that just resonates from every frame. Days of Heaven is a quiet, meditative film that flies under the radar in emotion and volume for most of the time. The film roams over the open fields of its locale, half-listening to conversations (even important ones) as maybe the watchful eye of God. I saw this movie once before and bought it on a whim, and am convinced more than ever that most great movies don't reveal themselves totally on the first, or even second time. On viewing #2, I can't get Days of Heaven out of my mind. It's a beautiful, sad little tone poem that resonates more than most explosive, violent movies of the '70's. You're missing out if this one isn't on your shelf. GRADE: A+

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A few years ago Paramount Pictures unceremoniously dumped Days of Heaven on DVD with a decent transfer and no extras save a theatrical trailer. While the folks at Criterion haven't quite given it their deluxe treatment, they have provided a brand new, Terrence Malick-approved transfer that is a revelation and a few, yet substantial extras.

While it was too much to hope for a commentary by the media-shy Malick, Criterion has provided us with the next best thing: a commentary by art director Jack Fisk, editor Billy Weber (both men have worked on all of Malick's films), costume designer Patricia Norris and casting director Dianne Crittenden. Weber talks about Linda Manz's inexperience as an actress and how she kept referring to Richard Gere, Brooke Adams and Sam Shepard by their real names. Fisk talks about the challenges of constructing sets with very little preparation time. They all talk about Malick's working methods and provide fascinating insight into the director's creative process.

There is an audio interview with Richard Gere that plays over footage from the film. The actor says that the filmmaker spent a year casting and this drove him crazy and he almost left the film. Gere candidly reveals that Malick didn't really know how to direct actors and this led to some frustration on their part.

Also included is a 2002 interview with Sam Shepard who mentions that Malick was shy and almost embarrassed to ask him to be in the film. Shepard also talks about the filmmaker's attention to detail and how in awe he was of nature and his desire to capture it on film.

Finally, there are interviews with camera operators John Bailey and Haskell Wexler. Bailey says that Malick made a classic, pastoral film but with an edgy, American New Wave style. He also talks about Malick's creative process and the cameras they used. Wexler took over when the film's cinematographer Nestor Almendros left due to a prior commitment. He talks about Malick's connection to nature and his working methods.

Read Best Reviews of Days of Heaven (The Criterion Collection) (1978) Here

Terrence Mallick's 1978 masterpiece is as strong today as when it was first released...or maybe even better now in comparison to the banal movies of today. The incredible cinematography and minimal narrative create a mood and feeling that very few films would ever even attempt...this is like a poem on film, but easily accessible and amazingly engrossing. Ennio Morricone's score is one of his best and most haunting ever. The entire cast is superb (Gere, Adams, Shepard), but the stand-out has always been young Linda Manz (who also narrates throughout in a subtle almost surreal authenticity)her low-key performance is absolutely incredible. The minimal narrative has been criticized by some, but anything more would have damaged the mood and emotion of the film. The tragic outcome of events is inevitable...so why clutter it with soap opera? Compare this film to anything else out there and you will see that it is truly one-of-a-kind. Seeing this movie again after almost 20 years reminded me how many great films came out of the 70's. It was a great period for modern cinema --maybe call them the "days of heaven" for movie-going --and Mallick's masterpiece stands tall to this day. This is a must see for any serious film buff. The only reason I give it 4 stars instead of 5 is that on the DVD some of the darker scenes are slightly murky...but overall it is still a Very Clean and Nice looking widescreen transfer. The DVD has the original kind of awkward trailer as well. Don't miss this film!

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The director, Terrence Malick, has made few films but his stature is legendary among film buffs and industry players (for different reasons). This film, which he wrote and which is possibly his best, is one reason why so many admire Malick. Winner of a well-deserved Academy Award for Cinematography by the late, great Director of Photography Nestor Almendros (who wrote a wonderful book about cinematography, by the way, called A MAN WITH A CAMERA), DAYS OF HEAVEN does nothing so well as perfectly evoke a place and time. By the way, a previous reviewer was incorrect -it was not the Great Depression, but pre-WWI. This is a film that does a lot with a little; and it is so beautiful and so well-told that one could turn the sound off and understand the whole story. Don't you dare, though: the soundtrack by Ennio Morricone and others (Leo Kottke, Doug Kershaw, Camille Saint-Saens...) provides perfect accompaniment to this spare and tragic tale.

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Freedom Writers (2007)

**A few spoilers in this review**

Amazon's has it all right in their comments on this underrated, wonderfully acted, and fair treatment of our current education system that all too often gives up on what it considers the "undesirables" present in every school, the teachers who think that they know it all (both villain and heroine in this film), and the kids who believe that they have no reason to even try to prove others wrong.

The dialogue is blisteringly realistic, sensitive, insightful, and painfully honest most of the time. In many ways there are no real villains in this film although there are two specific teachers who attempt to give Swank's character difficulty either because she is attempting to succeed where others have failed, or because she thinks she is better than others or has the key to her students' success if others would just get out of her way. It's easy to see the veteran teachers' resentment for Swank as Gruwell. She is brash, naive, overconfident, obsessive, and appears to want to outshine her colleagues although that really isn't her intent, but one can see how a veteran teacher would see her as a threat to their status which they feel, and rightly so to some degree, have earned. Simply because these older veteran teachers may not be as "on fire" as Gruwell, who is new to the profession, doesn't mean they aren't still dedicated. In their defense, Gruwell really does just dismiss their experience, expertise, and dedication to the education profession because they have become a bit more jaded by their life experiences in this profession. She does come off rather self-righteous at the wrong times such as when she's actually seeking help. Talk about ironic.

As a 17 year veteran teacher myself I understand those veteran teachers in the film, but I also recall being Gruwell's age with all its enthusiasm, shakey confidence, and out to prove something mentality. I have greatly learned to appreciate and love the new teachers that come into my school because they have the opportunity to succeed where I may have failed and the students will benefit from that, but it does have its pains too. I know that that glorious time is somewhat behind me now and passing the torch is hard. It's also hard to see one's own light diminishing while another is being lit. I think younger teachers need to be sensitive to that and Swank's character, Gruwell, is rather harsh and judgmental to those that don't "get" her style. In fact, she is so harsh that her single-minded focus doesn't let her feel others' emotional pain that her success is causing. She appears to only be focused on her mission and her kids and while that can be praiseworthy, it can be narrow-minded and heartless too. Sadly, her obsessive nature causes her marriage to collapse. She NEVER sees that coming and that is all the more sad as it shows how clueless she is regarding her own actions while so easily condeming others. In the end, neither Gruwell or her husband really comes off as the "bad guy" at the end of that relationship although people are bound to take sides. I think he's pretty shallow and weak for not standing up for himself or his marriage more until it hits a point of no return. There is plenty of fault to go around.

This is compelling film making and my wife and I talked for hours after viewing this film as she recalls my early days in education and how I am now after years of battling and bowing to belligerent parents who never believe their kid could do any wrong, abusive and manipulative students who know the system is mostly on their side now, condescending administrators who believe they have the answers when they are no longer even in the classroom environment, and demonizing politicians who always see us as the reason for all the ills in society. To add insult to injury after many years of dedication, new young teachers often come in displaying little respect to veterans as they see others not giving us respect. It's sad that they so often don't see their futures in us.

I praise new young teachers like Gruwell and world experienced but new teachers like Jamie Escalante (Stand and Deliver) and all such teachers who battle the odds to make a difference in the lives of their students. If anyone gets anything out of this film, I would hope it's a sense that all deserve respect. Films in this genre all too typically demonize the veteran teachers as has-beens who have just given up, praise the young upstart regardless of their flawed attitude at times, and put students on the same playing field as adults which they are not. This film breaks this genre's stereotypes quite a bit. I felt sincerely sorry for the disenchanted and disrespected veterans even though they were combative and jealous. I felt great respect and empathy for the young new teacher, Gruwell, for trying to make a positive change, but upset with her condescending and self-absorbed, callous attitude at times toward her colleagues and husband. I, lastly, felt great compassion for the students portrayed in this film who all too often society feels are "throwaways."

This is the kind of film that lingers in your mind long after the viewing of it is over. This film is worth renting if not owning. Enjoy.

I don't know about anyone else, but I went through a lot of tissues in this movie. Not because it's sad (although there are a few sad parts here and there), but because it's so moving and heart warming. It took me too long to get around to watching this and I'm sorry for that, but now that I've seen it, it's definately a new favourite of mine and I thoroughly enjoyed it.

It's based on fact and what a teacher, Erin Gruwell, does to turn around a class of kids who seem helpless. It's far better than Higher Learning or Dangerous Minds. It's got a fantastic cast in it and they all did such a great job. Hillary's character starts out a little niave because she thinks from the start that it's going to be a piece of cake to teach this class English. However, soon after they arrive at the first lesson, she sees it's going to be an uphill battle. A little on in the movie, after she sees a drawing someone drew of a black student, she begins to get them thinking about how these actions can take their toll, by refering to the way Jews were drawn in newspaper cartoons back in the beginning of the Nazi uprise. These kids have never heard of the Holocaust and she overtime, helps them see what Jews faced when the Nazi's took over Germany and other parts of Europe (she takes them to the Simon Weisenthal Museum of Tolorance) and she plays games with them where they divide into two sides of the room and come to the center of the room for each thing they have in common (such as whether they've lost someone they love in gang violence, or whether they have the same music taste). Soon they see that it doesn't matter if they are Black, White, Hispanic or Cambodian they are all so similar in so many ways and they shouldn't let race divide them.

You HAVE to see this brilliant movie. It's so uplifting and moving, that you'll no doubt love it as much as I did. It's such a powerful movie and ALL school kids across the world should be made to watch this in classes at school. I love it.

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We loved this movie, it is a very inspiring story of a young teacher with difficult teenagers, it is very well acted and directed, and by the time it ends we are feeling moved, uplifted and with faith in the future of our children!

Read Best Reviews of Freedom Writers (2007) Here

Hillary Swank plays the part of Erin Gruwell, a new teacher starting out in Long Beach, California teaching a freshman class of students that have suffered many difficulties in life so far. Each of them in the class has already been subjected to violence in school and in their communities and they also confront peer segregation in the form of cliques or `tribes' as described by one student.

Erin Gruwell, new to teaching and on unfamiliar ground, starts out by absorbing the abuse given by her students and eventually finds ways to break down the racial tension and communicate with them. She is able to accomplish this even with the school principal and department head of English are not supporting her methods or acknowledging her successes. On her own, Erin Gruwell works two extra part-time jobs to help pay for school books and other materials that she cannot get from her own administration. So much of her time is spent on bettering her students that even her marriage begins to deteriorate.

Beginning a new class project where everyone is to keep a journal and make daily entries, Erin Gruwell eventually reads the journals, with the approval of her students, and begins to connect with them even more in that she now understands the pain in their lives and hardships they have faced. This also drives her to become even more influential in their education and give them hope and inspiration in becoming what they never thought they could. The students in her class, some being the first in their families to ever graduate high school and then go to college, do just that. They eventually call themselves Freedom Writers and they also put their journal entries together to create the `Freedom Writers Diary' which was published in 1999.

I can remember 2 distinct movies before this that employed similar kinds of themes and they were `To Sir With Love' and `Dangerous Minds'. The formula certainly worked back then and it works this time too, maybe even more so. There is no mistaking that this is a very well made film and it is well acted. The story is inspirational, uplifting and definitely worth watching.

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I read a few reviews of this movie, and I realized something that I thought was pretty well presented in this film: not everyone's reality is the same as mine...you might not see the same movie I saw. First, this is based on a true story. A teacher inspires a class to believe in themselves and change the attitude of a hopeless community. I don't think there is a situation in the film where people feel sorry for each other, they learn to understand and accept each other. Which is probably the worst thing that could happen to the human race as a whole (that's sarcasm). Ummm...this wasn't merely another film from a specific genre, it's based on a true story and dedicated to one of the students from the actual class who was killed in a gang-related crime. Ultimately, the movie is about doing the right thing, and how the people in charge often hide behind a system to prevent change. Now go read all the redneck 1-star reviews, and count how many admit they didn't watch the whole film.

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Elf (Ultimate Collector's Edition) (2010)

I loved this movie. It was totally bonkers: a human baby accidently ends up on the north pole and grows up among the elf community that supports Santa Claus. Buddy, as he comes to be known, knows that he's "special" however, since he can't keep up with the other elves. Never mind the fact that he's about three times as tall as any of them and barely fits in the shower.

When he's 30, and still young by Elf standards, he learns that he's really a human. Buddy decides to go in search of his father (who's on Santa's naughty list), to find out where he belongs. He walks to New York (through the Lincoln tunnel), and is immediately run over by a cab. The chain of events starts at that moment ...

Buddy is a delightful and enchanting character with many special talents and a childish personality. He is naive to the point of stupidity, but charming all the while. His lovable demeanour gains him friends in spite of his clumsy efforts. He is sweet, kind and generous. When his father at first rejects him, Buddy ends up in a department store where other elves (people who pretend to be Santa's elves) are working, and stays up all night to decorate the place. When the department store Santa isn't the real Santa, well, you can guess what happens ...

Buddy eats spaghetti covered in syrup, smarties and pop tarts; he gets drunk in the mail room of his father's office and his young half-brother shows him to ask a girl out on a date.

But all the while, things are looking bad for Santa Claus (and also Buddy's father). How will Buddy rescue the day? When Santa crashes his sleigh in Central Park, it's Buddy's moment to shine.

Abstract, enchanting, child-like madness all make up this beautiful movie. Absolutely delightful and recommended to viewers of all ages. If you want a Christmas feel-good movie, this is it.

I rarely go see movies twice, but after taking my four children, I treated my parents and watched it again! You fall in love with Buddy, you just can't help it! Will Ferrell is not the kooky nut in this one as in most of his movies, he truly shows the innocent, sweetness of Buddy the elf. Full of laughs, and not as predictable as you might think. I just can't wait until it is released to purchase. I will own this one, please note that after viewing you will need to decorate your house for Christmas immediately !! :)

Buy Elf (Ultimate Collector's Edition) (2010) Now

First of all, this was the funniest film I have ever seen; I was in tears half way through. Yes, it is a kids' movie, but adults get to watch Will Farrel rip the heart out of Christmas by camping it up and being ridiculously sincere. Watching Farrel start a fight with a fake Santa for "sitting on a throne of lies" is about as fun as films get.

Those reviewers who think that this was cheesey nonsense duh. It was supposed to be, and that is what made it so funny. And you seem to have missed the whole essence of the film.

Oh, and the kids liked it too.

Read Best Reviews of Elf (Ultimate Collector's Edition) (2010) Here

Elf is an unusual movie in this day and age. It is not manipulative and speaks of simple values and simple, true love. I went to see it with my 10-year old, a 28-year old, and a 38-year old (I am 47). We all laughed and cried and came out of the movie amazed that such a simple movie could be so much fun and say so much.

Anytime you have a movie in which the main character is totally innocent and naive, it brings up how calloused and hardened we have all become to the things in life that matter. That's the message of this movie. I highly recommend it and am adding it to my Holiday DVD collection you can bet we'll watch it every year and some inbetween!

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I see a fair number of movies, but it is only rarely that I leave the theatre feeling I truly got my nine dollars' worth. The last six months have been exceptional for me in that there have been three films which have been more than worth my time and money. The first was "Lost in Translation"; the third was "Eternal Sunshine of the Spotless Mind"; and the one in the middle was none other than "Elf"!

Oh yes, I kid you not. I am usually not the biggest fan of Christmas movies, but "Elf" kept me smiling for two straight hours. This is no small achievement, especially during the holiday season. James Caan is perfectly cast as Will Ferrell's father, and I was really impressed with Ferrell himself. I always thought he was funny on "Saturday Night Live," but this really is classic stuff. There is no danger of him going the way of Rob Schneider or David Spade, "Old School" notwithstanding. Throw Bob Newhart into the mix and how can you lose?

Roger Ebert said it best: "I thought it would be clunky, stupid and obvious...foisting upon us a chaste romance involving the only girl in America who doesn't know that a man who thinks he is an elf is by definition a pervert.... It took me about 10 seconds of seeing Will Ferrell in the elf costume to realize how very wrong I was.... He convinced me that this was a good movie, and that's a miracle on 34th Street right there."

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Space Children (1958)

If you're read some the other reviews here, you may notice I was intially a bit skeptical of Olive Films, having not been familiar with them until now. Well, I'm happy to report that the company (actually a part of Paramount, it turns out) did a fine job with this mostly-forgotten Jack Arnold drive-in sci-fi film. While it is true that a 50+ year old low-budget film, even in 1080p, will never have the shine of a recent film shot in high definition, The Space Children is, for the most part, remarkably clear.

The film itself concerns an alien being taking possession of the children of some rocket scientists. While the film's promotional materials played up the otherworldly menace, the story itself is actually fairly subdued. This is science fiction that favors talking over action, and although there are some nifty effects, they are sparingly used. The film's anti-war message places it in the company of The Day the Earth Stood Still (Special Edition) [Blu-ray] rather than the typical alien-invasion films of the period.

As the title of the review states, this is a "bare bones" video release. All you get is the movie. Which is a shame, because there is a great theatrical trailer that can be easily found on the internet. And director Jack Arnold was a generally well-liked and prolific genre filmmaker, so a featurette or even trailers from his other films would have been a nice touch. But as someone who collects and adores films of this type, I consider it a minor miracle that a Blu-ray release of "The Space Children" ever saw the light of day. So for that, I am grateful. And I'm most satisfied to see that Olive Films is a company that cares about these old films.

Bottom line: This is a must-have for fans of 50's science fiction. And because this is the first official release of the film on video, there's a good chance that many genre fans haven't even seen it.

Producer William Alland and Director Jack Arnold were responsible for some of the best and most innovative Science Fiction films of the fifties. Olive Films has released an underrated gem which happens to be Arnold's Sci-Fi swan song , 1958's 'THE SPACE CHILDREN' into the digital age. A beautiful anti war statement made when this type of film was few and far between at that time, it emerges as Arnold's most personal film. Never has his use of landscapes been more realized. Just as he used the desert as his tableau in 'IT CAME FROM OUTER SPACE'-1953 and 'TARANTULA'-1956 , he surpasses his water and underground cavern settings of his masterpiece 'THE CREATURE FROM THE BLACK LAGOON'-1954 by placing his alien visitor in a cave within walking distance of the ocean causing the setting to be calm yet menacing in each frame brilliantly realized by photographer Ernest Laszlo. The performances by the children are excellent and even the adults are shown in different lights by being shown the errors of their ways. The icing on the cake is the eerie music score by Van Cleve who also graced Director Eugene Lourie's 'THE COLOSSUS OF NEW YORK' the same year. It emerges as a poignant children's fable predating the menacing alien-invasion-by-children thriller Director Wolf Rilla's 'VILLAGE OF THE DAMNED'-1960 and its sequel, Director Anton Leader's 'CHILDREN OF THE DAMNED'-1963. The transfer is stunning with a beautiful 1.85 transfer which is just as good as the BLU-RAY release and has an original trailer as its only extra. Highly recommended and kudos once again to Olive Films for excavating this underrated film to Sci-Fi Fans of all ages.

Buy Space Children (1958) Now

"except ye become as little children, ye shall not enter into the kingdom of heaven."

(St.Matthew, Ch. 18, v.3)

This is a William Alland production. You remember his productions.

Such unforgettables as:

Citizen Kane

The Devil and Daniel Webster

It Came from Outer Space (one of my favorites)

Creature from the Black Lagoon

This Island Earth

Tarantula

The Deadly Mantis

And many more.

This one is a toughie to find.

There is a nice spooky movie credits however it's missing the obligatory sci-fi introduction narrative.

The U.S. is about to launch a hydrogen bomb satellite to protect up from the other side. The other side may already have done so. Someone or something has other plans and a unique ally.

Sandy Descher plays Eadie Johnson; here she gets to talk instead of just screaming "Them!"

A little deviation on this review. Looking at the trailer that the family lives in on the beach I noticed the glass louvers on the door. Back in the 60s after school I had a job manufacturing the glass louvers. It brings back old times.

Read Best Reviews of Space Children (1958) Here

I really liked this movie. The picture quality was very good and so was the sound. I noticed a very familiar monster. It looked like the Horta in a Star Treck show. It was the usual 1950"s drive in movie. But I really love these movies.

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The late 50's were loaded with sci-fi stories about space aliens doing nefarious things. What a delight to see a pleasant film about little kids making the "powers that be" look like idiots. I first saw this back in the 50's, released on a double bill with "Kronos" as a drive-in double feature. (Both are good films). This film resonated with me a lot, and I never forgot it. Glad to know it's on (a very good) DVD.

The Cold War was brewing, and the idea to lay low til you know what the hell is actually going on is a lesson well portrayed. I like this film a lot, more than just a "guilty pleasure". It actually has something to say.

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Phantoms / Darkness / Venom (2012)

All three are a cut above 'B' movies, some more than others. Phantoms is an adaptation of a very good Dean Koontz novel with an 'A' cast including Ben Affleck and the legendary Peter O'toole. If you've read the book then it will mean much more to you than having to stand on it's own two legs. The screenplay relies heavily upon the reader knowing the novel and that works against it as a stand alone film. If you haven't read it you will have the impression that something is slightly askew and you're not being told everything and that Peter O'toole is slumming...but still you'll find excellent production values with a bang up ending and more than competent turns by every actor involved. For the price it's worth the collection by itself to get the blu-ray transfer of this film(which looks and sounds very good indeed). If by chance you have read the book then this movie is kick ass!!!

Venom is an atmospheric little teen horror flick with the likes of Jonathan Jackson and Agnes Bruckner involved in Voodoo curses in the Lousiana bayous. It's tight and nerve wracking and the kids milk all the poison out of the plot they can. It works and actually of the three films is the most coherent by itself. If you're a fan of Voodoo flicks and teen slasher horror flicks in general and not, I repeat, NOT a member of AAA, then you'll love this foray into deep dark goings on. (you'll have to see to get that little attempt at humor).

Finally there is Darkness starring a great cast in a Spanish international production of a ultimately muddled yet eerily disturbing mash up of current horror trends. Having the cast really saves this film but the Director is to be commended for an attempt that just falls a hair short. Not because it isn't totally tense and frightening but because there isn't anything new here you haven't seen before. However it held my interest until the very end. Anna Paquin (True Blood's Sookie Stackhouse) plays the teen thrust into the new surroundings who begins to suspect evil is afoot but it is her brother Paul (Stephan Enquist in his very first role with no previous experience at age 9) who sets the tone for the first half of this family returning to its rotten roots tale of demonic something or other (literally since I could never quite figure out what the spell being cast is to accomplish) and he does an absolutely outstanding job of acting. The great Italian actor Giancarlo Giannini plays the Grandfather to great effect and the parents (Lena Olin and Iain Glen) give concise acting lessons in cause and effect of evil's influence along with Fele Martinez as Anna's boyfriend and Fermi Reixach as the Architect. Wonderfully filmed and truly frightening at times (especially when the children are just standing around in the darkness)still it loses it's focus at the end and takes the easy way out. Up til then it's modern Gothic at its best.

Gore is mostly absent from these horror films (well perhaps a teeny tiny bit in Phantoms and quite a bit in Venom now that I think about it) and Darkness and Phantoms rely more on monsters and mayhem for their thrills. So as I said...none of these movies is a 'B' film and only fall a hair short of being outstanding 'A' horror films. The blu-ray transfers are clean and crisp in picture and audio (albiet no frills included) and at this price for all three that's a bargain even the Devil couldn't pass up!

I have to admit I got the dvd version of Venom and Darkness on some movie horror collections... and the Blu Ray versions are way better to behold. Making this a darn good buy since it has 3 of them on it. Worth getting for the price.

Buy Phantoms / Darkness / Venom (2012) Now

I mainly ordered this blu-ray for the movie, "Phantoms", an excellent movie based on a novel by Dean Koontz, which was the book that got me hooked on the author. "Venom" was also very good, but "Darkness" was not quite as good as I expected, though not bad enough to make me wish I had not bought the blu-ray. I would have paid this price for just "Phantoms", but was lucky enough to get a total of 3 movies for the price of one.

I'd recommend this one to anyone who likes Dean Koontz, even if you don't care of the other two, this one's definitely worth the price.

Read Best Reviews of Phantoms / Darkness / Venom (2012) Here

No real mystery here a bang for your buck and a couple of hours of distartion. Phantoms as a bit more on edge with a sinister plot with the typical government "I'm here to help" but a great late evening or rainy day movie set.

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Awesome movie finally in HD. Great sci fi / horror movie followed by an awesome cast defiantly a must see movie.

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The Stepfather (1987)

i couldn't be happier that this movie has finally found it's way to dvd. one of my all time favorites and what was becoming the "holy grail" of movies to find on dvd. the transfer looked good without any obvious "cleaning up" of the scenes for dvd. i wish there were a few more special features but i am happy they included "the stepfather cronicles" because i love hearing the behind the scenes workings of my favorites. terry o'quinn does an acting tour de force as jerry blake, the stepfather. he so completely inhabits the role that i am suprised and thankful that he was not type cast after this role.i read somewhere one time that his role as the stepfather was a cross between mr. rogers and mark harmon. i can see that. it may not be hamlet or macbeth but it is damn fine acting. jill shoelen is great as the daughter. i am so happy to hear that the dvd release may have brought her back to the conscience of producers and casting directors. this is a great movie that possibly gets a bad rap as "horror" or "slasher" neither of which it is. it is a great movie about one mans struggle to make his world the way he believes it should be and treating it, and everyone around him, like an "etch o sketch" when they inevitably disappoint him. he simply reinvents himself elsewhere and then cleans up the mess at home before embarking on to his new existence. do yourself a favor and watch this movie.

I'm pretty sure I'm with everyone else, on this page, when I say it's about time!

I'm a huge scarry movie fan, and I must admit, I'm a bit partial to the older films, than most of what comes out today.

That being said, If your seeking a real tale of fright, this is your movie. It's funny, everytime you get together with people & talk about scarry movies, "The Stepfather" is either always the last one mentioned, or not mentioned at all; and I can't, for the life of me, understand why.

It's an original story, not like other scarry movies where the storyline is being used for the 100th time. This movie has everything you could want in a horror film. It has the right elements of atmosphere, music,suspense, character development, and just the right amount of the red stuff . . . without going overboard! I haven't seen many films that actually bring these key elements together just right, and this one does it right. There are a couple of comical moments, as is usual, but for the most part, this film is dark, serious, and means business.

Maybe that's it, maybe it's to real for people to accept.

I promise,when watching this one, you will not be leaving in the middle of the film for extra soda & popcorn!

Buy The Stepfather (1987) Now

I Saw The Remake Trailer And Smiled

Why? Because I knew because of this we were finally gonna get the original Stepfather on DVD. This movie for me was one of those rare times I came home late put on cable an caught the opening scene without knowing what this movie was called or what it was about. Isn't that great when that happens? Your thinking what is this? Then he walked down those stairs passed the bodies and blood and out the door, I was glued to my TV from that moment on. This has been one of my favorites ever since. You know what else is wonderful about this movie, the cinematography,the look and feel of this picture. The neighborhood,the fall,the leaves,trees, the homes the street the lighting. I wish this were coming out on Blu Ray, hey maybe.

Till this day no matter how many times I've seen it I still get soooo humorously annoyed with JIM OGILVIE. He does this incredible job of tracking Jerry down. He knows the damn house he lives in now, walks in the door with his gun in his pocket lol and then is shocked to see him with blood on him.

What a boob! That and the sound of the phone hitting Shelly Hacks face still makes me cringe. Great writing, great directing, and wonderful acting,this film is scary yet so warm and inviting. You actually feel sorry for this lunatic. Must Have!

Read Best Reviews of The Stepfather (1987) Here

Jerry Blake (Terry O'Quinn) is a new man since murdering his entire family and acquiring a new identity. No one knows who he really is, including his new wife (Shelley Hack) or his stepdaughter (Jill Schoelen from POPCORN and WHEN A STRANGER CALLS BACK). Don't worry, this isn't a spoiler, we know all of this information from the very beginning. Jerry sets up his latest "family" right away, leaving his past behind, as if it never happened. You see, Jerry just wants the perfect family, without fuss or problems. As long as everyone co-operates, everything is dandy. It's when people start disappointing him that Jerry has to respond. He must have order and perfection, or else! THE STEPFATHER is a fantastic 80s thriller, in the same league as FATAL ATTRACTION and future films like THE HAND THAT ROCKS THE CRADLE and SINGLE WHITE FEMALE. O'Quinn is masterful as Blake, a man torn between pretentious calm and homicidal violence. Ms. Hack is excellent as the oblivious mum, while Schoelen plays the pesky fly in Jerry's ointment! A great story w/ a finale that rivals the afore-mentioned classics of the genre! Buy immediately!...

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I love the stepfather one of my favorite movie, i was so glad to see it made it on dvd it was so hard to find...

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The Mummy (1932) (1932)

With these words, the viewer is once again seduced by Boris Karloff's amazing ability to bring to life, so to speak, characters that have been long dead. By 1932, when "The Mummy" was released, Universal was the leading Hollywood horror studio. "The Mummy" was ... ahem ... one more nail in a very successful sarcophagus, providing Universal with more acclaim and Karloff with another notch in his already-outstanding cinematic resume.

Now released on DVD as part of the Universal Classic Monster Collection series, "The Mummy" reflects the rampant interest in America at the time in all things Egyptian, brought about mainly by the discovery of King Tut's tomb by Howard Carter some 10 years prior. The supposed curse that was to have been visited upon anyone who disturbed the boy king was even worked into the script of "The Mummy" which was, originally, not an Egyptian movie at all but which was based on an historical Italian alchemist/hypnotist who claimed to have lived for centuries.

In the film, the mummy, Im-Ho-Tep (pronounced "M-Ho-Tep") is accidentally revived after 3,700 years by a team of British archaeologists. He was once a priest, buried alive for attempting to revive the vestial virgin whom he loved following her sacrifice. Alive once more, and now calling himself Ardath Bey, he is looking for his lost love ... and of course, he'll need a living stand-in ...

The "making-of" documentary included in "The Mummy", entitled "Mummy Dearest: A Horror Tradition Unearthed", is, like all the other documentaries in this series, a delight. One special feature of this particular documentary details the process used by make-up king Jack Pierce to turn Karloff who in life was quite a handsome man into a dried-out corpse. When one considers both in the Frankenstein films and "The Mummy" the physical rigors which Karloff endured to bring his gallery of monsters to life, this dedication to craft alone is truly amazing. From enduring layers of make-up often combined with foul-smelling chemicals, to wearing padded clothing weighing 30 pounds or more, to being wrapped in bandages and accidentally not given a fly through which the actor could relieve himself throughout the day, "Karloff The Uncanny" endured all and, as a result, gave us performances unmatched by any actor living today.

The double performance of Zita Johann as both the Egyptian princess and her modern-day character is nuanced and blends perfectly with Karloff's measured emotion, which evokes a romantic aura in his character that makes him seem more sympathetic than evil.

Feature Commentary by film historian Paul Jensen provides a treasure chest of trivia for horror film buffs and Karloff devotees, as do the original trailers and cast and filmmaker's biographies included in the DVD's extra goodies.

Get lost in the world of "The Mummy" and you'll never want to leave.

If you prefer your horror the old-fashioned way with atmosphere, implication, and imagination versus explicit special effects, this is your kind of movie. Everyone already knows the tale, and everyone has already seen the movie. It is worth ownng though. It was made in the precode era when horror movies could still have a dash of the shocking. Plus movies were still learning to talk, so much experimentation could go on. The director of "The Mummy", Karl Freund, had worked with Fritz Lang and so hints of German expressionism can be seen in this film as well. The year before, "Frankenstein" had made Boris Karloff a star at age 44. It is here Karloff gets to use the power of speech to add to his presence in horror films.

DISC 1:

Mummy Dearest: A Horror Tradition Unearthed

Feature Commentary by Film Historian Paul M. Jenson

Feature Commentary by Rick Baker, Scott Essman, Steve Haberman, Bob Burns, and Brent Armstrong**

Posters & Stills**

Trailer Gallery

DISC 2

He Who Made Monsters: Life and Legacy of Jack Pierce**

Unraveling the Legacy of The Mummy**

Universal Horror Documentary**

**New Bonus Features not on previous releases.

Note that "Production Notes" and "Cast and Filmmakers" were bonus Features in the 2007 single disc release. "The Mummy Archives" was in the 2004 release "The Mummy: The Legacy Collection". These may or may not be encompassed in the new release. Thus is the chaos that is the Universal Classic DVD department.

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Although frequently reinterpreted, the original 1932 THE MUMMY remains the most intriguing film version of a story inspired by both 1920s archeological finds and the 1931 Bela Lugosi DRACULA: when an over-eager archeologist reads an incantation from an ancient scroll, he unexpectedly reanimates a mysterious mummy--who then seeks reunion with the princess for whom he died thousands of years earlier and ultimately finds his ancient love reincarnated in modern-day Egypt.

Less a typical horror film than a gothic romance with an Egyptian setting, THE MUMMY has few special effects of any kind and relies primarily upon atmosphere for impact--and this it has in abundance: although leisurely told, the film possesses a darkly romantic, dreamlike quality that lingers in mind long after the film is over. With one or two exceptions, the cast plays with remarkable restraint, with Boris Karloff as the resurrected mummy and Zita Johann (a uniquely beautifully actress) standouts in the film. The sets are quite remarkable, and the scenes in which Karloff permits his reincarnated lover to relive the ancient past are particularly effective.

Kids raised on wham-bam action and special effects films will probably find the original THE MUMMY slow and uninteresting, but the film's high quality and disquieting atmosphere will command the respect of both fans of 1930s horror film and the more discerning viewer. Of all the 1930s Universal Studio horror films, THE MUMMY is the most subtle--and the one to which I personally return most often.

Read Best Reviews of The Mummy (1932) (1932) Here

When Universal released 75th Annivesary editions of Dracula and Frankenstein in 2006, I assumed they would release a similiar set the following year for the Mummy, to mark its anniversary. But 2007 came and went, with no new Mummy DVD. Now, a year later, we finally get this deluxe edition.

Before I get into the specifics of the discs, I want to share a few thoughts about the film itself. I've always felt that The Mummy was treated with a bit less respect than Universal's premiere big-screen sound horror movies, Dracula and Frankenstein. And there's a reason for that: The film offers a more subtle approach to its thrills than those other landmarks of the genre. As the film's title creature's moves and slow and deliberate, so is the pace of the film. You probably already know that the iconic bandage-wrapped mummy is only onscreen for a few seconds. For the bulk of the film, Boris Karloff appears as Ardeth Bey, the 3700 year old (unwrapped) priest who was buried alive for committing blasphemy. While the film in some ways confounds expectations--especially if you've seen a "proper" mummy film, with the living dead skulking around killing folks who've disturbed his/her rest--Karloff's commanding yet understated performance elevates the film to classic status.

Now, if you've bought either of the two previously-released DVD versions of The Mummy, you might wonder whether you should bother with this edition. And I think it comes down to how much you like the film itself, and whether you have a strong desire to learn a little more about its creation. As for the film itself, I've compared it to both the original single-disc release and the 2004 Legacy Collection version. . .and haven't found enough differences in the audio or video quality to recommend an upgrade solely based on expected improvments in the transfer. There's still some graininess to be found in the outdoor scenes, but the overall result probably represents the best the film will ever look. Audio? It's a mono film; it doesn't matter if you have the latest Dolby Pro-Geek 13.1 Surround Sound or whatever, it won't sound any better.

There are several bonus features which were held over from the Legacy Collection. These include audio commentaries, the well-done "Mummy Dearest" documentary (actually produced for the single-disc release), a trailer gallery, and the excellent feature-length documentary covering all the classic Universal monsters.

A new documentary on makeup artist Jack Pierce is a welcome addition, though at 23 minutes, feels a bit rushed. Less impressive is the even shorter featurette on the evolution of the Mummy character, which jumps from the 1940's sequels to the 1999 remake with Brendan Fraser, ignoring many other good and bad interpretations along the way. The set also includes a free ticket to see the latest modern-day installment, Tomb of the Dragon Emperor. I haven't seen it, but I'm assuming it's just as full of empty-headed thrills as its predecessors. Anybody want a free ticket?

I'd recommend this set to all die-hard Universal Monsters fans. But if you already have the film on DVD, you might want to consider whether the handful of new material is worth your money.

Want The Mummy (1932) (1932) Discount?

Just wanted to mention that I recently compared the transfers on the Mummy Special Edition (Universal Legacy Series) 2-disc DVD released in July 2008 and the original 1999 Universal single-disc DVD release. The quality of the transfers in terms of contrast, brightness, detail, scratches and blemishes, etc., seems to be virtually identical. However, for some unknown reason the framing of the Legacy Series release is cropped tighter than the 1999 edition, with a small but significant loss of picture information along the right, left, and bottom borders. I watched the Legacy Series version yesterday and the missing information was not enough to seriously impact my enjoyment of the movie, but it's kind of irritating that the older, supposedly obsolete edition actually reveals more of the frame than the newer, supposedly definitive edition. Unfortunately, this seems to be typical of Universal's doubleand triple-dip DVD editions: two steps forward and one back. I'm still debating whether to hang on to the 1999 edition, which I was hoping to ditch after buying the newest release. So if you're thinking of upgrading in hopes of getting a superior transfer and don't really care about the extras, my advice is stick with the original 1999 release. The only new extras you get with the Legacy Series release are the second commentary track, 1940s Mummy series trailers, and the Jack Pierce featurette, which is interesting but does not contain much new information unless you are completely ignorant of Pierce's career. The Unraveling the Legacy of the Mummy featurette is really just a promo for the two Brendan Fraser Mummy movies, it doesn't even address the 1940s mummy series, or any other mummy movies for that matter. The TCM Universal Horror documentary is nice but it is available on the Dracula and Frankenstein 75th Anniversary Edition DVDs and hardly worth the purchase price of the new Mummy DVD by itself, especially if you already have the Dracula or Frankenstein anniversary sets. If the limited new extras sound worth it to you, go for it, but realize that you are losing some picture information in the feature attraction, not to mention the Production Notes, Cast and Filmmakers' Bios, and Mummy Archives (poster and stills gallery) extras from the 1999 release. I never bought the Mummy Legacy Collection box set so I can't comment on that release.

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Barbie in The Pink Shoes (Blu-ray + DVD + Digital Copy + UltraViolet)

My two daughters (ages 3 and 5) really love Barbie. They have plenty of the toys and movies. This is a great new movie that seems to keep their attention very well. My oldest has been doing dance for several years and she was really excited to see this movie. Overall they loved it and it is a great addition to their collection.

This movie is a fantasy style movie where Barbie plays the main ballerina character named Kristyn who is in dance school with big dreams. After ripping her shoes in rehearsal, she has to find a new pair in the costume department. She ends up finding a pair of magical sparkling pink shoes that send Kristyn and her friend Hailey into a ballet world. There they find an evil Snow Queen. The storyline goes that the girls must dance their favorite ballets to defeat the evil queen and find a way home. There is some mild conflict with the Snow Queen, but nothing too upsetting for little ones. The best part about this movie is that your children are exposed to some great classical ballets (Swan Lake and Giselle) and music from famous composers (Tchaikovsky and Beethoven).

Overall, the movie was fun and colorful with great CGI graphics. It has educational value by exposing your children to famous classical ballets and music. And most of all, the kids love it. I can't imagine a movie that is more perfect for your little dancer. Highly Recommended.

=========================

UPDATE (05/06/2013):

So we've had this movie for a few months now and my girls are still really enjoying it. My oldest, who is now 6, has been doing dance for a while and really loves it. It is right up her alley. She has a little dancer doll that she says is Barbie in the Pink Shoes. Our 3 year old, who is more of a sports kid, is also really liking it. They have been requesting "Pink Shoes" a lot lately. This past weekend they requested a Barbie movie and they both agreed on this one over "The Princess & The Popstar". It is tough to get them to agree on anything, so this is a big deal for us, especially since it beat out "Popstar" in our house. It keeps their attention and they are really liking it lately... plus they get exposed to some Classical Music. My 3 year old has even expressed interest in taking a summer dance class, which is a first. Still Highly Recommended!

DreReviews

Barbie is back in 'Barbie in the Pink Shoes', a return to the classic music and storytelling that put the Barbie movies on the map. I love ALL the Barbie movies from Nutcracker to Princess and the Popstar, but like most fans, I far prefer the earlier classics. In this movie, Barbie (as Kristin) and her friend Hailey are magically transported into a living ballet world where they meet characters from Giselle and Swan Lake, confront the wicked Snow Queen and of course, dance. This movie, while providing a good balance of fantasy and humor, has a mature, almost subdued quality all its own. Possibly because the classic music and dance are such a contrast to the newer Barbie movies. Many children have grown up with these movies, and this one seems to have grown up with them. There has been a conscious effort on the part of the filmmakers in recent years to steer Barbie into a more modern rock-n-roll world, but they don't seem to realize that younger audiences tend to follow their own tastes in music, fashion, etc, before peer pressure influences them into following the crowd instead. Most younger viewers (and listeners) respond to a more civilized look and sound, and I think this fits the bill on both counts.

This brings forward the 'message' of the movie, which contends that one should follow one's own heart and not be shackled by conventions. When Barbie dances, the music seems to flow right through her and she deviates from the established choreography to create her own, ultimately winning the day. There are two sides to this contention; while art should not be squeezed into pre-established confines (after all, even 'classical' stuff had to establish itself at some point), traditional music and dance should not be discounted just because it IS traditional (after all, it is considered 'classic' for a reason). The point is, art is subjective and there is no right or wrong (unless it's gimmick-driven or fad-following). Ballet is a particularly traditional art form, but anything done right has its place, be it traditional or otherwise. Everyone has a voice, so let them use it and let the audience decide what works. This movie DOES work, and I recommend it highly.

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I bought this movie for my daughter's Kindle so she could watch it this weekend as we traveled to her dance competition.. She is 9 and loved it!!

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Honestly, I have not watched this. I have a friend who's daughter who just loves all these Barbie movies and I always get her the 2 new ones that come out yearly. She seemed to really enjoy this one, she said she watched it 3 times the first day! So I guess it must be that good!

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I've liked every Barbie movie made. I have not seen this one yet, but I'm a dancer, and with the helpful reviews, I'm sure I'll like it.

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The Punisher (2006)

And someone somewhere calls "The Punisher" a box-office failure, because it does not hit the number 1 spot, both Daredaevil and Hulk were #1 in the Box Office. I paraphrase Thomas Jane when I say that the film industry is in a sorry state if this is how we gauge a successful film...

I have been a Punisher fan since 1986 (thanks to my best friend Morris Koplow. Morris, if you read this, Thank you. I can never repay you for the enjoyment this Comic has brought me.).

After lagging book sales in Marvel's Punisher, Punisher: War Journal and Punisher: War Zone, executives at the comic powerhouse decide to follow a sad trend at the time and "redefine" the Punisher Character. Simply put, Marvel wrote Frank Castle into a depression and left him with no alternative but to end his own life, something DC did with it's own vigilante, creatively titled "Vigilante". The results was a rippling sense of betrayal for the fans, who felt that Castle was never written to be so weak as to suicide.

A few years later, Marvel breathed life into the Punisher through one of the classicly odd returns. Castle was resurrected by angels. This, too, did not fly (imagine a tank with little butterfly wings). Then Garth Ennis took over.

Ennis's work with the Punisher has brought back the grit and out and out nastiness that Frank Castle has always had. It was this work that the movie has been based on.

Yes, there has been "creative liberties" taken with "The Punisher", but they have been, for the most part, all for the better.

In the Comic, Castle loses his wife and two children to a mafia hit crew. While a justifiable reason to enter a world of vengence and punishment in comic books, film-goers wouldn't justify Castle waging a never-ending one man war on crime for that easily. Thus, wiping out his entire family was the key.

The Crime family (Make no mistake, Travolta and company were 100% unadulturated criminals, all businesses were fronts/laundering for their activities) in question certianly never appeared in any issue of the Punisher comic, but when the hero's "Rogue Gallery" is largely the cast of the Godfather, Casino, Goodfellas, Donnie Brasco, Resevior Dogs, etc, etc..., then a specific villian is not necessary, especially since most Punisher fans cannot name the Mafia Family that called the hit on Castle's family in the original comic. No, I don't remember who it was, either... The inclusion of "The Russian" was certainly a treat for any one who has read Ennis's "Welcome Back, Frank" and I hope that they can find a believable way to bring him back for the sequel (maybe get Nash some lessons in Russian and accents so we can get some of "The Russian's" fantastic dialogue).

Castle's Neighbors were taken DIRECTLY out of the Comic. Bumpo and Spacker Dave were near perfect castings and the only real difference with Joan in the film vs. the comic was that Rebecca Romijn-Stamos is more attractive, less mousey and attempted to be Castle's love interest. Like the comic, they proved that Castle was not completely devoid of humanity, nor unredeemable.

The Hero: Tortured, depressed and he enjoy's his Whiskey... Sounds about right for a man who just witnessed his entire family slaughtered and his wife and son run down by a pick-up truck loaded with "Goomba's". Thomas Jane's portrayal of Frank Castle is everything you expect it to be, if Castle was a real person driven to extremes. Jane captures to essentials of the character, and like Christopher Reeves, Ron Pearlman, Brandon Lee, Tobey Maguire and Hugh Jackman in their respective comic book films, molds the details to himself, making himself a living breathing Frank Castle. Jane is superb. He does what many thought was impossible, that being making himself into a live-action comic book character, without benefit of additional makeup or masks, and makes us believe that Frank Castle roamed the earth.

The Villian: Travolta is always a wonderful villian. Normal he "chews scenery" left and right and the audience is right with him. Not in "The Punisher". Travolta was still excellent and quite a urbane and sophistcated villian, but he was not the madman that most people expect from Travolta (IE: Face/Off and Broken Arrow). Will Patton was the "Mad Dog Villian" in "The Punisher" and while I would have preferred his end go differently, it was still satisfying to watch and his performance was certainly fun.

The action, overall, fed the story, as it should have. I personally would have liked to have seen a little more action from Castle, but I certainly wasn't disappointed in what I received. Many fans of the comics have commented that the violence in the film did not match that of the comic (the comic being more graphic). According to Thomas Jane, the plans for the second Punisher film will take the violence up a notch, almost as if (to my mind), that Frank Castle's morality was slipping away from him during the first film and the second will show the grotesque that Castle has become with the death of his family.

Overall, "The Punisher" 2004 film is as accurate and true to Punisher canon laid down by Marvel and Garth Ennis as Sam Rami's Spider-Man and Spider-Man 2 films have been to the "Webbed Wall-Crawler's" own canon setup by Stan "The Man" Lee and Steve Ditko. I cannot recommend this film enough, especially to fans of Comics, High-Action films and "The Punisher" himself. It truly is under appreciated and one of the best and most accurate comic films ever.

I also have this movie both standard and now the blu-ray version I'm sure most people know about the storyline of this movie if not read the Amazon info about it an that is the jist of what the movie is about. I just want to say to people that if you already have the standard dvd version thats all you're going to need. The video and sound quality are not much better than what you got with the standard dvd since this is one of the earlier blu-rays to come out and they haven't fully mastered the video and audio yet you won't see any clearer or sharper details or better sound quality with this blu-ray version. So again if you have the standard dvd Punisher just keep that one and wait until they come out with a remastered blu-ray version or just pass this one up..

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In the world of super-heroes and evil villains, the Punisher rests squarely in that gray area between the two. He does exhibit a sense of justice akin to that of a hero, but he bears no remorse with regards to killing, as his wraith is only suffered by those who truly deserve, those who the law cannot, or will not touch. Revenge, justice, and retribution are his motivations, and he is judge, jury, and executioner. The Punisher (2004), directed and co-written by Jonathan Hensleigh, who also wrote Die Hard: With a Vengeance (1995) and Jumanji (1995), stars Thomas Jane, who bears a remarkable resemblance to actor Christopher (Highlander) Lambert, and who I've seen before, but couldn't place until I remembered him from the film Deep Blue Sea (1999), and John Travolta. Also appearing are Laura Herring, Rebecca Romjin-Stamos (does she still carry the Stamos since their divorce?) and Roy Scheider.

The film, based on a Marvel comic book of the same name, tells the story of FBI agent Frank Castle (Jane), an FBI agent, who, during a sting operation that results in the death of a suspect, finds himself at odds with a powerful crime family, lead by Howard Saint (Travolta), as, it turns out, the dead suspect was his son. In retaliation for his son's death, Saint orders a hit on Castle and his entire family, but Castle manages to survive, and, seeing that nothing has been done to apprehend those responsible for the deaths of his family, he decides to take the law into his own hands (something Doug Llewelyn from The People's Court always advised against) and bring his own form of justice to those who sought revenge against him. Do two wrongs make a right? No, but they sure make for a fun movie...

This actually wasn't the first screen adaptation of this comic character. There was a film, of the same name, released way back in 1989, which starred Dolph Lundgren, which was panned by both critics and fans. It wasn't that great, but I did enjoy it somewhat, and didn't think it was as bad as everyone thought. This latest incarnation is certainly better, benefiting from a larger budget, better writing, and a bit more star power, but still has minor flaws. I'd read many a comic book back in my youth, and The Punisher was one of them. At that time, he probably had three of four different titles, being a very popular character, and Marvel Comics had a real penchant for milking any bit of popularity for all they could, often exhausting the potential way too soon in their search for the almighty dollar. I haven't read comics in a long time, and given the nature of comic characters and their constant evolution, I was unsure how the story would be played out. I was unfamiliar with Thomas Jane, but I thought he did a wonderful job, really embodying the essence of the character I knew well way back when. The look, the feel, the attitudes, marked a vast improvement over the last film incarnation of the character. I was a bit apprehensive about John Travolta being cast as the lead bad guy, as of late, when playing similar antagonistic roles, he often ventured into the realm of hamminess, but his performance was really grounded here and lacked the over the top element inherent in some of his past roles, thankfully. The action elements in the film were done very well, bordering between the realistic and unbelievable nicely, and I really enjoyed the use of all different kinds of weaponry from hand guns, machine guns, anti-personnel mines, knives, to the bow and arrow. Jane's character showed adeptness and a proficiency one would expect. Some elements and scenes seemed a bit off...the plot point where Castle basically lets everyone know he didn't die in the massacre seemed illogical, as I would think the advantage of your enemies thinking you were dead would far outweigh whatever could be gained by them knowing you're alive, especially if you were planning to go after them. Also, the complete lack of any police involvement, even after Castle began his war on Howard Saint and his organization seemed unrealistic. And I would have expected Castle to find a secluded place to hole up, one where he could come and go as he pleased, and not a run-down apartment building with a few neighbors, including the character played by Romjin-Stamos. The purpose was to sort of create a surrogate family for Castle, but it just seemed strange that he would choose the location he did from which to wage his war. Finally, I have to mention the scene with the Russian assassin played by pro-wrestler Kevin Nash. I thought the fight scene was very exciting and fun to watch, but why did the Russian show up in a red and white striped shirt, looking like a huge, lumpy candy cane? It really disrupted the dark and gritty feel built up in the movie, as he reminded me of a lacky henchman from the 60's Batman television series. All in all, I thought most of the movie worked well, with a few plot areas that didn't, but the positive points out-weighed the negatives, in my opinion, and I enjoyed the movie as a whole, right up until it's satisfying conclusion.

The widescreen print here looks beautiful, and there's a good helping of useful and informative special features including featurettes on the stunts within the film, origins of the The Punisher character from his first appearance in a Spider-Man comic back in the 70's, a behind the scenes look at the making of the film, an interview influential cover artist for The Punisher comic book, a music video for a song within the film by the group Drowning Pool, a trailer for The Punisher video game (but not a trailer for the film itself?!), a commentary track by the director, two deleted scenes and a mini-comic.

Cookieman108

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This cinematic version of "The Punisher" is based on Marvel Comics' most recent incarnation of the vigilante anti-hero, as written by Garth Ennis in the "Welcome Back Frank" series. Although his ability to survive the most violent circumstances is extraordinary, the character has largely been removed from the world of superheroes. He's human and imperfect. The Punisher's backstory has been changed for the film to better integrate it with the narrative. A backstory that is not directly related to the present could never be successful in a film. Frank Castle (Thomas Jane) is an undercover FBI agent looking forward to the time with his family that his imminent retirement will allow. Those plans come to a horrific end when organized crime boss Howard Saint (John Travolta), whose son was killed in a gun running bust, takes revenge on Castle's family. Devastated, angry, and with nothing left to lose, Castle sets out to return the favor by destroying Saint and his criminal empire.

"The Punisher" is filmed in a dark, gritty style that seems to have been inspired by the work of cover artist Tim Bradstreet and the cinéma verité of the 1970s. The lead-in that describes how Frank Castle becomes The Punisher is lengthy, but that's to be expected in the first film of a potential franchise. The violence is pretty graphic in places and probably not for the weak of stomach. For an "action film", "The Punisher" isn't especially active. The action is intermittent, builds as the film progresses, and tends to avoid grand gestures. Perhaps that's appropriate, as the violence is of a personal nature. The cast is consistently interesting. Thomas Jane does a solid job as The Punisher, a shattered man who never claims any moral high ground. John Travolta is particularly entertaining as the ruthless, petulant crime boss Howard Saint. Travolta gives a palpably restrained performance, playing Saint just slightly over-the-top and imbalanced to great effect. Will Patton is also notable as Howard Saint's sociopathic right-hand man, Quentin Glass. And Rebecca Romijn-Stamos has a supporting role as one of Frank Castle's dysfunctional neighbors, who provide a little comic relief. An interesting piece of cast trivia: Howard Saint's sons, Bobby and John, are played by the same actor, James Carpinello, and originally were intended to be twin brothers. When Carpinello was in make-up and costume, he looked so dissimilar as the brothers that director Jonathan Hensleigh decided that they shouldn't be twins.

The most striking aspect of this film isn't at all evident: It was made for a paltry $30 million -unheard of for an action film. That it looks like it cost twice that much is a credit to the director, cinematographer, and art director. Also notable is that none of the film's stunts are CGI. They look real, and they are. "The Punisher" is entertaining and visually interesting. My only complaint about the film is its pace, which is brooding and too even for an action film. That makes the film seem longer than it is.

The DVD: This is a nicely loaded disc. Bonus features include 4 featurettes, 2 deleted scenes with director's commentary, a music video for "Step Up" by Drowning Pool, a trailer for "The Punisher" video game, and an audio commentary by director Jonathan Hensleigh. The first featurette, "Keepin' it Real" (25 minutes) is about the film's stunts. This documentary discusses the processes of designing and filming the stunts, through interviews with stunt coordinator Gary Hymes and director Jonathan Hensleigh, among others. It might have been better organized and more informative if the documentary had taken us through a few stunts in detail instead of giving an overview. The second featurette, "War Journal" (30 minutes) is a broad making-of documentary that takes us through pre-production, production, editing and scoring in post-production, and winds up at the film's premiere. This is a well-organized, comprehensive documentary that includes interviews with line producer John Stark and director Jonathan Hensleigh, in which he talks about the challenges of making an action film on a $30 million budget and shooting in only 50 days. The third featurette, "Army of One" (12 minutes) is about "The Punisher"'s comic book origins. The genesis and evolution of the character in Marvel Comics are discussed in interviews with Gerry Conway, who created "The Punisher" as a Spider-Man villain in 1972, Stephen Grant, who wrote the character from 1986-1994, current writer Garth Ennis, Marvel art director John Romita, and cover artist Tim Bradstreet, as well as Marvel CEO Avi Arad and Vice President Ari Avad. This documentary is very helpful to those of us who don't read comic books in explaining the character's origins. The last featurette, "Drawing Blood Bradstreet Style" (5 minutes) focuses on cover artist Tim Bradstreet, who also designed the film's theatrical posters and heavily influenced the movie's visual style. The film's audio commentary by director Jonathan Hensleigh is very good. He speaks clearly and doesn't meander when explaining the decisions he made concerning story, style, characters and cinematography. His comments are particularly interesting, because "The Punisher" is an admirable example of efficient, economical filmmaking. Subtitles are available for the film in Spanish and English.

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The Blu-ray disc of THE PUNISHER looks superior to the DVD version, but none of the extras from the DVD are included here.

The "studder" issue noted by other reviewers is present ONLY when selecting the DTS audio option (which is the default on the menu). To play the movie without any issues, simply choose the DOLBY DIGTIAL audio track and the movie will play back perfectly. This strange issue affects all 4 of the initial Lionsgate titles. Again, to get around it, simply choose the Dolby audio option.

Hopefully the Blu-ray camp will begin releasing better discs soon, but for the meantime, THE PUUNISER looks cool in HD.

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