Zodiac (Two-Disc Director's Cut) (2007)

After the technically accomplished but ultimately hollow thriller Panic Room (3-Disc Special Edition), director David Fincher returns to familiar subject matter with Zodiac, a dramatization of the murders perpetuated by the infamous serial killer known as Zodiac that terrorized the San Francisco Bay area in the late 1960s and early 1970s. With Seven (New Line Platinum Series), Fincher seems like an obvious choice to direct this film but those of you expecting a rehash of that film will be disappointed. With Zodiac, he faces the daunting challenge of making an exciting thriller that runs two hours and forty minutes long where the killer was never caught. He does this by focusing on the people who investigated the case and how it affected them.

This is a film that shows people talking and doing research hardly, dynamic, cinematic material but Fincher makes it fascinating with strong performances from his talented cast and a solid screenplay to anchor the film. Like Michael Mann's equally obsessive serial killer movie, Manhunter (Restored Director's Cut Divimax Edition), Fincher spends a lot of his movie showing offices buzzing with activity as the case heats up and we see people hard at work as the police, FBI, the Chronicle and even the CIA all try to decipher the Zodiac's code and solve the case. He also show the minutia of their methods while also reminding us of the limits of technology at the time (no personal computers, no internet, no DNA testing, etc.). These people faced a monumental task of sifting through hundreds of false leads and crank calls from the substantial information that might actually further the case.

Zodiac presents a wealth of information and invites you to sift through it like the three protagonists. In fact, there is so much to absorb that repeated viewings will undoubtedly reveal more details that might not have been caught upon an initial viewing. The film's long running time allows you to gradually immerse yourself in the film and the story it tells. However, it never feels too long because Fincher maintains a brisk, efficient pace cramming as much detail and information as he can into every scene. The killer is a fascinating enigma and his encrypted letters, his blatant taunting of the police, and the discrepancies between murders only it makes it more interesting. It is easy to see why people became obsessed with this case. Ultimately, the Zodiac case doesn't just leave a trail of actual bodies but also collateral damage in the form of failed marriages, ended partnerships and substance abuse. And this is just the people who investigated the case. The toll taken on the victims who survived, their families and those of the people who were killed is inconceivable. A whole other movie could be made about them. Fincher has made a smart, engaging thriller that suggests a new direction for the filmmaker, one that places an emphasis on character and story instead of atmosphere and set design.

Last year, Paramount released an obligatory bare bones DVD and in the meantime, Fincher and DVD producer extraordinaire, David Prior have assembled an in-depth two-disc special edition that covers all aspects of the production. The director has also added five minutes back into the film that improves on an already great motion picture.

The first disc features an audio commentary by director David Fincher. He touches upon the "oddly personal" period details as much of the film takes place during his childhood and around areas he lived. This also informed the period songs he picked for the film. This is the kind of engaging, informative track we've come to expect from Fincher.

Even better is the second commentary by actors Jake Gyllenhaal and Robert Downey Jr., producer Brad Fischer, screenwriter James Vanderbilt, and crime novelist James Ellroy. Fischer and Vanderbilt talk about how closely they stuck to the actual facts of the case and delve into its details. Ellroy, a self-proclaimed fan of the film, does his entertaining Demon Dog of crime fiction persona that fans of his love while also talking about the film's place in crime fiction. Downey and Gyllenhaal provide all kinds of anecdotal information with Downey displaying his trademark dry sense of humour.

The second disc is broken up into two sections: extras dealing with the film and ones dealing with the actual Zodiac murders. "Zodiac Deciphered" is an hour-long documentary on the making of the film. Producer Brad Fischer and screenwriter James Vanderbilt talk about the origins of the project. We see how each of the film's key locations were faithfully recreated, often shooting at the place where one of the murders took place. Period costumes were authentically recreated from police reports and evidence photographs. When actual locations could not be used, the San Francisco Chronicle offices, they were built from scratch on a soundstage. Fincher nailed the newspaper office down to the tiniest details like vintage rotary phones, typewriters, etc. There is plenty of on-the-set footage that shows Footage and co. at work.

"The Visual Effects of Zodiac" takes a look at how CGI was used not only to recreate certain period details of San Francisco but also the blood in the murder scenes. We see before and after comparison shots and it is incredible how seamlessly the effects are integrated into the film.

The "Previsualization" for three scenes compares the computer animated storyboards with the final product in the film.

Also included is a theatrical trailer.

"This is the Zodiac Speaking" is a four-part documentary on the actual Zodiac murders, featuring interviews with original investigators and the surviving victims. These featurettes present the facts of each murder along with crime scene photographs and vintage TV news footage, taking us through each one in detail.

Finally, there is "His Name was Arthur Leigh Allen." Police investigators and people that knew him talk about the prime suspect in the Zodiac murders. Friends recount chilling anecdotes about the man and investigators provide their own accounts to paint a disturbing portrait.

ZODIAC is director David Fincher's finest film to date. All of the preparatory exercises in violence and horror he served so well in such films as FIGHT CLUB and SEVEN now are even more terrifying because of the manner in which he internalizes the events of the infamous Zodiac killer of the 1960s and 1970s and allows us to see how the murders and lack of proof of the perpetrator destroyed the personal lives of those bound to reveal Zodiac's identity. The story of course is true, as documented in Robert Graysmith's book (adapted extremely well for the screen by James Vanderbilt), and the history is so well known that rehashing it in a review is pointless. But on to the production.

Filmed in the Bay area the film has that peculiar light known to artists of the region but rarely captured so well as it is here by cinematographer Harris Savides: the sunlight (when visualized is brilliant and the night portions are dank not only form the seeming constant rain but also form the seediness of the story's message. The acting is of the highest caliber: newspaper cartoonist Graysmith (Jake Gyllenhaal, in a standout role), police inspector David Toschi (Mark Ruffalo, in one of his finest performances), news writer Paul Avery (Robert Downey, Jr.), Melvin Belli (Brian Cox), Inspector William Armstrong (Anthony Edwards), Graysmith's long-suffering wife Melanie (Chloë Sevigny), down to the more minor roles are all pitch perfect.

What makes this film work so well is the emphasis on the human aspect of how violence, especially random and uncontrolled, alters the psyches of people. The breakdown from the stress of the fruitless and frustrating investigation by each of the primary characters is heart wrenching. How much of this is actor driven by such talented pros and how much is due to Fincher's directorial abilities is probably a moot point. The very long unwinding of this struggle (158 minutes) becomes almost unbearably tense. While the Added Features of this set open windows of information that delve more deeply into this unsolved horror story, the film still stands solidly on its own without the added accoutrements. This is a very fine film that is worthy of the many awards that are dangling in space at the moment. Grady Harp, January 08

Buy Zodiac (Two-Disc Director's Cut) (2007) Now

As the beginning of any new year rolls around, after awards season, there tends to be a significant drop off in quality or what you might call serious drama. Usually we're left with crowd pleasing, if not critically acclaimed comedy, or low budget horror until the kickoff of the summer season. There are a few gems that sneak in once in a while (perhaps the most notorious was "Silence of the Lambs" with its oddly timed Valentine's opening), but as a generalization--this is true more often than not. So David Fincher's "Zodiac," which make no mistake is a drama--not a thriller, is a welcome respite from traditional fare at this time of the year. Fincher, who made an artistic splash with "Se7en," "The Game," and "Fight Club," has been noticeably absent since hitting it big with the more routine "Panic Room" in 2002. Eschewing the sensationalistic approaches a film of this type might employ, Fincher has crafted a sprawling and ambitious investigative drama about the men whose lives were changed in the obsessive hunt for a serial killer known only as Zodiac.

For those unfamiliar with the story, I will borrow an excerpt from my review on "The Zodiac" (a lesser film that covers some of the same ground, but concentrating more on Zodiac's earlier murders in Vallejo). "Over a period of years during the sixties and seventies, the San Francisco area was plagued by a series of seemingly random murders perpetuated by a man known only as the Zodiac killer. Using the press and taunting the police, Zodiac became one of the more prominent "celebrity" serial killers with his need to be in the spotlight." Fincher's film focuses primarily on three major characters, although a huge cast contributes to this complex tale. There is David Toschi (Mark Ruffalo) who is the lead police investigator when the Zodiac moved to San Francisco, Paul Avery (Robert Downey, Jr.) who is the star reporter covering the case for the San Francisco Chronicle, and Robert Graysmith (Jake Gyllenhaal) who is a cartoonist at the Chronicle who becomes obsessed with the case. In fact, Graysmith's obsession turned into the book which serves as source material for this film.

Clearly, the strongpoint of the film is in the performances. Downey is impeccable in self destructive mode--recapturing some of the energy and unpredictability that made him a star in the first place. Ruffalo is great--persistence turning into frustration. But it is Gyllenhaal who makes the greatest transformation from an awkward youth to someone willing to sacrifice everything to pursue an obsession. The immense cast of supporting characters are, also, well written and beautifully performed. It is in the details of the script that characters, even with limited screen time, leave a lasting and believable impression. The film, which spans decades, recreates the time frame accurately--the art direction, in particular, is spectacular when viewing this city of the recent past.

The story, itself, is a procedural--recounting years of work trying to locate Zodiac. Again, the script is so detailed that you really feel as if you are following the action in the same step by step fashion that the real participants must have. "Zodiac," ultimately, is a smart film. It trusts that you will follow its logic, and perhaps even draw some conclusions of your own. It paints a picture of who Toschi and Graysmith believed to be Zodiac (despite evidence to the contrary), but the film is open-ended enough for you to accept this position or discount it entirely. There is plenty of intrigue as the investigation leads to unlikely places, some chilling recreations of Zodiac's killings, but most of all--real drama about real people. A great adult picture. At over 2 1/2 hours, it's a commitment--but one well worth it. KGHarris, 03/07.

Read Best Reviews of Zodiac (Two-Disc Director's Cut) (2007) Here

David Fincher, director of the fascinating, impeccably composed, cerebral "Zodiac" has not heretofore been known for his subtlety though his "Fight Club," "Alien3" and "Seven" are filled with Life and a doomed even ugly sense of reality. But "Zodiac," the story of the Northern California serial killer, who was more aware of his reputation and celebrity than any Hollywood starlet, gives us a subtler, more rational Fincher than his previous films would suggest. There is very little of the trademark Fincher violence and brutality here and more of a psychologically astute and emotionally cognizant one.

"Zodiac" is a story of Men working together for a common goal: that of capturing the Zodiac killer. There is the Police primarily consisting of San Francisco PD Homicide, David Toschi (a remarkably committed and persuasive Mark Ruffalo) and William Armstrong (stalwart and dedicated Anthony Edwards) and the San Francisco Chronicle reporters Paul Avery (intelligent, pathetically alcoholic Robert Downey) and Robert Graysmith, who would go on to write the book about the Zodiac murders portrayed by the excellent and wounded, ultimately crazed-by-the-case, Jake Gyllenhaal.

As a rule, in most movies of late dealing with serial killers, the serial killer is merely a jumping off point for brutal and disgusting slash and dash murders. But here Fincher has stepped back, adjusted his sights and telescoped on the psychological and emotional effects of the killings, the endless procedural details of the investigation (handwriting experts, the "2500" suspects), the letters sent to the SF Chronicle by Zodiac and the detritus of a 20+ year investigation that wears down and whittles away at any kind of normal life for Toshi and Graysmith. As such "Zodiac" is more about the furtive, brutal legacy of the Zodiac murders and its effect on these two men than it is about the Zodiac killer himself.

Gyllenhaal plays Graysmith as a man possessed: alternately repulsed by the Zodiac as a mass murderer but at the same time fascinated by his facility with the obscure language of codes, symbols and puzzles and his seemingly insatiable, preening desire for celebrity. Matching his intensity is Ruffalo's Toschi. Ruffalo has never been more persuasive and effective even bettering his feral performance in "In the Cut." Both men are obsessed with Zodiac and both pay for this obsession with the hard currency of years and loves lost and never regained.

"Zodiac" goes on a bit too long but its ultimate success can be attributed to its brilliant, careful and intricate accumulation and dissemination of case detail that forms the backbone of this tragic, interesting and intelligent film. The larger tragedy that this film inadvertently points out though is that Zodiac's murderous swath across California in the mid 20th. Century now seems oddly remote, old-fashioned and even quaint in this time of 9/11 and international terrorism.

Want Zodiac (Two-Disc Director's Cut) (2007) Discount?

~In December 1968, police were called to the scene of a double homicide; no motive, no suspects, no witnesses. On July 4th, 1969, "he" struck again, but this time, one of the victims lived. The survivor's name was Mike Mageau, and he is now one of the consultants in this top-notch movie. The attack on Mageau, and the girl he wanted to one day marry, named Darlene Ferrin, comprise the first sequence in the film. Thusly, the the December attack isn't depicted. This is because the makers of "Zodiac" wisely chose to only recreate the crimes which had witnesses or survivors, removing as much speculation from the script as possible.

But, to the dismay of today's A.D.D. riddled audience, there are only three scenes of violence in "Zodiac," although they are recreated with such authenticity, anyone already familiar with the story will cringe at how brutal and heartless the crimes are. Bryan Hartnell, who survived the attack at Lake Berryessa in September 1969, says he actually had to look away during the scene involving him. The realism was simply too much to handle. For this sequence, the film crew actually went to Lake Berryessa, and, referring to crime scene photos, reconstructed the crime scene to look exactly as it did the day of this attack, even transplanting trees to replicate scene as closely as possible. It's strange, Lake Berryessa is a breath-takingly beautiful location, the scenery is simply gorgeous. But, it has the permanent stigma of being the location where the suspect donned an executioner's outfit and hog-tied Bryan Hartnell and Cecilia Sheperd at gunpoint, butchering them with a hunting knife. It is one of the most horrifying scenes ever filmed, because it is faithfully reproduced, with almost 100% accuracy. It's difficult to watch.

"Zodiac: The Director's Cut" is a very long film, almost three hours in total, with very little real on-screen action, but it is a fascinating movie. It focuses on San Francisco Chronicle employee Robert Graysmith's obsession with the case, and his personal and professional relationship with fellow newspaper employee Paul Avery, as well as the fear that spread through the San Francisco area once this crime spree made the paper. It is a story of obsession, as already stated, but it vividly tells the audience exactly how frustrating this case was to the police and the media. It has derailed careers and jeopardized health, as well as causing an extended panic all over California. The joke about California being a cereal bowl comes to mind. It has its share of fruits, nuts, and flakes, and it becomes apparent here. Of course, in all fairness, weird people live all over the place, so don't call me out on it. Just a comment.

It is frustrating to the audience as well as the police, because no suspect has ever been caught, and none are arrested, even in the film. The prime suspect, one Arthur Leigh Allen, had his share of scrapes with the law, usually on sex-related charges, and had even done hard prison time for these offenses, and virtually all of the Zodiac evidence points directly to him, but various little things throw just enough of a wrench into the works to keep him from being formally charged. And when a solid enough case is finally built against him, the arresting officer found Allen dead on his floor, the victim of a fatal heart attack. So, if he really was the Zodiac, his letter claiming they will never catch him came true, because he never did one day of prison time for the Zodiac killings.

This release has a treasure trove of material; you have the uncut movie, the director's vision being shown in tact, with almost every little nuance covered. The sets were made to look like they did at the time, as faithfully as possible. In the bonus materials you have interviews with police officers who worked on the case and two surviving victims, archive footage of news reports from the time,as well as interviews with friends and aqcuaintences of Arthur Leigh Allen.

It is exhaustive in its efforts to inure the viewer in the case, and the fact that people still look at the case, is fascinating, as well.

"...goodbye..." (you'll get this quote if you have seen this movie)

The Last Temptation of Christ (The Criterion Collection) (1988)

First of all, this area is SUPPOSED to be for reviews of this movie, not dire warnings of damnation if one watches it. It is JUST a movie....something tells me Jesus and his believers can survive it. Please don't turn this forum into a religious debate.

I think anyone who purchases this DVD edition of the film should definitely go back and listen to the director/actor/screenwriter commentary included with the film. In it, Marty and the screenwriter explain why they used the actors they did, and why they used today's vernacular. They had the characters speak this way so that the viewer is more aware that the players in the New Testament WERE human, just like us. Marty believed that the stilted English of the King James Court, with its "thou's" and "ye's" (and having absolutely NO relation to the way people spoke at the time) serves to distance modern viewers from the pain and doubt that both Jesus has his followers underwent.

Marty also was desperate to counter the prevalent depiction of Jesus in film that has him 100% "divine", with a golden light shining behind his head, with the divine little smile and the gentle words. He wanted to use the idea in the Bible that Jesus was also fully human, subject to both physical AND mental anguish. The latter is the point that Gibson missed in his film. Anyone who has ever lost a child or had to make an agonizing decision knows that mental anguish can be as painful as any physical torment. This movie is about the true temptation Jesus underwent, to deny God and run away from his destiny. All of us can identify with that.

I find this Jesus far more compelling than the Jesus I grew up with in Sunday school. This Jesus is not perfect. He hurts and has soubts and depressions like I do. And yet he gives his body and mind to God in the end.

While the film is not as authentic as the upcoming "The Passion of the Christ" (where Aramaic is used), it was much more realistic and gritty than previous film portrayals. What really adds to the drama of the film is the soundtrack by Peter Gabriel.

Having received 12 years of Catholic school education, culminating when this film was released, I was amused to read the incredible outpouring of emotions by narrow-minded Christians against this film, both at the time is was released and in the reviews. To me, a sure-fire sign of narrow-mindedness is their utter inability to appreciate art for what it is and the fact (evident from their reviews) that they have not even seen the movie. My faith was not so weak as to refuse to entertain artistic explorations and alternative viewpoints.

Although not wholly based on the scriptures, the theme of this film IS based more upon the very nature of Jesus Christ himself. That is, the film and the book both attempt to dramatically explore the contradictions associated with the dual identity of Jesus as both God and man a schitzophrenic combination indeed.

SPOILERS AHEAD:

In this film, Jesus as man resists God's call, at age 30, to take up his role as spiritual savior. Jesus-as-man IS tempted by his own thoughts and doubts (manifested by Satan), the last temptation occuring in a stupor as he hangs dying on the cross the opportunity of becoming all man. This post-death illusion sequence, where Jesus goes on to marry Mary Magdeline and see the dire consequences of such a course of action, covers the last 3rd or so of the film. What is most interesting is the confrontation between Jesus and Paul, the latter of whom is the most signficant evangelical Christian of all time which turns out to be an express of the argument that the idea of Jesus Christ as savior may have been more important (at least politically) that the historical facts. In any case, for those who find this sequence blasphemous, they need to remember that it is a DREAM. (e.g., The crowds are still cheering at the cross as he is taken down by a lovely little girl.) In the end, Jesus triumphs over the evil of human frailty to assume his position in Christian beliefs.

Other interesting factors include the expanded role of Judas (played here by Harvey Kietel), as Jesus' true right-hand man. In an interesting twist, Judas is at least as interested in political revolution as a spiritual one, and Jesus manipulates Judas' anger and convinces him to turn Jesus in for persecution.

In any case, I give it a firm thumbs up. Too bad that this is too expensive for any casual observer to pick it up on DVD, though.

Buy The Last Temptation of Christ (The Criterion Collection) (1988) Now

The deep spiritual feelings that this movie makes me harbor have changed the way I see the world forever. I can almost feel the pains that Jesus must have went through on the cross physically, emotionally, and spiritually. Even though this account of Jesus' life is fictional, the viewer can see and feel the true sacrifice that Jesus made by giving His life on the cross and the struggle it took to get there. Although this movie is condemned by many (most of whom didn't even see it), my personal relationship with God was strengthened by it, and I'm sure I'm not alone. Willem DaFoe was strong, passionate, and yet vulnerable as the Son of God, and Harvey Keitel was masterful in his portrayal of a very believable Judas who helped Jesus in ways many never realized possible (fictional of course). The soundtrack by Peter Gabriel is haunting and moving, and is just one more reason that makes this Scorsese film a true work of art. Though it is not the greatest movie ever made, it is a great movie just by the way it makes you think and feel. I love to watch this movie around Christmas and especially Easter because it always brings me closer to God through Christ. All I have to do is think about this movie and it makes my heart warm, and all the cares of the world are made that much lighter. The role of Satan in this movie really hits home with how tricky he can be, and I think it gives me just another weapon in my own struggle between good and evil spirit and flesh. You must remember that this is not the true story of Jesus Christ... this story is symbolic of our own personal struggles to become more Christ-like. Christ never faultered in His destiny... but we have, and we will.

Read Best Reviews of The Last Temptation of Christ (The Criterion Collection) (1988) Here

This film has stayed with me for 10 years, and I grow fonder of it with repeated viewings. My tastes are broad I will happily sit down and watch the cheapest genre flick and the subtlest arthouse... so while I can see that this film can be picked apart on an intellectual level, I also feel that film should be "felt". Even if you forget the beautiful performances (so human!), the incredible narrative, poetic direction, great music that grabs hold of your gut and drags you down into it -what you're left with is amazing. I am not a religous man, yet this film touches me very deeply from the moodswinging jesus curled up on the shore hearing footsteps to the triumphant jesus joyous on the cross... what part of being alive does this film not talk about? What modern mainstream film has trod paths so high and low? Take this film for what it is -a celebration of man, not a condemnation of christ.

Want The Last Temptation of Christ (The Criterion Collection) (1988) Discount?

Scorsese's "Last Temptation" is a great and challenging film. This is NOT some salacious, blasphemous movie! Quite the opposite, this is a serious, very spiritial examination of the great sacrifice that Jesus made. In fact, if detractors of this film(most of whom have never even seen this or are seriously misinformed)would take a look they would see a highly original, reverent film that presents a very personal view of Jesus and the sacrifice he made for us. Martin Scorsese is probably our finest filmmaker. His very best work has always tackled "Catholic" themes. Mean Streets, Taxi Driver, Raging Bull are all brilliant examinations of sin, guilt, and redemption. So it's no wonder Scorsese chose to adapt Kazantakis' book. Last Temptation ranks as one of his VERY best films, right up there with the aforemntioned films if not of a piece with them. This is one of Scorese's most personal films (then again, all his films are, Scorese being the most personal of American fimmakers). We are taught that Jesus was the Son of God and the Son of man. If he is both, then Jesus was subject to the same pain, guilt, and temptations that we all have. Scorese presents most of the major events of Jesus' life: the Sermon on the Mount(a GREAT scene), the passion in the desert, the Last Supper, ect. Through this all Jesus continually questions why he must suffer, why must he be the One with this "burden". Willem Dafoe is incredible in this most difficult role. The final 40 minutes of this film are absolutely powerful when Jesus is on the cross and in absolute agony he is presented with one final temptation. This is the scene that most people question or are offended by. The scene is fascinating, not offensive, and presented by Scorsese in a very careful and tasteful fashion. I dont want to reveal what occurs, that's for you to discover. Let's just say, that Jesus rejects this temptation presented to him and resumes his place on the Cross and fulfills his destiny. The way Scorsese presents the events in the film, makes this final scene all the more powerful. Scorsese really shows us the sacrifice Jesus made for us, he shows us what Jesus gave up for us and how much he really loved us to do this for us. This doesnt sound blasphemous to me at all. Ironically, this is probably the most "devout" religious film Ive ever scene. Technically, the film is brillant. Scorsese really does'nt know how to make a boring shot. The camera work is incredible! Peter Gabriel's music is astonishing, the acting is GREAT (esp. Dafoe, Hershey, and yes Keitel's rather eccentric performance) This is a great film, please give it a chance.

Save 50% Off

Proposition (2005)

When I first saw John Hillcoat's film The Proposition I was literally shocked and dumbstruck with what I had just witnessed. As a long-time aficionado of the horror genre I could say that part of me has become desensitized to onscreen violence and nothing really shocks me. Even though I've seen films with more violence throughout its running time, The Proposition just had a heavy sense of despair, moral ambiguity, and a Miltonian feel throughout. The film felt like how it would be if one accepted an offer from one of the damned to stroll down to the Nine Circles of Hell. As much as I didn't want to accept that offer the curiosity of what I might see won out. That's how I was able to sit through the entirety of Hillcoat's ultra-violent and nihilistic tale of lawless and amoral individuals in the untamed wilderness of 1880's Australian Outback.

I must agree with film critic Roger Ebert when he said The Proposition seemed to mirror another dark and violent tale. Hillcoat's film shares so much the same themes and tone as Cormac McCarthy's brutal novel, Blood Meridian, that one almost wondered if the film was adapted from McCarthy's great novel. But similarities aside, Hillcoat and Nick Cave's (director and writer respectively) film can clearly stand on its own two bloody legs.

The film begins with a bloody siege and shootout and we're soon introduced to two of the three Burns' brothers. We soon find out that both brothers, Charlie (played by Guy Pearce)and Mikey (played by Richard Wilson) are outlaws wanted for a multitude of heinous crimes with a recent one the senseless rape and murder of the Hopkins family. One Capt. Stanley (Ray Winstone) who acts as law in this particular area of the Outback. He's gives older brother Charlie a proposition. He'll spare the younger brother's life from the hangman's noose if Charlie finds their older brother Arthur (played with Kurtz-like menace by Danny Huston) and kills the outlaw leader. The quest is set as Charlie accepts and sets out to find his brother. Whether Charlie will go through with killing his older brother Arthur is one thing the audience won't find out until the final minutes of the film. Even though there's no love-lost between Charlie and Arthur, there's still the traditional bond of family that makes Charlie's quest a complex one.

We realize early on that Charlie is very protective of his simpler, younger brother Mikey and would do anything to save his life. Guy Pearce does a great performance as the conflicted and brooding Charlie Burns. There's a quiet intensity in Pearce's performance. He's pretty quiet through most of the film, but one could feel the palpable rage just roiling beneath his brooding countenance. Pearce's Charlie is one who is only a trigger away from exploding into outright violence. Charlie is definitely a child and creation of the lawless Outback the film is set in.

Arthur Burns on the other hand is introduced as an almost warrior-poet who would watch the sun set and spout poetry as easily as gun down an innocent or slice a man's throat without missing a beat. Danny Huston does a bravura performance as the charismatic and wholly amoral Arthur. His performance easily matches that of Pearce's scene for scene. Another performance that I must point out as being very strong in the film is Ray Winstone as Capt. Stanley, the Ahab of the tale with his obsession to bring civilization to the lawless Outback and to bring Arthur Burns to ultimate justice even if it means dealing with the lesser evil that is Charlie Burns.

The Proposition will be talked about alot for its unflinching look at violence onscreen. Though there's been films that have more violence per hour than Hillcoat's film, but the extreme brutality of the killings, maimings and rape in The Proposition has such an air of realism to it that one cringes at every gunshot wound and knife slashing. Like Aronofsky's Requiem for a Dream, The Proposition's scenes of depravity makes one want to rush into the shower and cleanse off the dirt, grime and stink of the film. It's in this unflinching and realistic portrayal of death and violence that the film shares alot with McCarthy's Blood Meridian. The images are difficult to watch, but our curiosity makes us look through squinted eyes to see the full breadth of the violence. In time, just through the audiences acceptance of the oncreen violence do we soon become complicit in whats going on the screen.

It is a shame that The Proposition had such a limited release in the US. I think this film would've done as well as Eastwood's Unforgiven in giving the audience a different, darker side of the Old West mythology (though its really the Australian Old West). John Hillcoat has crafted himself a brutal and nihilistic film that's very hard to watch but also difficult to ignore. The Proposition is a film I highly recommened people see in the theaters before it disappears, but failing that they should search out for the dvd once its released in that medium. This film is that good.

This film has often been compared to Eastwood's spare and dark UNFORGIVEN. There are certainly many similarities in tone. But if anything, there is even less redemption available at the end of this Australian western than at the end of that Oscar winner.

Simply put, Ray Winstone plays the equivalent of the "new sheriff" in a very small, dreary dusty "western" town in Australia. The worst bandits in his area, the Burns brothers, are his primary goal, and when he corners and captures the two youngest brothers, Mickey and Charley (Guy Pearce), he offers Charley a proposition. He and his simple younger brother will be released if Charley goes out and kills his psychopathic older brother Arthur. If not, Mickey will be hung on Christmas Day, a few days away.

The fallout from this simple proposition is bleak, bleak, bleak. The film is slow moving and takes time to establish tone and to let us savor the unbelievable Australian scenery. As John Hurt (as a bounty hunter) says, it's the most horrific place he's ever been. The scenery is beautiful (sunsets, colorful rocks) and brutal...long expanses of sand and scruff. But the slow pace is punctuated with moments of extremely graphic violence. Each bullet hole or knife wound (or spear wound) is painful to watch. I'm not sure when I last saw a movie that made violence appear so unpleasant, so painful and so ugly.

Everyone in the film is great. Guy Pearce...exceedingly grubby...is torn between deciding how to deal with one of his brothers inevitably dieing. Ray Winstone gives a rich performance...just when we think we've got this guy figured out, he shows another layer. And then another. He wins our sympathy finally. Emily Watson is his wife, and her performance is a litle colorless...it's the biggest weakness in the characterizations. Not her fault...she's just too passive to be entirely believed.

The best performance comes from Danny Huston (John's son, Anjelica's brother) as Arthur, the psycho. His character appreciates nature and poetry, but also raping and slow, painful murders. He's a conundrum that's never fully explained...but Huston is riveting. His oily, sweaty, dirty face is etched with emptiness...I know that sounds like an oxymoron, but trust me.

Other nice touches include an interesting soundtrack (co-written by Nick Cave, who wrote the script) and lots of stuff focusing on the uneasy melding of the "white" man and aboriginies. This adds an extra layer of sadness, and of danger, to all the proceedings.

I would give the movie 4.5 stars, if I could. It doesn't quite reach 5 (the pace is just occasionally over-indulgent...a couple of semi-important characters just drop from the story), but it's very compelling, very brutal filmmaking. NOT FOR KIDS!!!

Buy Proposition (2005) Now

Wow, what a brutal "western." I put "western" in quotes because most people think of the western half of the United States as being the locale for western movies. This movie was made and set in Australia but the time frame is similar: around 1880. What's "brutal" about the story is the violence, bloodshed and language but only in spots.

The language is odd in that the vocabulary of most of the people is above-average, but be warned there are a number of f-words. I question whether that word was around in the 19th century, but it's prevalent in this film. Actually, the violent scenes will be more offensive to viewers than the profanity. Like the profanity, however, the violence only comes in spurts. Most of the film has much calmer moments, surprisingly low-key.

One thing that is there throughout the 104 minutes is the excellent cinematography. This is a pretty film, nicely shot with some beautiful scenery and colors, stylish at times, too. To me, this was the best part of the movie. It's indeed a visual treat. Benoit Delholmme deservedly won several international awards for his camera-work in here.

Read Best Reviews of Proposition (2005) Here

Historically, and from a character perspective, there's still mining to be done in western films, and THE PROPOSITION gives us a great sense of both. Aussie director John Hillcoat delves into Australia in the 1880s, telling about the bloody lawlessness and aboriginal prejudices.

The story centers around the outlaw Burns brothers, Charlie (Guy Pearce, L.A. CONFIDENTIAL), Mike (DECK DOGZ) and Arthur (Danny Huston, THE CONSTANT GARDNER). When Charlie and Mike are caught by local lawman Captain Stanley (Ray Winstone, COLD MOUNTAIN), Charlie is pulled aside and given a distasteful proposition: kill your brother Arthur and Mike will live. Charlie loves Mike dearly and hardly knows his other brother, Arthur. He grudgingly accepts the terms but it quickly becomes clear that he's unsure what to do. Is the killing of one family member in order to save another morally apprehensible? What if your moral boundaries are skewed?

Charlie rides off to find his brother in the searing Australian Outback.

Meanwhile, back in town, Captain Stanley is having great difficulty controlling its citizens once they learn one of the dreaded Burns brothers is in the local jail. A powerful bureaucrat named Eden Fletcher (David Wenham, THE LORD OF THE RINGS) demands swift justice. He orders that Mike Burns be lashed 100 times. Knowing that Mike probably won't survive this, but also battling feelings his lovely wife Martha (Emily Watson, GOSFORD PARK) has about the crimes Mike has committed, Captain Stanley is forced to give in to the township's demands.

Back in the Outback, Charlie finally runs into his twisted brother and comes face-to-face with his worst fears: killing someone of his own flesh and blood. Can he do it? Should he do it?

The word "epic" has been on the lips of many reviewers, but epic may be too big a term for this flick. It is enjoyable, and has sweeping views and great acting (even John Hurt makes a soulful appearance as a perverse bounty hunter), but it doesn't approach films such as LAWRENCE OF ARABIA or DOCTOR ZHIVAGO in scope. And that's okay. There are many films out there that are still very enjoyable but don't meet the epic criteria.

That the western film has been done for nearly a century might make one think that it's dying out as a genre. But no. THE THREE BURIALS OF MELQUAIDES ESTRADA and UNFORGIVEN are two of the more recent favorites that prove there's still life out there for the western. And The Proposition is another excellent example that it's still got cinematic value.

Want Proposition (2005) Discount?

The Proposition has the kind of premise that Anthony Mann would have loved wild colonial boy Guy Pearce is released into the outback to kill his psychotic older brother Danny Huston to save his younger brother from the noose by Ray Winstone's policeman determined to civilize his godforsaken corner of 19th century Australia. Unfortunately it never quite makes enough of it. Coming to it after both the excessive praise and the equally excessive backlash I wasn't disappointed, although the film does have problems. The most obvious is that screenwriter Nick Cave and director John Hillcoat become so enamoured of Winstone's character that he dominates the film to the detriment of not only the other players but the film itself: while there's none of his scenes that should be cut, neither Pearce nor Huston get nearly as much screentime. As a result, the central moral dilemma is kept firmly backstage and Huston's nature is only really hinted at rather than explored, although the violence, when it comes, is convincingly blunt. But at times it's almost as if Coppola had decided that instead on concentrating on Martin Sheen's killer in Apocalypse Now he'd make a film about the officer who sends him out to terminate with extreme prejudice instead.

It's a film with great things going for it there's some fine dialogue, Hillcoat has a great visual sense and a striking eye for the Scope frame, while an underplayed Winstone is superb but one that never becomes great.

Save 40% Off

X-Men (Blu-ray/DVD Combo + Digital Copy) (2000)

X-Men, the first REAL attempt at bringing a Marvel Comic to life on the silver screen, succeeds on several levels. First, it is well written, leaving just enough cheese and in-jokes for fans of the comics--but it doesn't ignore the newbie, either. Each important plot point is explained, and we are saved from watching the "origin" of every character.

Hugh Jackman as Wolverine, Patrick Stewart as Professor X, and Ian McKellan as Magneto really steal the show. They've embodied their characters, and work well together. The message of discrimination is never played heavy-handed, but it comes across. All in all, a solid performance.

Michael Kamen's music is wonderful and fitting. Just the right amount of adrenaline and somberness. (I recommend you by the CD as well as the DVD!)

In short, X-Men is a rewarding superhero flick. People with children however, should be warned that there is an amount of violence, but it is not gory. All in all, and excellent movie.

Comic books are notoriously difficult to translate to feature-film format. Goodness knows, there have been missteps in the past. But director Brian Singer does about as good a job as can be reasonably expected. First off, we need to thank the makers of Mission Impossible 2 for running over-schedule, thus tying up actor Dougray Scott and consequently allowing actor Hugh Jackman to play Wolverine. Jackman is the standout in this movie. His wonderfully understated performance as the "reluctant hero" is arguably the centerpiece of this film.

What distinguishes this film from other lesser film adaptions is an intelligent script, or at least intelligent for the genre. Character development isn't sacrificed to make room for more standard mindless special effects and action setpieces, like in some movies ("Batman and Robin", anyone?).

The in-jokes are funny, and the characters' history and motivations are treated with a fan's level of respect.

If the filmmakers can retain those elements of character-driven story and a respect for the source material in future installments, then they may have a successful movie franchise on their hands

Buy X-Men (Blu-ray/DVD Combo + Digital Copy) (2000) Now

The special effects are good, as is the underlying concept, the mutation that makes them superheroes also makes them outcasts. But the storyline is somewhat simple. What really holds this film together are four great performances.

Hugh Jackman is perfect as the powerful Wolverine, the loner who only joins the X-men so as to save his beloved Rogue. Oscar winner Anna Paquin is beautiful and heartbreaking as the tragic Rogue, denied the ability to ever touch anyone without killing them. Paquin and Jackman's scenes together are truly touching. And Patrick Stewart's verbal duels with Ian McKellen are masterful. This is actually a very intelligent film. Not great art, but definitely great fun.

The home release also includes deleted scenes that everyone agrees should never have been deleted in the first place. The scenes flesh out the characters and add much needed background info. You'll also want to see Hugh Jackman's screen test with Anna Paquin. Supposedly, his chemistry with Paquin is what convinced director Bryan Singer to cast him in the movie.

Read Best Reviews of X-Men (Blu-ray/DVD Combo + Digital Copy) (2000) Here

First, I must say that it's kind of funny how many "reviews of the DVD" there are before it even came out. Still, like everyone else, I want to have my say about the movie, even before seeing the DVD.

I'm not a fan of the comics, in the sense of knowing them well and buying them. I might have bought a couple, and watched a few episodes of the animated series. What I saw I liked, but it was some time ago, and when I came to see this movie, I was missing a lot of stuff, even basic stuff, like what Rogue's power is. But I knew enough to know who most of the characters were.

The movie, IMO, was meant mainly as an exposition to next ones. It looked like this, although this feeling wasn't as strong as I got when I saw Spawn. There was still enough of a story and conclusion here.

I liked it that it's not a special effect movie. Yes, there are great special effects, but they are so well integrated, that they just look natural. The only time I felt an effect was a little forced was when Jean Gray shows her telekinesis power when she's working on wolverine. But generally the effects were so well done, that they did their job of fleshing an impossible world without drawing attention to themselves, and there was enough story to keep you engaged and not thinking of them (unlike, for example, Star Wars Episode 1).

What I really liked about this movie is that it's deep and interesting enough. It goes way beyond just action, or even character interaction (which is also done pretty well). The initial scene, with Magneto's parents being taken to be cremated by the Nazis was pretty strong, IMO (a friend I saw the movie with thought it was a bit too much to put a reference to the holocaust in a blockbuster movie, but I disagree). It puts in an interesting light the attempts to have mutations "licensed", and allows some understanding of Magneto.

The idea of the character of Rogue is great. A girl who can't touch anyone that's true agony. And then there's Wolverine with his lost memories. This really has the making of a great story, which is why, as the title says, it makes me interested in reading more about these characters.

The film also does well in capturing the sexy spirit of many current comics. Famke Janssen and Halle Berry are certainly very attractive women, as is Rebecca Romjin-Stamos. I guess that the men are not bad looking, either, but I'm not the best judge of that. I did feel that both Magneto and Storm were a little, well, smaller than I imagined them from my previous encounters with the X-Men series. But that wasn't a real problem for me.

That about sums it up. The main reason I don't give this movie 5 stars is because it was an introductory movie. If the second movie manages to keep to the standards set by this one, then it should be great.

Want X-Men (Blu-ray/DVD Combo + Digital Copy) (2000) Discount?

As most of the world knows by now, X-Men is the live-action version of the of the Marvel comic strip, directed by Bryan Singer (of the Usual Suspects fame). Set in the not too distant future the X-Men are humans who thanks to genetic mutation have inherited special powers. On the surface, having special powers sounds great (you might think) but in X-Men the mutant race is an oppressed and persecuted minority, due to the bigotry, ignorance and fear of much of the non-mutant population. Furthermore an ambitious and influential Senator (Bruce Davison) wants to introduce a registration policy for mutants in an attempt to further restrict their civil rights. In response to this the mutant community is split into two camps led by Professor X, aka Charles Xavier (Patrick Stewart) and Magneto, aka Erik Mangus Lensherr (Sir Ian McKellen). Magneto believes in the supremacy of the mutant population, which he is willing to use force to prove, whilst Professor X merely wants, equality, integration and peace. With fundamentally opposing views the two camps are set on a collision course with the future of the human race at stake.

X-Men is an entertaining action movie and it has some great fight scenes but it is pitched at its intended mass audience and carefully falls short explicit violence making it pretty much suitable for all but young children. However, although the X Men movie comes from a comic book background and is definitely aimed at a mass audience it also has a message and is a lot more highbrow than most super hero adaptations. X-Men for example opens with a scene in a Nazi concentration camp with a young Magneto witnessing his mother being shepherded off to the gas chamber and from this it is pretty clear that Director Bryan Singer is deliberately making a point and drawing a comparison. It is also worth noting that at the time of the X Men's creation, back in 1963, among the major political figures in pre civil rights America were Martin Luther King and Malcolm X and it is easy to draw comparisons with Professor X and Magneto. Comparisons can also be drawn between X-Men character Senator Robert Kelly and a certain Senator McCarthy. What is more, X-Men is particularly pertinent at a time when there is so much tabloid speculation and scare mongering with regard to genetic engineering.

With X-Men, Director Bryan Singer, a self-confessed fan, has stayed remarkably loyal to the comic books and has served up a commercial but extremely enjoyable film with impressive special effects, which has inevitably spawned a sequel and (in all likelihood) a franchise, which makes me for one very happy. Full of great characters and great performances from the likes of Hugh Jackman (as Wolverine), Anna Pacquin (as Rogue) and Famke Janssen (as Dr Jean Grey) and Rebecca Romijn-Stamos (as Mystique). However, it is the excellent pairing of the Royal Shakespeare company's McKellen and Stewart opposite each other that really adds gravitas to the proceedings and my only real dissapointments were seeing the excellent and beautiful Halle Berry (as Storm) being under-used and the relatively short running length of 97 minutes.

X-Men 2 hits our screens later this year and I for one am really looking forward to it! Four stars ****

Save 44% Off

Monster (2003)

I watched Monster without any expectations, save knowing that it was a movie about two women. At the end of the screening, i was totally blown away. One, Charlize Theron gives a spectacular performance as 'serial killer' Aileen Wuornos. Her facial expressions and bodily movements strongly resemble that of the actual person (based on what i read). Secondly, the 'human' aspect of Aileen was brought out in the film, and despite her brutal killings, one can symphatise with aspects of her life which brought her to this point of no return when she started killing her johns. Thirdly, although Monster is primarily about Aileen the killer, yet the viewer is treated to a love story between Aileen and her lesbian lover. This is in many aspects, the driving force of the film and which makes the film memorable. Some prison psychologists had diagnosed Aileen as having Borderline personality disorder, which explains her behaviour of wanting to keep Selby Wall, her girlfriend (in real life, the girl's name is Tyria Moore) at all costs, despite the fact that Selby was at times a selfish, immature person who ultimately betrayed Aileen. The final scene of the 'confession' phone call (which basically nailed it for Aileen) is heartbreaking. Aileen basically took the fall for everything and absolved Selby of any blame. Even though the audience may sense a taste of Hollywood drama here, one must remember that in real life, Aileen did take the blame for everything, and even went to the extent of sending Tyria money while she was on death row. Perhaps this is a glimpse into a rare aspect of her life (which traditional documentaries on her never cover), which shows us that at the end of the day, she is a human being like the rest of us and despite her heinous crimes, she too longed to be loved and feel love. The betrayal scene will stick in my mind for a long time to come. I welcome emails on this film as i am interested to know more about the film as well as Aileen and her lover.

Charlize Theron gives a five star+ performance as the executed serial killer Aileen Wuornos, the monster in "Monster." I would have rated the movie the same, except it is just too filled with pain, desperation and hopelessness for me to rank it that high. The script is not particularly strong. We only get a glimpse into the life and mind of this woman, and we never discover what made her kill. Many abused women hate men, but they don't become serial killers. There is also a lot of repetition, as Wuornos goes through her pattern of solicitation, violence and anguish over and over again. Without Ms. Theron's magnificent acting the film would be rather mediocre.

Director Patty Jenkins begins Wuornos' story in 1989-90, just before she was caught and imprisoned. She portrays Aileen more as a victim than as a victimizer. Through an initial monologue and various dialogues the viewer learns of Aileen's very troubled childhood in Michican. Her father, a convicted child-molester, committed suicide. Aileen was raped repeatedly by a family friend, and she began prostituting herself when she was thirteen. Her only job had been as a hooker. I think Ms. Theron portrays Aileen as a woman suffering from serious mental illness. Her moods swing from suicidal depression to euphoric overconfidence. She had delusional periods where she believed that all her dreams would come true and that she was invincible. She is a tough talking lady who drinks too much and barely holds her rage beneath the surface.

It is during this period that she meets Selby (Christina Ricci is superb in this role.), a shy, naive teen, in a bar. Selby is a lesbian who wants to come out of the closet against her family's wishes. She is a misfit, without friends. So is Aileen. At first the two are so thrilled that they like each other that they are not alone anymore. Their desperate, mutual quest for affection culminates in this doomed relationship. To me the relationship is more about loneliness and emotional dependency than physical attraction. The honeymoon is short-lived, however. Selby had never been on her own before and for some reason, doesn't think to get a job. She expects Aileen to provide for them. She manipulates Aileen into continuing to work as a prostitute, even though she is aware of at least one murder. Jenkins suggests that as long as the money keeps coming in she will ask no questions. Wuornos tries to get work and go straight but has no job skills or experience. She winds up going back on the road as a prostitute again, and then, after a violent episode with a john, her rage takes over and the murders begin.

Charlize Theron does give an extraordinarily powerful performance as the serial killer. It is amazing how she was able to literally transform herself into a woman who looks exactly like the actual Aileen Wuornos, mannerisms and all. This transformation is not just make-up. She speaks like Wuornos, walks like her, with a masculine swagger, captures her intensity, and her eyes often hold a glint of madness.

The film is shot in a gritty style on the highway, streets, bars and motel rooms. The ambiance is pure sleaze, reflecting the true crime drama. Overall, the story is fascinating, as is the point of view. And, as I have said, the performances are simply excellent. Highly recommended!

JANA

Buy Monster (2003) Now

I really wish I could give this movie more then 5 stars because it truly deserves 100,"Monster" is possibly the best films ever made. Charlize Theron's performance has the highly interesting Aileen Wuornos is phenomenal! Christina Rucci performance has the native Selby works so well in contrast with Theron's strong and independent character that two have incredibly chemistry. The directing, the story line, acting, and everything else in the movie is remarkable and it all helps to show the pain in Alieen Wournos' lonely life. After trying to leave their horrific pasts behind new friends Alieen and Shelby move away together, but when money gets low, Alieen is forced to go back to prostitute lifestyle. But one night after Alieen is rapped, she kills the man and knows she just can't go on hooking again. But being the only way she can make money, she decides instead of having sexual relations, she'll murder the men and take their money. This sad and true story left me amazed and even forgiving. Please watch this movie, I promise you won't regret it.

Read Best Reviews of Monster (2003) Here

Though this film is brutally honest about Aileen 'Lee' Wuornos' crimes it does provoke some sympathy for her. Yes, she does kill many people (all men) but when you consider how many men battered her and raped her all through her life, even as a child, it's no surprise she became so psychotic.

And I don't think it's exactly fair that she got the death penalty. Surely it would have been best to help a woman who lived her entire existence in the dregs of society (which is surely to blame for sending her mad) than executing her.

Focusing entirely on Lee instead of the police investigations following her (there is a TV movie from the mid-90s that does exactly this if you're more interested), we see her straggle from thinking about suicide, hooking up with lonely, naive Selby (Christina Ricci), killing in self-defense and finally killing for revenge/money.

Charlize Theron completely vanishes as she brings her take on Lee (her full name is never mentioned in the film) to the screen. She sure deserved her Academy Award and Christina Ricca (who is very cute here) is also very good. However, for a lesbian couple I just didn't see any real feeling between them. It annoyed me how fast the film moved and there are not really many quiet moments for these two characters to bond in any way. Yes, they proclaim their love for each other but I just didn't see it. There was too much shouting and screaming.

There are no surprises in the film, as we all know how it ends anyway. But some of Lee's killings are harsh, compelling and even ironic. The overall effect of the film isn't so long-lasting on me though.

It's shot and lit like a TV movie and Lee's heavy judgment at the end of the film is played down. For a film that is slightly biased to her point of view it's annoying that her unfair trial and life are not exploited just a little bit more for us to gain a little extra insight into the making of a 'monster'.

Keep a lookout for Kane Hodder as an undercover cop near the end.

The DVD is in 1.85:1 anamorphic widescreen with Dolby/DTS 5.1 sound and some slight extras.

Want Monster (2003) Discount?

"Monster" delves into the mind of the first female serial killer, Aileen Wuornos (Charlize Theron.) But it does not condone what she did or take sides. Instead, the film describes her life over the nine months after she found love with Selby (Christina Ricci); from 1989 to 1990. I really liked the narration/voiceover that Charlize did (as Aileen.) It lent a little credence to the movie and some humanity to Aileen, as well.

Charlize Theron very rightfully won the Academy Award for her portrayal of Aileen Wuornos. Charlize completely metamorphosed her entire look which was so eerie and uncanny because it was impossible to tell that she was acting in a movie. She also changed the sound of her voice, sounding exactly like the women she played. Charlize is a true actress and very deserving of the Best Actress nod from the Academy. Christina Ricci was also excellent playing the shy and introverted Selby, and has proven herself to be a very accomplished cinema actress.

The movie follows the tale of harried and hopeless Aileen Wuornos as she tries to pick up the pieces of her shattered and tattered life. When Aileen meets Selby it was almost love at first sight. Selby practically saved her life and for that Aileen was forever in her debt. I think my favorite scene was when they were together in the bed (that first night they met) and Selby asks Aileen if she could touch her face. Aileen seemed so sensitive and gentle.

Besides that horrible rape scene and other depictions of degradation (I really hated that scene with that scumbag cop that picked her up after her job interview), I also found the scenes when Aileen tried to look for work very bitter. No one would give her a chance or listen to her. She had no money, no education, no family; absolutely nothing. All the doors were loudly slammed in her face. Society gladly threw Aileen Wuornos away. She was just another hooker, why did it matter that she wanted to clean up her act? Charlize was especially perfect during these parts. Her look of rage, and total desperation was purely obvious.

Another aspect of this story that I found terribly sad was when Selby turned her back on Aileen. Aileen loved her more than her own life and she finally thought that she had a chance of happiness. Maybe Aileen also thought that she finally found a person that she could honestly trust. Maybe if Aileen never met Selby she would still be alive today?

I really liked the way the movie ended. It wasn't too deep or sad, instead I found it very surreal because it wasn't too weighty. The movie ended the way it started, with Aileen narrating to the viewers in her own sarcastic and comical way.

"Monster" did make me feel sorry for Aileen because she was obviously an incredibly broken person that was never given a fighting chance. Someone please tell me why is Aileen vilified while these horrible men that raped her and sexually abused her aren't? Whoever said it's a man's world sure wasn't kidding.

Save 25% Off

Code of Silence (1985)

This movie is Chuck Norris at his best. He plays the part of Eddie Cusack a Chicago cop who only wants to get the job done. He is up against two mob family's in the middle of a war, caused by drugs and family blood. While trying to save the life of one mob family's daughter he must also bring both familys to justice. Between car chases that will have you on the edge of your seat and trademark Norris fight scenes it is easy to see why i gave this film 5 stars.

Code of Silence offers an excellent synergy and balance often missing in action films--especially other Chuck Norris action films.

I agree with other reviewers that this film perhaps showcases Norris' finest acting. Yet he is very well cast as the lone, honest, resolute and uncompromising "good cop," Cusack, who confronts Columbian drug lords, the Mob and a dirty cop in his unit, all with equal aplomb--and comes out the winner in the end, even in the face of mounting, and nearly overwhelming, odds.

The fight scenes are well choreographed, too, with Norris delivering compact, effective and believable punches and kicks. He even takes a few himself, portraying a character capable of taking it as well as dishing it out.

For all the no-nonsense heroics, Norris manages to keep his tacit characterization very human and believable. In brief, Chuck Norris plays the quintessential Hero: committed to doing the right thing, and transcending himself in the process. I found the absence of token, gratuitous sexual content, or even sexual innuendo, refreshing indeed, and serving well to further signify and solidify the true heroicism of Cusack.

In addition to the excellent on-location filming, there are also well-placed touches of humor and tenderness that make this gem of an action-drama shine with exceptional luster.

Even if you are not an avid Chuck Norris fan, Code of Silence may make you sit up and take appreciative notice of him. File under "Top Shelf Police Action" on your DVD rack. This film is one of the best in the genre.

Buy Code of Silence (1985) Now

He's mean, he's lean, and he's not about to do things by the book! Welcome to the world of the action star, that social loner who won't sit idly by when the scum of the earth prey on the human race. While the rest of us live our little lives playing by the rules like the dupes we are, these guys go out and make a difference. They actually like us despite our weaknesses, amazingly enough, and take care of us out of a sense of responsibility similar to what a lord used to feel for his peons. No matter what they do or whom they kill in the process their instincts never fail them. Even when their partner, significant other, child, or anyone else close to them dies horribly as a result of the threat the action star poses to the villains, they never swerve from their core principles. Their superiors recognize the action star's godlike powers and, while complaining publicly about their reckless behavior, put them right back out on the street to kill the bad guys. No investigative committee will stop these right-wing heroes from mopping up the riffraff. Who needs lawyers or a judicial system when we've got Charles Bronson, Sylvester Stallone, or Chuck Norris? Not me.

I used the above description for another of Chuck Norris's films, but it applies to virtually every American action film made in the last thirty years. It definitely applies to every Norris film, especially "Code of Silence," a movie widely considered to be this actor's best big screen role. Norris plays Chicago cop Eddie Cusack, the archetypical loner with a chip on his shoulder. He exasperates his superiors, banters endlessly with his partner Dorato (Dennis Farina), and will move heaven and earth to bring down the bad guys. His sense of right and wrong is infallible. Whereas other police officers agonize over making the right decisions, Cusack never falters. After Dorato goes on the injured list due to a botched bust, Eddie's new partner Nick Kopalas (Joe Guzaldo) seeks Cusack's advice on a particularly difficult problem involving the code of silence that unites police officers. Kopalas's original partner, the aging alcoholic Cragie (Ralph Foody), accidentally shot a kid during the aforementioned bust. Kopalas saw his partner plant a gun in the deceased victim's hand. What's a young cop with no time on the force to do? If he turns in Cragie everyone will hate him. If he doesn't, he's no better than the street scum he encounters every day. Ah, such moral conundrums!

"Code of Silence" slathers this subplot in lots of action centering on an emerging gang war between Colombian drug kingpin Luis Comancho (Henry Silva) and a mafia don named Felix Scalese (Nathan Davis). Scalese's underling Tony Luna (Mike Genovese) touched off the crime wave when he interfered in the drug bust mentioned above. Luna wisely leaves town for a quick vacation, but his daughter Diana (Molly Hagan) remains in harm's way. As Comancho launches a series of revenge assaults against the Chicago mafia, it's up to Eddie Cusack to kill a bunch of people and sort through the bodies. He also acts as a protector for Diana after she narrowly escapes execution at the hands of Comancho's thugs. Eventually these two threads, the code of silence issue and the mob war, come together in an action packed ending loaded with explosions and a high body count. Cusack's fellow cops learn a thing or two about the antiquated notion of sticking together no matter what in the process. "Code of Silence" contains a little bit of everything, including action, a message, romance, and humor. Especially amusing is a scene where two street thugs attempt to rob the bar where Cusack and his fellow cops hang out. Ooops!

The best thing "Code of Silence" has going for it is its authentic set pieces. Director Andrew Davis filmed the movie in Chicago and cast a lot of people that look and sound like native Chicagoans. I saw several actors playing cops here that I've seen playing Chicago police officers in other films set in that city. When we see Norris fighting a punk on top of a train, not only do we realize that it's actually him up there doing the stunt but also that it's the famous Chicago loop. Filming in Chicago works, giving the movie a hard-edged realism missing in most other action films. Thankfully the performances elevate the film as well. Norris actually shows a bit of range in the Cusack role, something he seems largely incapable of in many of his other movies, and having Farina and Silva onboard certainly gives the picture more oomph. I've always maintained that casting Henry Silva as the primary villain in any movie adds at least a star to the overall rating of that picture, and I can say the same thing here. Watching Silva dissolve into one of his trademark rages is always worth the price of admission. It's unfortunate in the extreme that his advanced age prohibits him from making films nowadays.

MGM is spending a bunch of bucks releasing many of these old 1980s actioners to DVD. "Code of Silence" receives a widescreen anamorphic picture transfer but only a trailer as an extra. I've said it before and I'll say it again: why can't MGM contact Norris or the director in order to record a commentary track? For that matter, why not dig up some promotional materials for the film and throw it on the disc? Because the studio is cheap, apparently. Oh well, at least we can revisit these old movies without having to resort to ragged VHS copies. Give "Code of Silence" a watch soon.

Read Best Reviews of Code of Silence (1985) Here

Code of Silence is by far Chuck Norris' best film. Not only is it great by the standards of his martial arts action films, but is actually a cut above many action pictures.

Norris plays a Chicago cop who finds himself caught between a turf war between the Mafia and a Colombian drug cartel. His standing on the force suffers at the same time because he testifies against two cops who are involved in a bad shooting. The Code of Silence ends up being double-pronged one side being the Mafia's Code of Silence, and the other being the police force's Code of Silence against bad behavior by their own.

Directed by Andrew Davis, who also directed Above The Law, Under Siege and The Fugitive, Code of Silence has great action sequences and a great villain in Henry Silva. This is Norris' finest film. Nothing he has done before or since has been anywhere near as good.

Want Code of Silence (1985) Discount?

Chuck Norris Rocks! Good Fight Sequences, Cool beat up firebird,nice garbage truck, silly police robot, although with Chuck Norris the police doesn't need a robot or even other police. Chuck Norris is a one MAN mean machine.

Remember,Chuck Norris is not afraid of the Dark, the Dark Keeps it's lights on because it's afraid of him!

Save 47% Off

Whisper of the Heart (Two-Disc Blu-ray/DVD Combo) (1995)

Whisper of the heart is one of the most sensitive, heartwarming and beautiful films ever made. Based on a shojo manga by Aoi Hiiragi, Written and produced by Hayao Miyazaki and directed by Yoshifumi Kondo, whisper of the heart is a tale of self discovery and coming of age of a high school girl Shizuku who is not sure what she wants in life. A series of dramatic events bring her closer to a guy Seiji from her own school. Together they embark on a journey which will help them find their inner potentials, realize their dreams and also love for each other. Also featured in the movie is an old man who runs an antique shop stocked with amazing treasures, including a magnificient porcelain figurine "the baron" (also featured in "The cat returns). Both of these characters play an important role in the film. Though "The cat returns" is kind of follow up to "whisper" yet for some reason it was released on dvd before "whisper".

Rarely is a film as honest and realistic as whisper of the heart and that's what makes it amazingly special, charming and successful. Within its thin plot and realistic settings, whisper has its magic moments which are downright uplifting and strike a chord somewhere deep inside. The film itself is a breath of fresh air.

Whisper of the heart, though slow in pace, draws you in from the very beginning and refuses to let you go. Its a heartwarming tale which makes you feel nostalgic and helps you relive the adolescence. Except for the Shizuku's dreamy fantasy sequence, the film relies heavily on dialogues and simple and real situations. The locales and the backgrounds shown in the film are as beautiful and breathtaking as in any other ghibli film. Open spaces, beautiful countryside, deep blue sky with summer clouds, a bicycle ride atop the hill, there are numerous things and moments in the film that set the mood just right, leaving the viewer spellbound and satisfied. After a while you forget completely that you are watching an animated film. Music plays an important role in the film and is soft and relaxing though we do get lots of those silent moments too for which ghibli films are famous. Also featured in the film is John Denver's song "country roads" which makes the perfect backdrop for the film. Not to mention here, the royalty disputes which arised later, making it difficult for the movie to see an American release.

Be it character development, animation or background art of the film, attention to details is simply stunning.The incredibly detailed backgrounds of the fantasy sequences were done by Naohisa Inoue who was an established artist and a long time Miyazaki fan. Impressed by his fantasy work, Miyazaki himself invited him to work on the film. Whisper of the heart dvd released by Buena Vista in Japan includes a special documentary showcasing the dreamy artwork of the film.

Director Yoshifumi Kondo had worked on many ghibli films such as Kiki's delivery service, Grave of the fireflies and Pom poko etc, as an animator. Hayao Miyazaki, who was looking for new breed of directors for ghibli, recognised Kondo's talent in no time and gave him a chance to direct this movie. Unfortunately, whisper of the heart remains to be the first and the only film directed by Yoshifumi Kondo. Just after the release of whisper, Kondo succumbed to aneurysm. It is evident from whisper of the heart how immensely talented and sensitive director Kondo was.

Films like whisper of the heart are very rare and come once in a lifetime. Watching a film like this is an experience to behold and cherish forever.

----Blu-ray RELEASE UPDATE----

Whisper of the Heart finally makes it to North America on the stellar format. The film is reported to have received a shiny new digital 1080P remaster for this Blu-ray release which will also feature English 5.1 DTS-HD Master Audio, French 2.0 Dolby Digital Language Track, Japanese 2.0 DTS-HD Master Audio Original Production, English and French Subtitles. Bonus features on this release will include:

4 Masterpieces of Naohisa Inoue Watch the evolution of four different scenes by master artist Naohisa Inoue

Original Japanese Storyboards

Behind the Microphone--With voice talent from the film

Original Japanese Trailers and TV Commercials

This movie, produced by Studio Ghibli (the same company that produces Miyazaki's movies) is a gem. Unlike all of Miyazaki's movies, this one tells in a very poetic way a story about credible young people, their coming of age, and their growing awareness on their dreams and aspirations. It is also a beatiful love story between two children who are discovering that they seem to be made for each other.

This is also one of those movies that will remind you of your school years, and I find amazing the accuracy with which children's emotions are depicted. Indeed, this is something I really appreciate about most of these Japanese directors: the ability of depicting children for what they are, rather than as cute mature and witty "little" adults, as much of Hollywood instead does.

As in virtually all of Studio Ghibli's movies, the drawings are beautiful, some of them breathtaking, and the characters are lovable and well constructed. One of the major "characters" is a cat that will certainly end up loving!

If you liked this movie, I would also strongly suggest you to look for another two Studio Ghibli movies that share the same genre. One is "Ocean waves" (which centers around the complicated love-hate relation between two high school student), and the other one, which is absolutely wonderful, is "Only yesterday", the story of a young Tokio woman who rediscovers herself during a vacation in the countryside. I think both of them (especially the last one) are true masterpieces.

Buy Whisper of the Heart (Two-Disc Blu-ray/DVD Combo) (1995) Now

I am so glad that this Studio Ghibli gem is finally getting a U.S. release, so that it can get an even wider audience.

Unlike some better known Ghibli productions such as Princess Mononoke and Spirited Away, Whisper of the Heart has very few fantasy elements; it's a story that is very 'real'. The setting of Whisper Of The Heart (original title: Mimi wo Sumaseba) is a typical Tokyo suburb, and the main protagonists are Suzuka and Seiji, a girl and a boy in junior high school. Suzuka is not quite sure yet what she wants to do with her life, but Seiji on the other hand has already found his lifes work. The themes this movie cover are universal, such as:

What does it mean to have, and pursue a dream? What is the use of education? What does it mean to love someone? And so on.

This is a perfect family movie also, for kids over age 10 or so and up. The pace may be a bit too leisurely for younger kids and they may not quite get the themes of ambition, etc as well as older kids might, though there is plenty of other elements to hold their attention, such as the gorgeous animation and the cheekiest cat imaginable. (There is absolutely nothing in this movie that's 'inappropriate' for young children in any way just that the themes may be a bit difficult for them.) Adults who remember their teenage years would love this movie also. It made me remember what it was like to be 13 and unsure of myself and what I wanted to 'do with my life', and of hanging out with my friends, and the crushes I had on boys, etc. This movie is particularly great for young girls, since Suzuka, the main character, is one of the most realistically portrayed low-teen girls I've ever seen on screen. Ironic, since she's animated. (I wonder why so many Ghibli movies feature a girl as the main character?)

I do hope that Disney doesn't dub this with hyperactive voice actors the original voices are quite calm and 'normal'.

Incidentally, this is a prequel of sorts to The Cat Returns (Neko no Ongaeshi), since a cat statue that appears in Whisper... comes to life so to speak in the more fantasy-oriented The Cat Returns. You can enjoy either movie on its own, however.

Read Best Reviews of Whisper of the Heart (Two-Disc Blu-ray/DVD Combo) (1995) Here

Whisper of the Heart is a wonderful Ghibli movie; although the animation style shows a bit of age, the visual compositions, the magic that makes the ordinary suddenly special, the human touch and warmth of people all make that totally inconsequential. Even if the characters might not be the smooth and flashy style, their movements, the life in them, let alone the breathtaking backgrounds are better than almost anything modern animation has produced.

The plot itself doesn't read as anything exciting that would make one pick up the movie, but that would be a mistake; Whisper of the Heart is about idealism, about love, about the emotions that make us human, that make life worth living. This doesn't make it a boring chick flick or art movie, though. The characters have enough quirks and humor to them to keep even an action aficionado entertained.

There is nothing adult about this movie, in the best senses of that word. No foul language, no sex, no drugs, no drinking, no violence. This is the kind of movie that you can show to a child of any age, from seven to a hundred and seven, and the magic will be there. It is the kind of work that inspires faith in humanity.

Want Whisper of the Heart (Two-Disc Blu-ray/DVD Combo) (1995) Discount?

Before I saw this fantastic animated masterpiece, my only contact with Japanese Anime' was when my nieces and nephews came for visits (they were interested in watching Ninja/Karate/Sailor Moon, etc). These cartoons, although hypnotic and mesmerizing to the kids, seemed mindless with no real message (not that there's anything wrong with that).

One evening this past January, I was flipping through the channels when I came upon TCM's Thursday night special tribute to Hayao Miyazaki. I listened to the pre-feature info-guy describing the great artistry and storytelling of this director and thought "I'll give it 2 minutes and then continue flipping".

After only ten minutes I found myself totally immersed in the experience. What a beautifully crafted, artistically amazing, and poignant study of two young Japanese students encouraging one another to follow their dreams as they surprise themselves by falling in love.

As a professional artist, I was amazed at the superb quality and artistry of the background panels, each one alone a separate masterpiece, and the 3 dimensional feel in the movement/action. This was not what I had expected.

The most striking element of this masterpiece (at the risk of being trite) was the slice of modern Japanese life/culture it imparted to me. The characters were real, while at the same time decent, moral kids. There was a certain innocence in the characters that was totally refreshing and endearing. They projected an almost spiritual reverence for their elders and total respect for their teachers. Because the Japanese culture is shown to be "user friendly", their parents had no fear for their kids traveling on bikes and rapid transit throughout Tokyo. It was quite charming to follow the various characters through their daily activities and reminded me of my own childhood before our American culture became so dangerous.

I now own many of Miyazaki's films including Porco Rosso, Kiki's Delivery Service, Princess Mononoke, Spirited Away, Castle in the Sky, and a few others. However, my personal favorite is still Whisper of the Heart. I can't wait to introduce my nieces and nephews to these fantastic and beautiful stories.

Save 25% Off

Civilization (1969)

If you have never seen this series before and are interested in art history, you just landed in a honey jar. Clark takes us on a 1,500 year journey through Western Civilization starting roughly at the end of the Roman Empire and ending in mid 20th century. He tells us straight out that his aim was to follow the history of Western European civilization as seen through the eyes of its artists. Why the limitation to only Western European civilization? Apparently, Lord Clark wanted to keep the series to a manageable length. The series is over 13 hours long as it is, and one can only wonder what it would have gone on to become had he included the Egyptian, Greco-Roman, Byzantine, Islamic, Asian, African and Pre-Columbian cultures. The mind boggles. With Civilisation, Clark has done an incredible job of showing us the amazing cultural legacy left by our European forebears. And at the end he reminds us that this is only a fraction of what was actually achieved. You will recognize many of these works. Others will not be so familiar. But they carry the weight of historical significance, and everyone with at least a four year college education should be aware of the general drift of Clark's presentation. He finished this program for the BBC in 1969. It was an immediate success and you can also find the book of the same name which was a popular spinoff of the series. I recommend it also. The series came along in the midst of some of the most tumultuous scenes of civic strife of the last 50 years. Against this background, Clark laid out his thesis that Western civilization has consisted of a series of catastrophes and rebirths. He indicates that our depression over the events of the twentieth century should not lead us into abandoning the cultural legacy which has been bequeathed to us. For example, if the Black Plague of the 14th century were to strike us with the same force it did before, over a hundred million Americans would die. The Thirty Years war devastated parts of Europe even worse than World War 2. And yet, the will to survive and rebuild society was always there. It is a prescient reminder for the current generation of thoughtful people.

Lucid, engaging, and comprehensive does not adequately describe Sir Kenneth Clark's magnificent survey into Western Civilization. For a series over 40 years old, the audio is remastered, the transfers are remarkably clean, and the content and opinions of the host hardly seem dated. Clark effectively interweaves music, art, science and architecture into a broad sweeping portrait that defines Western thought. For those critics who find Clark's praise for Western art either superficial or superfluous have probably been watching and listening to the typical PBS tripe directed to an audience with a junior high vocabulary with an attention span to match.

Clark is a splendid presenter and teacher whose enthusiasm for his work clearly shows. It's all here, from the ancient Greeks to the modern age (well actually, circa 1969 when the series was made), while "Civilization" is a wonderful introduction to the "humanities"--something that they used to teach in college, but now supplanted by courses and programs of dubious relevance and replete with politically correct content.

If you snoozed during your mandatory art or humanities courses in college or just found them as an opportunity to catch up on some other homework during lecture, let Sir Kenneth Clark explain to you why these things still matter today and help to define our culture and our lives. For slightly more than what you would pay for one class at a local community college, you can enjoy a most superlative achievement in truly "higher education."

Unlike the virtually unletterd commentators and hosts on the "History Channel" who apparently utter a profound "Wow, cool!" every time they are confronted with some architectual wonder or historical artifact, Clark's presentation, scholarly but never "stuffy," is a refreshing and welcome antidote.

Clark's remarks and insight are as on target as they are illuminating--see the installment featuring Michaelangelo and the Renaissance and you will understand why. Now, if only the BBC would release Alistair Cooke's "America" with Region 1 encoding for all of us to enjoy on this side of the pond...

Buy Civilization (1969) Now

In March 2001 I reviewed the VHS version of this classic. In recent years, I have lobbied for its release in the US in DVD. I joined Steve Lubetkin's blog last year to lobby the BBC, and now it is here. It is remarkable that this work of art about works of art has stood tall all these years against the plethora of programming that has sought unsuccessfully to surpass it. For all of us who know this series so well, it is not just a program; it is a document that families should pass on as necessary for a liberal education. Since it first came to America in the late '60's, nothing has married art, music, literature and a literate world view in the way Lord Clark showed us it was possible to do. That you may not share all his "personal views" is irrelevant. What matters is that what he puts before you will change and enlarge you. This must not be missed.

Read Best Reviews of Civilization (1969) Here

"Civilisation, A Personal View" by Kenneth Clark

Created in the 1960,s, this series continues to be a classic television series for those who want to be informed and entertained by a highly, knowledgeable and respected art historian, Kenneth Clark.

Mr. Clark does assume that he is talking to a viewer, who is educated, well-read, and has passionate interest in the history, issues, and flow of western civilization from the end of ancient Rome until the 1960's. As the subtitle, "A Personal View" and his commentary makes perfectly clear, he is presenting his knowledgeable view of the history of western civilization. Drawing upon his years of study and experience, his presentations are carefully crafted to have balance as well as clearly presenting his own personal analysis and conclusions as others. It is obvious that he is not in the entertainment business, but his manner is one of a learned host who is presenting an overview of western of civilization from the point of view of its art. The breath and depth of the subject matter is excellent and is highly recommended today as it was 30 years ago.

Finally, this excellent series is now available on DVD. On the technical side, the image quality DVD is in general very good but it is unfortunate that there are some scenes that do not have the quality that this series deserves.

(At bit of trivia One of the supporting actors in a brief scene from Hamlet is none other than Patrick Stuart.)

----------> Blu-ray Version Update (March 21, 2013)-Did NOT work.

Want Civilization (1969) Discount?

The Assassins (2012)

First, the description provided by Amazon and Well Go USA (on the packaging of the DVD) confused me when I first started watching the film. Both descriptions reference the Western Han Dynasty (206 BC 24 AD), and in reality, the film was based upon events at the end of the Eastern or Later Han Dynasty (25 AD 220 AD) and the very beginning of the Three Kingdoms period. Added to that, the film seemed to be geared towards an audience familiar with this period of time and the major players (dead and alive). As such, I spent a lot of time figuring out who was who and how they fit into the overall story. If you are not too familiar with the story either, I would suggest you briefly educate yourself on Cao Cao and Xian, Emperor of Han, making note of how Dong Zhou fits into the picture. I anticipate this will help you better engage with the characters and enhance your enjoyment of the film.

From a cinematic perspective, I thought cinematographer, Zhao Xiao Ding's, use of muted colors along with bright colors to capture the mood was particularly well done. And as a directorial debut for Zhao Lin Shan, the film was good, but not quite on par with films like 'House of Flying Daggers' or 'Crouching Tiger, Hidden Dragon'.

Finally, 'Assassins' would have benefitted from a better developed romance between Mu Shun and Ling Ju, particularly as it relates to Mu Shun's role. However, from a political intrigue perspective, it was quite well done. I also liked the inclusion of Chinese opera, it added an emotionally poignant punch at the end.

I think 'Assassins' is probably worth watching at least once, but not a film you will come back to again. (3 1/2 stars)

I love Chow Yun Fat, so when I saw that he had a new movie out, I immediately rented it. The newer movies from China are noticeably more beautiful so I was expecting no less from this movie. I was not disappointed in the least about the cinematography. It was extremely crisp and clear and the use of colors and scenery were wonderful. The costumes were also visually stunning. Unfortunately, that was the highlight of the film for me.

This movie is about the story of Cao Cao, played by Chow Yun Fat. I've watched a couple of movies regarding the Three kingdoms of China so I sort of picked up some of the history between the movies and reading what I can about it. The last movie that I saw that showed Cao Cao in a negative light was Red Cliff (by the way, an excellent movie to watch if you like this time period ) so for some reason I had that mental picture of Cao Cao in my mind for this movie. This movie spun off a different view of Cao Cao which had me rooting for him. Interesting since I was predisposed to disliking him based on what I knew. Chow Yun Fat, was as always, amazing an that was probably what got me. He is such a gifted actor that I'm always blown away by how he interprets and portrays the characters that he is playing. He IS the character and I forget that he is just Chow Yun Fat in a costume. Very multi-dimensional picture of his characterwhich for me kept me interested in his acting more so the movie. There was also a great supporting cast. I've seen a lot of Crystal Liu Fei in her mainland television series and most of her movies so I wasn't particularly very surprised by her performance. The others I was unfamiliar with but I can't say that I was disappointed at all with the cast.

I have to admit, the movie jumped around a little bit so if you don't pay attention, you'll miss some things. And there are some areas where you'll wonder what happened, because there isn't much explanation to what goes on. I found myself with my eyes glazed over at some parts simply because this movie was super slow in areas. I really think some parts could have been cut out and no one would have noticed. Movie was a couple of hours long so be prepared to be in one place for awhile. Also, if you're expecting a lot of actionyou'll be disappointed. This movie is more about the story of Cao Cao and his reign of power and what he had to do to stay on top rather than swordplay and battles. There are some fighting scenes, but again, it's not some Donnie Yen movie where there is advanced choreography. This is more of a history lesson with a storyline. Speaking of whichthe storyline outside of Cao Cao's life progression seemed to be input to create some drama conflict to make it more interesting, but I really felt it didn't add a whole lot to the movie. Rather, I found myself tuning out that part of the story to focus more on Cao Cao's plot. It almost felt like it didn't belong. I give this movie three starsokay, but not one I will watch again. Chow Yun Fat's performance is worth watching but only if you want to give up a couple of hours. If you want a wuxia movieI'd skip this one.

Buy The Assassins (2012) Now

Nice to see CHO CHOs future after Red Cliff. Gives a different perspective of him. lkNice to see a love story without sex.

Read Best Reviews of The Assassins (2012) Here

Chow is wonderful and the other actors support him beautifully. All about the days of warlords their life, their loves, their fears, and their destinies. The story is true to the bone. Thumbs up!!!

Want The Assassins (2012) Discount?

This movie has a lot more character development than most asian martial arts/war movies. I love Chow Yun Fat's interpretation of his part.

Save 57% Off