Buck

Neither my wife nor I had heard of the movie Buck. We went to see it because it was close to our motel in downtown Grand Junction, CO. It was spellbinding. Both my wife and I truly enjoyed the movie. It was an unexpected treat. Though it may seem to be about horse training it is really about life though Buck's life in particular. It will appeal to a far wider audience. I hope this movie goes in wide distribution because I think this movie would be enjoyed by many more than might see it in the limited distribution theater network. This would be a good parenting movie. I plan on buying the DVDs for my kids who are in their 30s, and maybe a few friends. See this movie.

I have known Buck for over twenty years and had horses in my life for over 40 years. I work with horses and use them to help humans who have survived trauma, who have physical challenges, or those who simply want to learn to be around a powerful, gentle, sensitive creature. Horses are the mirror for the human condition. If you are unbalanced they will not choose to approach you. If you have good, calm, welcoming energy they will be drawn to that. If you are angry forget it, they will have nothing to do with you. I am delighted with the accurate portrayal of Buck. Kudos to Cindy Meehl and crew on a documentary well done!

If you are not a horse person, you will gain insight into how people can overcome. That old adage that, 'abusers grow up to become abusers' is simply not true. I have several friends that are in the mental health field and they love the film.

If you are a horse person you may find a new path to getting more done with your horse by doing LESS sooner.... ah, that old gem: prepare for the transition and the transition will take care of itself...

Buck is holding the bar high and hoping we can all aspire to finding softness and harmony; in ourselves, with our horses, and in life.

This film is a treasure, we have been invited into the lives of some very special people. Watch it, look in your "mirror" assess what is reflected there, change where you need to then go share. Pay it forward and the world will be a better place.

FYI I've seen this twice now with friends and would go again if asked while it's still up on the "big screen" every time I watch it I get something new.

Enjoy & happy trails

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You walk away with a better understanding of people, and hopefully more respect and understanding for living things than before you saw this film. And that is worth a lot.

So, don't think it's just all cowboys and horses, it isn't really that at all, only on the surface.

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Buck Brannaman is the "real enchilada", a man for whom it would seem the term, "cowboy" was coined. Enduring beatings from their abusive tyrannical father, Buck and his brother were professional trick ropers by the time Buck was 4 1/2. After their mother's death, authorities finally removed the boys from their dark home life. Through the love of his foster parents, Buck managed to leave his haunted past behind, though not without heavy scarring, on his soul as well as his body.

As one of the interviewees pointed out during the movie, perhaps "tortured souls", such as she calls Buck, have a special sensitivity to the horses they help that the average trainer lacks. Whatever it is, Buck's feel for the horse has enabled him to help thousands of horses with their "people problems", as he is wont to call them. "Buck" follows Brannaman as he takes to the road for nine months of each year, giving 2-day clinics all over the country. There is even footage of his daughter, Riata and her girlfriend, as they accompany him for part of the time, as well as Mary Brannaman, Buck's wife of many years.

Fans of Buck Brannaman will slurp this movie up like a kid eating ice cream on a hot day. But its appeal is far broader than just for those who love horses. Scenery is excellent, the music is catchy, and there are scenes of working cattle, Californios roping with Buck and Riata, and what most fans probably are looking for, Buck doing his thing with horses with issues. More than this, though, is the weaving of Buck's past through the film, along with footage of some of the Western horse world's greats, such as Tom Dorrance and Ray Hunt, mentors of Brannaman.

As if all this weren't enough, "Buck" shows how oftentimes clinics are about more than getting a handle on your horse. As Buck says, the horse is our mirror. Owners' issues are reflected quite accurately in their horses' attitudes and actions. And when Buck begins to pull threads on the horse, you can just about bet, one or two ends will be firmly attached to the owner. Tears and other emotions often rise to the surface, and people usually find they learn more than they'd imagined they would, at day's end. Sensitive he may be, but Brannaman pulls no punches when it comes to giving "tough love" to his clients. If they ask, he will tell them what they need to hear, which is many times far different from what they may want to hear!

"Buck" is nicely done; not too long, with just the right mix of lightness, humor, and drama to keep viewers' interest high. And ultimately, the scenes of Buck on a horse just shouldn't be missed. No one sits a horse like Buck Brannaman! See it; you'll be glad you did! I can't wait for the DVD!!!!

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This was a "no holds barred" documentary during which Buck candidly shares his thoughts on many subjects, not only those related to horses. Having had a troubled childhood, Brannaman matured into a really fine adult who has helped a lot of horses, as well as many people. The sequence near the end of the movie shows that some horses are actually beyond help. However, during most of the movie we can see how well he handles horses that others find to be problematic. He has real respect for the animals and, in most cases, they seem to appreciate it and respond in kind. This movie should appeal to more viewers than simply horse lovers.

Paul Baragona

Raleigh, NC

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Blue Crush (2002)

I walked into the theatre expecting a fun summer flick to bring me out of a very depressing, stress filled, health concerning summer. What I got was far beyond that! Having lived 22 of my 38 years in sunny beach towns, I was brought back to Life!!!

Yesit was a little mindless storyline, but hey how many surfers could handle something deeper?!? Isn't that who this was made for? I fell deep into the movie. Every scene had something I could relate to. I could smell the ocean, taste and feel the salty water dried on my skin. Feel the rush of a wipe out that is so intense you don't know up from down when you're being thrown spinning in the water; and coming up for air only to take another hit and get that water blown up your nose again! Then, when you finally get out, find major road rash on your face that is burning from the salt water. Surfers are you relating to this? Anyone who has been there should. Surf Divas your sex doesn't matter! Surfing is surfing! I have seen this movie four times and am now anxiously awaiting the release of the DVD. I am planning a huge Luau on it's release date. The acting was good (not great) and the storyline was cute but not what 'The Academy' looks for. But, don't tell me you didn't laugh at the "Pro Bowl" athletes more than once! Overall, everyone fell into their characters very well. However, if this movie doesn't at least get mentioned for cinematography ... there all crazy!! This is a definate 'feel good' movie. You can't help but sing along (great soundtrack) and yell "oh, wo, holy..." when it comes right down to it. Bottom Line A Must See! Only you can decide for yourself.

I had planned to see this film simply because I have a deep interest in surfing. I think that it is a cool sport riding those fierce waves on nothing but a board. Must take tremendous athletic prowess, bravery and skill.

However I did not expect to like the movie itself. Given Hollywoods lousy track record lately (especially with stuff like this) I expected it to be another rubbishy teenage film.

Boy was I wrong!

Apart from the visuals (surfing and cinamatography). I was tremendously impressed that they decided to go so deep into the characters themselves. I especially like Anne Marie the main character. I thought that she was fine young woman. She was strong yet still flawed and vulnerable. I got the impression that she was a former wild child who was trying to do good. Trying to fill in the mother duties and see that her little sister went to college. Wanting to win the contest so that she could "pay her bills" on time every month. I found it really touching.

I also liked the female bonding between Anne Marie, Lena and Eden. They were like a family and looked out for each other. I found it far more real and noble than the promiscuous antics of the girls in "Sex and the City". They really loved and cared for one another. There was no cattiness or jealousy. Sure they fought but it was the kind of fighting you see among siblings who have disagreements. As opposed to see who would be #1 princess.

I found it really neat the way that at the end of the film all those young girls were gathering around Anne Marie in order to get her autograph. I think that she was a great role model. Sure she had problems, but the difference is between her and heroins in other in such movies is that she works through her problems and doesn't fluff them off. How refreshing!

The audience I saw it with were absolutely captivated. It was not one of those films where you can sense the restlessness of the audience, everyone was absolutely riveted.

Blue Crush is one of the best films I have seen in a long time. It will inspire you.

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The first time I watched this movie, I was like, "Eh, it was ok." Then I watched it again. I began to notice little things that I had not paid attention to the first time. I really liked the feeling I got from the film. I felt like I could be apart of their world. It was just three young girls (4 counting the little sister) that were trying to live their lives. I thought the shots of the ocean were beautiful. This movie really makes me want to go there to see the beauty myself.

The film is about Anne Marie (Bosworth) and her struggle to succeed in the world as a surfer and a parental figure to her little sister Penny. She is training for the Pipemasters, a huge surfing contest. Her two best friends Lena (Lake) and Eden (Rodrigues) are her roomates and surfing buddies. Lena is a free spirited, "lets go surfing" girl. Eden is a tough, encouraging friend. They all work at a crappy job at a very nice hotel and resort. Penny is a young girl trying to grow up without a mom or dad... just an older sister and her two friends. While working in the hotel, Anne Marie notices Matt, an NFL quarterback, who she begins to date while trying to train for the competition.

All in all, this movie is one of my all time favorites because of its beauty and it's realistic story line. I loved it!

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Just think: yesterday my "list" (of the people my wife will theoretically allow me to go out with...) only had one name on it. (Liv Tyler, of course. Duh. ) But today I had to add another candidate, uber-hottie, surfer-model Sanoe Lake, who has one of the supporting roles in this sporty-teen surf flick. Sure, Sanoe doesn't actually do that much wave riding in this film, but as a cool-looking beach bum who stands around smiling that twinkly smile and being supportive of her pal the uber-surfer (played by Kate Bosworth) she definitely rocks my world. Seriously, though, this was a pretty fun film -a sports saga that takes place on Oahu's treacherous North Shore (apparently the world's gnarliest surf beach). The plot involves a local gal who wants to help put female surfing on the map, despite the taunts of her macho male colleagues, and yet finds herself distracted from her destinly by a cute, sensitive, equally athletic studmuffin. Michelle Rodriguez -who had a similar role in the less-fluffy boxing movie, "Girl Fight" -is also on hand to cheer Bosworth on, as is the clean-cut himbo who plays her newfound, earnest young beau. I gotta say, the plots and directing on these new teen-triumph movies -"Bring It On," "Save The Last Dance," etc. -have gotten so much better in recent years... they're actually worth watching! And this film is a fine example of that trend. It's a thoroughly entertaining look at the booming surf subculture, with some awesome marine cinematography and a decent, well-paced story. Plus, all them gals are hella cute, in a pleasantly non-bimboed-out kinda way. A lot better than I expected it to be, and certainly worth checking out, especially if you're in the mood for something light.

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Okay, the other reviews in this section make me extremely angry. It appears that no one has actually seen this film but me. I mean this literally. All the reviews here are for the 2002 Hollywood movie "Blue Crush", which was a FICTIONAL movie staring Kate Bosworth. The actual movie that is for sale here is the ORIGINAL Blue Crush, with pro surfers Megan Abubo and Rochelle Ballard. Kate Bosworth is NOT in this movie, contrary to the product description. THIS MOVIE, is a documentary about a group of professional female surfers, and takes place in the South Pacific (NOT HAWAII). It was a fantastic surf documentary, and a glimpse into the lives of these REAL professional surfers. So please, for the sake of surfers everywhere, DO NOT CONFUSE THIS MOVIE WITH THE HOLLYWOOD COPY OF THE SAME NAME!!!!!

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Company (Stephen Sondheim) (2011)

When you're a theater lover, you greet every revival of a Sondheim work with great enthusiasm. "Company," to my mind, has always been one of the master's more accessible pieces. Originally produced in 1970, the show may be a product of its time but with a powerhouse roster of songs including "The Ladies Who Lunch," "Being Alive," "Side by Side by Side," and "Another Hundred People," it makes for an era well worth revisiting. This star-studded production, shot at Avery Fisher Hall with the New York Philharmonic, certainly had a curiosity factor working for it with its eclectic cast. Headlined by Neil Patrick Harris, the show also features the always welcome Patti Lupone. But in addition to these two, the cast boasts a number of less likely (but no less recognizable) faces. Craig Bierko, Anika Noni Rose, Katie Finneran, Martha Plimpton (Raising Hope), Christina Hendricks (Mad Men), Jon Cryer (Two and a Half Men), and Stephen Colbert are some of the others on stage. This filmed version of that event was presented in theaters at a one night only showcase with Fathom Entertainment. And admittedly, I was first in line.

"Company" tells the story of a perpetual bachelor, in this instance played by Harris. With minimalist staging, he is surrounded by five married couples who are at hand to celebrate his thirty-fifth birthday. The couples are at different points in their relationships (from bliss to divorce) and all have an opinion about the lifestyle that the central protagonist has chosen to live. Whether it is envy or mild disapproval, the show features them battling him and one another in a series of mildly comic scenarios. Harris, as might be expected, shows a light touch with the dramatics of the work. He is effortless and likable and the show has an easy sexiness not always apparent in other productions. But it seems that the choice has been made to concentrate on the story as opposed to the song. So while amusing and pleasant, this production of "Company" lacks some of the big moments that you might be hoping for.

While most of the voices are serviceable, none of the vocal performances come anywhere close to setting a new standard. To my mind, only Patti Lupone's rendition of "The Ladies Who Lunch" really brings down the house. But what else would you expect from such a diva? Unfortunately, the 2007 Broadway revival (with a tremendous Raul Esparza, also on DVD if you haven't seen it) was still quite fresh in my mind when I watched this. I thought that version was an absolute powerhouse and, frankly, this seemed much slighter by comparison. Still, I can't NOT recommend a Sondheim and if this cast brings a wider audience to appreciate his work, who am I to complain? And it is genuinely amusing to see a different side of some of the performers. I enjoyed "Company" fine. It's certainly not the definitive performance of this great musical, but it's still a bit of light fun. KGHarris, 8/12.

In 2011, I was sitting at the local movie theatre when a preview for Stephen Sondheim's Company came on the screenI immediately had a musical theatre nerd-gasm. I've listened to this show over and over again, but I never really grasped the full concept of the show. I bought the 2006 Broadway Revival DVD in hopes to gain some more insight into the showI received, some. It wasn't until I saw this production (one of only a few in the theatre), that I completely understood Bobby's story.

The scale of this production, and the staging was simply magnificent. Many forget that this was Company: In Concert because it feels as though it's a full-scale Broadway production. The full orchestration was fantastic, and the talent on stage, sublime: Neil Patrick Harris embodied Bobby perfectly. Patti LuPone's Joanne had me on the edge of my seatI've always been a fan of her. And the three young ladies playing Bobby's girlfriends (Chryssie Whitehead, Anika Noni Rose, & Cristina Hendricks) were excellent choices: each one played their character beautifully.

Ms. LuPone brought her own to the role of Joanne. Each of her musical numbers brought down the house: during "The Ladies Who Lunch" I forgot I was in a movie theatre and actually gave a standing ovation. NPH's "Being Alive" had me in tearsI couldn't help it, again a standing "o". Anika Noni Rose's "Another Hundred People", amazing; Christina Hendricks' "Barcelona", hauntingly simple; Chryssie Whitehead's nimble pins during "Tick Tock" (cut from most productions) had me moving my own feet. Kate Finneran's "Getting Married Today", funny as always.

If you're looking to add this to your collection, I promise, you won't be disappointed.

Hesitant about seeing it for one reason or another? It can't hurt to give it a chance.

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I saw Company! at the Alvin Theater, of Broadway on December 8th, 1970 (Elaine Stritch forgot a line in "Ladies who lunch" and turned to the audience after a LONG pause saying "Do you think I forgot the line?") and have seen every reincarnation I could find since then. I have a copy of the script, the Alvin Theater Playbill and am a Company! junky. Loved Raul Esparsa in the 2006 revival, but it lacked the full orchestra Sondheim deserves (Angel Desai strained to sing "Another Hundred People"). This cast solves every problem I've seen in previous reincarnations and NPH pays great tribute the the Late Larry Kert, while Martha Plimpton and Stephen Colbert are awesome. No one else could be Elaine Stritch, but Patti Lupone holds her own. Bravo!

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I love the play so I went to see this version when it was in theaters and enjoyed it. However, now that I have it in my own home, I remember some of the problems it had. There is a fine line between projecting your voice to be heard and shouting the lines, and unfortunately, a few of the cast members cross that. There are a few spots where the singing is off-key. And the acting is a tad awkward in several scenes. It really gives you the feeling that they just threw this together and there wasn't a lot of rehearsing. If you're a fan of the play then I would get it, seeing NPH, Stephen Colbert, and Jon Cryer in this is a real treat. But if you're new to the play I would not recommend this for your first viewing.

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Stephen Sondheim fans should rejoice that Lonny Price's superb production of "Company" is now on DVD. Price restores and rescues "Company", (from the awful, over-rated clutches of "acclaimed" director John Doyle) - placing it firmly back in New York City in 1970. Well, it takes place there and it doesn't. "Company" actually takes place inside Bobby's (Neil Patrick Harris) mind.

With "Company," Sondheim effectively moved the musical theatre from the "integrated musical" (pioneered by his mentor Oscar Hammerstein II) into the "concept musical." The concept or "theme" of "Company" is the difficulty of maintaining interpersonal relationships in an increasingly depersonalized society. Sondheim writes in his career retrospective "Finishing The Hat", ("Company") "takes place not over a period of time, but in an instant in Robert's mind; perhaps on a psychiatrist's couch, perhaps at the moment when he comes into his apartment on his thirty-fifth birthday." The unattached and seemingly "emotionally unavailable" Robert imagines his surreal birthday party; reviewing his relationships with his "good and crazy" married friends, as well as his relationships with three disparate girlfriends (Chrysse Whitehead, Christina Hendricks and Anika Noni Rose). The "in his head" approach allows Robert's interactions with his married friends to unfold as a series of vignettes, outside of time and space. It also provides for a great amount of theatrical fluidity and versatility. In this cerebral-emotional context, it is quite natural for Bobby's three girlfriends to pop in and sing "You Could Drive A Person Crazy" in the style of the Andrews Sisters; or Bobby and all of his friends to perform a vaudeville-circus routine to "Side By Side-What Would We Do Without You?"

But "Company" is far from a cold, cerebral "head trip". It is, indeed, a profound emotional journey. Robert and his friends are all full of angst, deeply flawed and neurotic; which makes them wonderfully human. Sondheim's observations and commentary on relationships (married, divorced, or some stage of single to coupling or uncoupling) are, by turns, astringent, cynical, rueful and often ruthless. In my opinion, Sondheim is right on the emotional mark. As expected, Kate Finneran as Amy, the frazzled bride on the verge of a nervous breakdown, stops the show with her delivery of "Getting Married Today." Also as expected, Patti Lupone as Joanne, turns the stinging "The Ladies Who Lunch" into her own volcanic, personal tour-de-force. But this production delights and surprises in several unexpected ways as well. Martha Plimpton, Stephen Colbert, and Jon Cryer all make welcome and effortless transitions from TV comedy to musical theatre. Anika Noni Rose offers an exhilarating performance of "Another Hundred People." At the center of it all is the extremely charismatic and talented Neil Patrick Harris, who imbues Bobby with an easy but potent sexiness, instead of aloofness or cold, cocky arrogance. It is easy to see why everybody is so attracted to, and worried about, him. By the conclusion, and Bobby's big emotional breakthrough with "Being Alive," Harris is also heartbreaking.

Sondheim writes in "Finishing The Hat", "Company" is a show I'm extremely happy with. It influenced musicals, for good and ill, for years afterwards and continues to do so. It made a lot of grown-ups who had disdained musicals take them seriously, and it not incidentally gave me my first good notices."

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Cinderella II: Dreams Come True & Cinderella III: A Twist In Time (Three-Disc Blu-ray/DVD Combo in

I actually really enjoyed Cinderella III, but Cinderella II is horrible!

Cinderella II is a collection of shorter cartoons, and can't even really be called a movie. The animation is poor, and the story lines are kind of ridiculous, (Cinderella has to have a party, one of the mice wants to be human, and one of the step-sisters wants to date a townsmen.) Alone, Cinderella II would get one-star, and that would be generous.

Cinderella III is an actual full-length movie about what would happen if Cinderella had no magic. It starts on their first anniversary, but then Lady Tremaine, (the wicked step-mother,) gets her hands on the Fairy Godmother's wand, causing them all to go back in time to the morning after the ball, and causing Prince Charming to forget he danced with Cinderella. She remembers, and tries to get him back. It's a good story, and had a strong girl power feel to it. The mice provide great comic relief, and the characters are well developed. The animation isn't that bad for a sequel either. It's nowhere near as good as the original, but it is entertaining enough to watch more then once.

I would suggest looking for a single copy of Cinderella III if it's available at all, but save your time and money with Cinderella II.

I can't remember much about Cinderella II, other than it being the typical sequel movie (if I remember correctly it's about Cinderella trying to fit-in with the palace life). However, the third Cinderella was very interesting. When this movie first came out, it was heavily advertised about what would happen if the glass slipper was taken away--would Cinderella still get her prince. So unless someone purchased it much later on than the original release it could not have been any surprise of what was going to happen. This movie doesn't take away from the first movie--it just adds to the Cinderella story.

Spoiler Alert:

The movie begins after Cinderella is with the Prince and the Wicked Stepmom and daughters are miserable. But then, the wicked step mom discovers the magic Godmother that had helped Cinderella and steals her wand. She used the wand to turn back time before Cinderella was with the prince, but this time there is no magic to help Cinderella and the Prince. I think the movie illustrates that with true love, it will find a way to work out.

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My daughters have wanted Cinderella 2 for a long time now, but Disney had discontinued it. We have seen Cinderella 3 and really enjoyed the twist, plus a more in depth look into Prince Charming and the king.

These reviews are opinions and while some might not care for C2, others might especially the girls. I suggest that you give this collection a chance I have 3 daughters (ages 2-8) and we enoy watching C2 & C3!

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My daughter loves Disney's Cinderella movie and these were no exception. She now loves the whole franchise now! Beloved characters and updated story lines.

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Very good movie, the kids enjoyed it. it's also close captioned, so the deaf adults can enjoy it too. Yes, I would recommend this dvd.

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It's a Mad, Mad, Mad, Mad World (1963)

Stanley Kramer's IT'S A MAD, MAD, MAD, MAD WORLD (1963, UA) is my favorite comedy of the sound era and the most fondly remembered movie of my 1960's childhood in the San Francisco Bay Area. It has a sunny and airy mood, the comedy cast of a lifetime, sharp and hilarious dialogue, an irrestible greed plot, a melodic music score by Ernest Gold, and furious pacing for almost, or just over, three hours (depending on what version you are watching). The more I watch it on DVD at 161 minutes or at 182 minutes on Turner Classic Movies, the more I love it and want to see the long-lost 192 minute Cinerama world premiere version.

MAD WORLD does something right that every other movie of its type gets wrong--it starts a chase plot in reel one, then develops character outward as we go along. It does not spend 45 minutes setting up the story, as similar movies do. In the opening scene, a dying millionaire (Jimmy Durante) tells a group of people in the Southern California desert that a large sum of money is buried "under a big W" in a park south of San Diego. Mickey Rooney and Buddy Hackett are gag writers headed for Las Vegas. Milton Berle is headed for a vacation with wife Dorothy Provine and Ethel Herman as the mother-in-law to beat all mothers-in-law. Sid Caesar and Edie Adams are a dentist and his wife. And Jonathan Winters is driving a van of furniture. Monitoring all of them, as they race after the money, is Spencer Tracy as the coastal city (a compilation of Long Beach and Santa Monica) police captain with a wall map.

So we have a slapstick chase movie to end all slapstick chase movies. (WARNING: PLOT SPOILERS AHEAD!!) Heading a golden age of television cast are Caesar and Adams, who get to fly in a makeshift plane, then get locked in a hardware store basement. In a career performance, Winters hilariously gets to completely demolish a desert gas station. Berle has a running battle with the mother-in-law from Hell, Merman, who in turn has been given some gloriously acidic dialogue by superb sreenwriters William and Tania Rose. The Roses have never been given enough credit here. All of the sublime dialogue is on the printed page. Along the way, Winters meets up with Phil Silvers, who in turn mixes up with miner Mike Mazurki. Silvers is staggeringly funny with a car at the bottom of a canyon, then later drowning in a river. Rooney and Hackett are in another plane that flies through a Coke billboard after pilot Jim Backus knocks himself unconscious. There is also Dick Shawn as Merman's lifeguard son at Silver Strand Beach. And a phone running battle in his inner police office with Tracy and his wife and daughter that escalates over a simple vacation. And this is only part one, before the film's intermission! Part two has some of the funniest dialogue and greatest car chases in all of movie history for me. And the grand climax has never been topped for me--not even by silent era clowns.

MAD WORLD got mixed reviews when it opened city by city in late 1963, right before President Kennedy's tragic death in Dallas. The positive ones praised a wonderful cast and hilarious chase plot. The negative reviews said it was too long and repetitious at 193 minutes. So producer/director Kramer and his editors carefully cut the Cinerama world premiere version, two months into its run, to 162 minutes. It played in 70mm Cinerama engaggements at 162 minutes until 35mm engagements in Spring 1965. It was further cut then to 154 minutes with roadshow music and intermission removed. All 35mm prints today--and since 1965--run 154 minutes. The DVD, which may or may not still be for sale, restores roadshow music and runs 161 minutes. At an aspect ratio of 2.55, it also blessedly comes close to restoring the ultra-wide widescreen images of the original film. Maddeningly, though, this 161 minute DVD print is curiously missing the Oscar-nominated title song overture.

But there is also a 182 minute print of MAD WORLD (!), restored by my dear filmmaker friend Paul Scrabo, MGM executives, and a dying Kramer in 1991. That is the version that hit VHS and laserdisc in 1991 with a splendid hour-long documentary that I wish could be seen nowadays. It briefly surfaced on one DVD edition, then removed from another that has no bonus material. (So we have two different 161 minute DVD prints that may both be on moratorium! One with a lot of bonuses and one with none. It's a mad, mad, mad, mad world!) Anyway, the 1991 documentary combines behind-the-scenes filmmaking with cast/crew reminiscences. Almost everyone recalls a lot of hard work in desert heat, but also a heck of a lot of slapstick fun. One other thing I love about the movie is that the Southern California desert landscapes are deserted for miles--no other cars and no homes, just an occasional truck and gas station.

For 22 years, Paul and I and others have been on a futile quest to restore IT'S A MAD, MAD, MAD, MAD WORLD back to its original 192 minute Cinerama world premiere length. The closest we have come is the 182 minute reconstruction on home video and cable TV, and it includes preview material. So we are still missing at least ten minutes of crucial visual material and as much as fifteen minutes. Included in the still lost material (I have the complete script--I think) are Shawn stealing his married girlfriend's (!) convertible, more of Buster Keaton's cameo as a crook, getting Jim Backus INTO a shower he subsequently is removed from, the identity of a strange man in the police station (he is a police reporter told to sit on the story for now), Tracy learning who Silvers is (an unemployed piano player and gambler), and the beginning of almost all the police office scenes. Current prints, including the 182, join them in progress.

There are easy-to-find Internet articles on Stanley Kramer's immortal masterpiece that claim the great Robert Harris and James Katz, who restored VERTIGO and MY FAIR LADY among others, want to reconstruct MAD WORLD. My Internet sources claim Harris has in his possession "188 minutes of bona fide world premiere footage." Only four minutes missing off the original 192 minute print--close enough for me! The Internet claims further that Harris just is waiting for a $2 million purchase order--lunch money in today's Hollywood--to do the work that needs to be done to restore this wonderful movie back to the length it ran when it opened in Los Angeles on November 7, 1963; the version that early in 1964 got six Oscar nominations.

We owe it to the memory of a great filmmaker and a magnificent cast, many still very much alive, to reconstruct and restore IT'S A MAD, MAD, MAD, MAD WORLD from 154 or 161 minutes to 192 minutes for theatrical re-release (it has always been an audience favorite) and letterboxed 2.76 ratio home video sales. It is a precious part of our cinematic and cultural heritage. THIS REVIEW IS BASED ON THE 161 MINUTE DVD and 182 MINUTE CABLE TV PRINTS.

It's a Mad, Mad, Mad, Mad World is a classic comedy. Combining big name talent, it tells the story of what happen when a group of strangers finds out where $50,000 is buried. Soon, these normally law-abiding citizens are speeding, stealing, and destroying property. What they don't know is the police are observing them the entire time. As the situations get more out of hand, the movie gets funnier.

I wasn't that impressed the first time I saw this movie. But on repeated viewings with friends, I've come to enjoy it more. The actors are phenomenal and the material has a timelessly funny quality to it. I'm young enough that I don't recognize all the stars, but that doesn't diminish my enjoyment at all.

I was excited when I found out that the movie was coming to DVD, but I've got to say the final product disappointed me. I have only seen the "restored" VHS version that's been out for years. This DVD goes back to the original theatrical release and cuts out some of my favorite scenes. They are included in the deleted scenes section, but it's a very poorly thought out section that makes it hard to find what you want to see. The DVD does include good picture and sound, and I have always enjoyed the documentary included from the videos.

This is a classic movie that everyone should see. However, if you're a fan of the recent videos, be forewarned that this is not the entire movie you are used to seeing. Hopefully, this movie will be reissued on DVD with this footage added back.

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I really wanted to like this DVD. I have the movie on VHS and enjoy it a lot. My reason for rating it so low was that it had almost 23 minutes missing from what was on the restored DVD version, including several memorable Phil Sivers moments. I see no reason why a DVD should offer less than the VHS. Shame on the producers of the DVD. What could they possibly have been thinking?

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As the first film I ever paid to see as a child (I was 11, and so proud of saving up the money!) I loved "It's a Mad, Mad, Mad, Mad World". It was slapstick on a grand scale, with a clever commentary on greed thrown in. And the cast! Tracy, Berle, Caesar, Silvers, Winters, Rooney, Hackett, Shawn, Terry-Thomas, Falk, Rochester...and the 3 Stooges had a bit part, along with Jack Benny, Jerry Lewis, Buster Keaton, so many more! For one of the first generation of 'TV Kids', I was in Heaven!

With adulthood, and changing tastes, I can see some of the film's flaws...It's too long, Spencer Tracy is obviously in poor health and straining to keep his energy level up, some of the scenes (especially the early ones) lack pacing, and the Cinerama format almost guarantees you'll miss part of the action, even in a wide-screen format.

But the film's sense of joy is undimmed, and the new digitally-remastered edition Amazon.com is offering gives them full attention. Enjoy again Rooney and Hackett's mishandling of an airplane, Jonathan Winter's gas station destruction scene (a classic!), and, of course the bodies-flying finale.

And hang in there...After the film is a 'Making of...' documentary, with FABULOUS ancedotes by the surviving cast members...It alone is worth the cost of the film!

After 36 years, I STILL love this movie!

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I'm not going to go into a review of the 1963 film "It's a Mad, Mad, Mad, Mad World.'' This is one of those films that's almost beyond reviewing--you either love it or you hate it. I love it, and have loved it for more than 30 years, ever since my Mom took me to see it in its 1970 theatrical re-release. It's a classic.

What I want to talk about here is the new DVD version of the movie. Is it good? "Yes emphatically" and "yes kinda" at the same time. The main drawback for the dvd is the aspect ratio-strange for a widescreen 16x9 enhanced dvd, yes? Let me explain.

For decades since I saw it on the big screen, the only version I was able to see of "Mad4World" was the pan-and-scan version-which meant for years I was seeing only about half the picture. I thought myself lucky when I recently caught a "widescreen" version of the movie on cable TV (either Turner Classic or American Movie Classics, I forget which-probably TCM since my tape has no damn commercials stuck in the middle of it). Unfortunately, this version was only a small bit "wider" than the pan and scan; but it was better than what I'd seen on TV previously. You see, "M4World" started its life as a ultra widescreen Cinerama movie. That means its picture was not only super-wide, having been shot in 70mm SuperPanavision, but that it was also projected onto a curved screen that wrapped around the audience, taking up almost all your peripheral vision if you sat in the front part of the auditorium. An anamorphic lens was used in the projector which distorted the picture at the edges in order for them to look normal when projected on the huge curved screen. The original aspect ratio was 2.55:1.

So the point I'm trying to make is that this was a VERY widescreen movie. And now we have a very widescreen transfer on DVD. Now we can see more of the film than we have been able to in years, right? Good, right?

Well, yes and no. You see, for some reason, MGM has put "Mad4World" out not at a 2:55 aspect ratio, but at a slightly narrower 2:35 aspect ratio. This might not seem like such a bad thing, but the surprising result is that there are many things I can see on my old vhs tape of the pan-and scan version that I cannot see on this widescreen DVD!

The reason is this: as I said, this widescreen version is slightly less wide than the original, and often characters on either the far left or far right sides of the screen are cut off a bit. In my old P&S version, the person who had done the panning and scanning simply panned all the way to the right or left side of the picture if the action was on that side, showing that character fully (but of course showing the characters on the other side not at all). In this new dvd (not-quite) wide (enough) screen version there is, of course, no panning and scanning; the 2:35 picture is simply shown. Unfortunately it is a slightly smaller picture than what was originally there, and often the result is characters cut off at the shoulder.

Of course, this is MUCH better than anything we've had on home video before. And MGM should be praised for releasing the DVD at such a reasonable price, and with some decent extras. I just wonder why they didn't go ahead and transfer the film at its original aspect ratio.

If I have to look at Phil Silvers, I wanna see BOTH his shoulders, dammnit!

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Mission Impossible (1996)

I am a big fan of this movie but there's nothing special about this, so-called "Collector's Edition" which only seems to have been issued in order to have something tied up for the release of MI3.

There are a few short clips on how the incredible set pieces were made but no new interviews, deleted scenes, commentaries, etc. The featurettes included are as shallow as they can get. This is too bad given the many years we had been waiting for a special edition of this movie. Compare this to the incredible SEs Fox has been issuing of movies such as the Poseidon Adventure, Towering Inferno, Nine to Five, Planet of the Apes, etc. and it feels like somebody at Paramount ought to be fired.

Mission Impossible: I is the first movie of the three mission impossibles and it is by far the only one worth watching. True, the second one has crazy explosives and flying karate kicks but that's not what true espionage is all about.

Then there's the third one, the most recent, and it's more espionage than the 2nd but it too relys too heavily on explosions and big names to give you any real value as a movie. This movie is the bread and butter of "didn't see it coming" espionage spy movies!

That said, I'd like for you as a viewer of reviews to check out the DVD reviews of this Movie and get more of a feel for what it has to offer, Here in the "Blu Ray" Review I just want to tell you whats improved or not improved, for that matter, on the blu ray version. I currently have the Onkyo TX-SR805 receiver which decodes True HD and DTS Master HD audio formats NEITHER OF WHICH ARE SUPPORTED ON THIS BLU RAY DISC.

The best audio that is offered on this Disc is regular Dolby Digital and DTS 5.1 which sounds great, but does not live up to the standards that are trying to be set in this next generation of home entertainment.

So I was disappointed in not getting the HD audio I would expect it does look fantastic in HD, there's a lot of contrast in black levels and the details in face shots are phenomenal but I wouldn't replace my Old Mission Impossible DVD with a Blu Ray Version (I rented it from blockbuster online to see the difference)

Hope this helps you as a consumer Cheers.

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I don't quite get the bad reviews for this film. Its one of my All-Time favorites, and sure, it takes brains to follow the storyline. Yeah? So? I think that you have become to accustomed to action movies with no stories, just people getting blown up. This movie centers around Ethan Hunt (Cruise) an IMF agent sent on a mission in Keiv. The mission goes wrong and its up to Ethan to figure out what happened. He soon finds himself trying to keep a IMF NOC list from getting into the wrong hands. But whose hands are those? This movie does involve some thinking, and you may have to view it a few times to truly appreciate, but isn't that what a great movie does? You pick up new things every time you view. The movie stars Tom Cruise, Ving Rhames, Jon Voigt in a great role and other well known actors and actresses.

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a reviewer below me called the storyline to this movie "a jumbled mess". oh my, how wrong he is. although, i will admit... i did not fully understand the storyline to this movie for TEN years. that doesn't mean it was a jumbled mess, though. it only means that my feeble mind wasn't able to comprehend the depth, detail and layers to it at first. so, TEN years later (2006) i watched it for what was probably the 20th odd time, and i FINALLY understood all of the twists and turns in the storyline and it all came together so beautifully. it was like poetry. it was one of those moments where you sit back and say to yourself "how in the hell can someone write something so ingenious?". so anyways, my point is: this movie has depth. it has layers upon layers upon layers. this is nothing like MI2 or MI3. this is a thinking-mans movie, and it is aesthetically beautiful in a very artistic way. each time you watch it, a new part of the story will reveal itself for you. and that's why i think this is the best M:I movie in the series BY FAR. compared to this one, the other two subsuquent sequals are loud, unintelligent and highly forgettable. like another reviewer said before me... this is one of the best action films i have ever seen. get it.

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The first 15 minutes of the film nod to the original series and promise a slick new version for the 90s. Then suddenly the film becomes dull, predictable and cliched, featuring all the ideas that had previously been rejected as potential storylines for an MI film ideas suggested by people who knew little about the series but thought the title sounded catchy. When the mission goes wrong and Ethan is speaking to Phelps...its so obvious what is happening and the film vanishes under a cloud of predictability.

After the excellent first quarter hour the film plods along between its two dull stunt set-pieces. Even these are just the usualy "by-the-book" standard fare from the Hollywood production line. If you've seen one explosive/roller-coaster ride/hero triumphs over bad guy sequemce you've seem them all. When Ethan breaks into the CIA to steal the CNOC list there's nothnig new there at all. Its a scene that has been used in other films and a great many commercials. The Channel Tunnel scene is utterly laughable not once did it have me on the end my seat it just had me at the end of my tether that the film deteriorated so progressively.

I have heard some people say that this is a complicated film I can only say that its complicated if you come in durnig the end titles. This is simplistic drivel, not only easy to follow but easy to predict. If you can't see what's happening next then you are too young to be watching this film.

Overall, a lame, boring film which again demonstrates that Brian dePalma is an overrrated director. Even the one outstanding scene I remember from one of his films was ripped-off from another (Battleship Potemkin).

If you liked the TV series AVOID the film. If you like production line films with a couple of stupid stunt scenes in them then this will suit you right down to the ground.

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Jailhouse Rock (2007)

Slap my hand for being slow to get around to it but I have only recently seen JAILHOUSE ROCK for the first time in fact at the 25th anniversary of his passing.

Elvis's acting is nothing less than superb in this film. It shows how gifted an actor he REALLY was and how insultingly poor most of the latter scripts were, to effectively lower a talented actor to the level of the writers plots. (The quality of many movie songs is also an insult. I can only have nightmares about any songs that may have not have been good enough to made the cut.)

JAILHOUSE ROCK reminded me what a phenominal "mover" Elvis was, in the league of the finest dancers or athletes. Sadly the memory of his many gifts are often clouded by over the top impressionists and silly glitzy Vegas trinkets. The man was a formidable singing AND acting talent and this film is the proof.

My general feeling is pan and scan stinks and should be avoided at all costs. Enjoy the full width version and see exactly what the director captured as Elvis gave possibly his best film performance ever.

If only we could go back in time...keep Elvis clean of drugs, keep the scripts to this level, and put Col. Parker on a slow boat nowhere.

If I can dream.....

Only a year and 2 films after his first introduction into the film biz(Love Me Tender/1956), Elvis displays his flair for acting as he turns in a captivating performance in "Jailhouse Rock"(1957). The range of emotions as he goes from a happy-go-lucky laborer to a sullen and hardened ex-con(and I haven't even gotten to the musical performances yet) is simply amazing. To the delight of his fans, he would go on to make many more films singing and hip-twisting, over the years, but this one, for me is THE ONE!

He plays, Vince Everett, a nice young man who unintentionally killed someone during a brawl. While in the joint,he learns to play the guitar(after being told he had no talent....HA!), and when he gets out tries to sell himself as a musician, with no luck. He starts his own record label, to get himself out there, and along the way, becomes rich and famous. The problem is that his time in prison has hardened his heart and soul, and a few people get hurt along the way.

Needless to say the musical performances by Elvis are absolutly outstanding. The "Jailhouse Rock" number is so wonderfully choregraphed and filmed, it's a sight to behold. A couple of the other great songs we are treated to in this fabulous musical are, "Young and Beautiful", and "Treat Me Nice".

Directed by Richard Thorpe, the cast includes Mickey Shaughnessy, Dean Jones and Judy Tyler, as Peggy,the girl who hangs in there even after being used and abused by Elvis(can you blame her?)

This film is a cinematic treasure, one that may be enjoyed by film fans and music fans alike. Just try and get "Jailhouse Rock" out of your head after the view!

enjoy..Laurie

also recommended:

Studs Lonigan (1960)

Almost Famous/American Beauty

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One of Elvis' very best films ( I know that's not saying much but this IS a good one)...and its been upgraded substantially by Warner Bros from the previous edition.

the bonus featurette is okay...could have been much better with more artists and less "writers" as talking heads...Russ Tamblyn was a nice addition!

an all time Rock movie classic ...and from my standpoint a must own..

black and white and widescreen print.

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This was Elvis' finest film although he never would see it during his life due to the terribly tragic death of his co-star Judy Tyler. She recently wed after the film and was killed with her new husband in a car crash very shortly after the film wrap. Elvis, who was very fond of her, (she made only one other film-Bop Girl) vowed never to watch the film as it was too painful to see the late Ms Tylerso full of lifewith so short a time to live. It is sad that one of the few films worth viewing, was never seen by Elvis due to his deep and lifelong pain over Judy Tyler's tragic death. She was 23.

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man this is the dvd to get!!!some genius at mgm decided to let the buyer get a copy of a classic elvis movie in both formats,widescreen (ratio 2:35 to 1) or flipside of the disc in (1:33 to 1),fills the whole screen of your television!!! now youve" got a dvd that is compatible for the future tv"s or the present tv's!!look for the release date of 2000!!!someone out there in distibution is really smart!great classic elvis movie prepared super smart! if you ever wanted a copy of the classic "jailhouse rock" on dvd then grab this one! this is the top of the line way to release a classic. please major studios,give us more of this,sales will definitely increase!!! thank you, thank you, thank you!! danny.

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Salmon Fishing in the Yemen (2012)

The Yemen is a river in the country of Yemen, which occupies the south-western corner of the Arabian Peninsula. As we know, that entire middle-eastern area is hot, dry, and arid. In this Lasse Halstrom-directed dramedy, an oil-billionaire sheik from Yemen owns several estates in Scotland and has developed a fondness for fly fishing. He dreams of a way to bring the sport to his homeland and at the same time encourage his fellow countrymen to upgrade their way of life with an improved water supply.

We loved this cast (mostly) from the UK:

* Emily Blunt ("The Devil Wears Prada") is the first person contacted by the sheik. Her job is to research the practicality of the idea and make a recommendation. To complicate matters, her fiancé is soon reported missing in (military) action in Afghanistan.

* Ewan McGregor ("Beginners") is a mid-level bureaucrat with a touch of Asperger's who loves fly fishing on weekends. When approached about the feasibility of this experiment, he makes outlandish demands, assuming that their cost will deter these foolish people. He is struck dumb when his demands are met, e.g., the engineers who designed the Three Gorges Dam in China.

* Kristen Scott Thomas ("Nowhere Boy") is a blunt, plain-spoken government official who can see the public relations advantages for news from the Mid-east that doesn't include the escalating price of petroleum or body bags. She is hilarious in this (initially) preposterous plot and provides many laugh-out-loud moments. You will LOVE her e-mails!

* Amr Waked ("The Father and the Foreigner") is the fabulously wealthy sheik with the dream. It's obvious that he is intelligent and has already studied the situation. When our troubled heroine denies she is anxious, he says, "I have too many wives not to know when a woman is upset!" We can see why this actor is a heartthrob in his native Egypt.

* Tom Mison ("One Day") is our heroine's fiancé, loving, considerate AND handsome!

I haven't read Paul Torday's novel on which this film is based, but knowing salmon are anadromous, I suspect the migration to salt water would be too hot and arduous, so I personally had reservations about feasibility. On the other hand, this film had far more comedy than we expected and was far more touching as well, so eventually it didn't matter. I even got goosebumps when that fish turned around and started upstream. Nice surprise!

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Salmon Fishing in the Yemen is a hard film to categorize. Directed by Lasse Hallström, with a screenplay by Simon Beaufoy adapted from the novel of the same name by Paul Torday, you could nominally call it a romantic comedy, but it's actually far more than that. A character-driven human comedy about faith, passion and fishing comes closer. Add in an absolutely scene-stealing performance by Kristin Scott Thomas as the Prime Minister's take-no-prisoners get-it-done-yesterday! press secretary and you've got Salmon Fishing in the Yemen.

The film begins with Dr. Fred Jones (Ewan McGregor), the British government's leading expert on fisheries, receiving an inquiry about the feasibility of introducing salmon fishing to the Yemen. Jones quickly dismisses the possibility, responding that it is simply impossible for salmon a fish that thrives in cold fresh-water streams found in northern latitudes to survive in a hot and arid environment like the Yemen. The inquiry, it turns out, came from Harriet Chetwood-Talbot (Emily Blunt), a consultant for a company that manages properties for a very wealthy client, Sheikh Muhammad (Amr Waked) from the Yemen. The Sheikh has a vision of salmon fishing, which he became familiar with due to his having an estate in Scotland, as not only a way to create much needed jobs for his people, but also as a way of bringing people together. Undeterred by Jones' initial rejection and buoyed by the persuasive Sheikh's belief in his vision, Harriet persists in pushing for a feasibility study, which Jones continues to dismiss. Until, that is, the project comes to the attention of the Prime Minister's press secretary, the highly formidable and relentless Patricia Maxwell (Kristin Scott Thomas).

A series of recent news items about bombings and other setbacks in the war in Afghanistan, already highly unpopular, has left the government desperately in need of "Anglo-Arabian news that isn't about something exploding." After tasking her staff with "We need a good news story from the Middle East, a big one, and we need it now. You've got an hour. Get on with it!" Maxwell seizes on the salmon fishing project as ideal for the government's needs and pushes it forward, riding rough-shod over any and all objections as to the project's chances of actually working. Which in turn sets everything in motion and brings all of the main characters face to face.

Ewan McGregor's Fred Jones is a man who muses "I was wondering if I was genetically programed to dull pedestrian life." He's comfortable in his government job where his biggest challenge is picking out pictures of fish to spice up his annual report; he's married but it's a passionless marriage, as becomes poignantly clear when his wife (Rachel Stirling) takes a several-months assignment in Switzerland, only bothering to tell him as she's packing for the trip. Emily Blunt's Harriet Chetwood-Talbot, on the other hand, is Fred's exact opposite, passionate in her job and in her private life where she's had a whirlwind romance with a hunk of an army officer (Tom Mison) who's just been deployed to Afghanistan. And Amr Waked's Sheikh rounds out the trio, a philosophical, quietly charismatic man who has a vision that he pursues all the more passionately because it is so impossible. A chemistry develops among the three as Fred finds himself much to his surprise responding to Harriet's optimistic vivacity and to the Sheikh's belief that the more impossible a thing is, the more it is worth pursuing, even when or rather especially when all you have to go on is faith. In addition to becoming not only engaged by but increasingly optimistic about the salmon project, Fred also finds himself coming to believe that other things are also possible as his working relationship with Harriet blossoms into something else. Between the two, Fred ends up making his own leaps of faith, with regard to the Sheikh's fantastical project and to the prospect of finding real love with Harriet.

But it is Kristin Scott Thomas' over-the-top press secretary Patricia Maxwell with her take-no-prisoners approach to everything who supplies the comedy. A powerhouse on high heels, Maxwell dominates everyone else around her, up to and including the Prime Minister himself, and she has far and away the best lines in the film which she delivers with acerbic glee "Is that the best you cocked-up, Oxford-educated, moronic buffoons can come up with?" She also has the best scenes, like ones showing her at home where she's kicking her kids' butts at computer games or ordering them off to school, and you realize that she treats the government ministers above and around her exactly the same way as she handles her kids. And the scenes showing the IM exchanges between her icon and that of the rather hapless Prime Minister are absolutely priceless.

In addition to an engaging script and fine performances by the actors, the cinematography is also quite well done, taking you from highly diverse settings of urban London, rural Scotland and the desert wadis of the Yemen (actually shot in Morocco), all beautifully shot. The scene where the Sheikh discusses his dream project with Jones while the two are fly-fishing is imbued with a grace and tranquility gives added feeling to the Sheikh's vision and you begin to see exactly what he is talking about.

My only quibbles about the film are fairly minor. The way in which Harriet's boyfriend's ill-timed reappearance is handled is dealt with a bit too neatly and ends up feeling out of place. And the reactions on the part of the Sheikh and Jones when some disgruntled Yemenis attempt to sabotage the project seems more "message" oriented than how real people would actually react. But those aside, the rest of the film flows quite smoothly, leaving you both entertained and with more than a bit of its quietly infectious optimism.

Recommended as a quirky but highly enjoyable film and for Kristin Scott Thomas' riotously over-the-top performance.

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If you're going to see this delightful movie, the first thing you need to do is to shut down your critical faculties. Don't ask questions about the state of Ewan McGregor's marriage, or the logic of moving thousands of salmon, or the likelihood of a woman hugging an Arab sheikh in a Muslim country, or the ease with which people travel long distances, and so forth. It doesn't matter because the gentle tone of the movie even with the satirical edge of Kristin Scott Thomas' extremely obnoxious but funny Assistant to the Prime Minister just carries you away. It's sweet, it's charming, it's not cloying and it definitely draws you in to the story. This is the first movie I've been in a long time where the character of a Scot is a key plot element. [What was the name of the wonderful one years ago with Peter Resier (?) and Burt Lancaster as Texans looking for oil off the cost of Scotland?] Ewan McGregor gets to use his own Scots accent and is just wonderful and appealing in his role. Emily Blunt is also good, as she rolls with the plot.

If you're in the mood for a lovely, gently comic, romantic movie, this is the one.

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"Salmon Fishing in the Yemen" is directed by Lasse Hallstrom ("Chocolat," "The Cider House Rules"). A visionary sheik (Amy Waked) believes his passion for the peaceful pastime of salmon fly fishing can enrich the lives of his people, and he dreams of bringing the sport to the not so fish-friendly desert. Willing to spare no expense, he instructs his representative, Harriet (Emily Blunt), to turn his dream into reality, an extraordinary feat that will require the involvement of Britain's leading fisheries expert, Dr. Alfred Jones (Ewan McGregor), who thinks the project is both absurd and unachievable. When British government publicist Patricia Maxwell (Kristin Scott Thomas) champions it as a good-will story, however, the unlikely team puts everything on the line to prove the impossible is possible.

Metaphorically, the movie contains the message that we can find our oases no matter the desert. Also resonating is that, with unlimited resources, the wildest, craziest dream can be pursued, if not fully realized. McGregor and Blunt are the film's best ingredients. Both have charm, and it's fun to watch the scientifically oriented Dr. Jones become immersed in politics as a romance with Harriet blossoms. However, the film drags for long stretches until a satisfactory final act. There are two bonus featurettes.

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This is one of the best movies I've seen this year. It's fun, funny, thoughtful, well cast, great screen play.

A genuine good movie for grown ups. Not animated, not full of computer graphic cleverness, no gross gore.

Will probably purchase for personal library. Highly recommend!

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Erin Brockovich (2000)

Julia Roberts outdoes herself in yet another David and Goliath struggle based on a true story. Erin Brockovich (Roberts) is a down-on-her-luck mother of three who can't seem to hold down a job. After having an auto accident, she makes a bumpy transition from client to employee at the law firm and stumbles onto a case with staggering implications. It seems that utility giant PG&E has poisoned the groundwater and the local residents are getting gravely ill.

The story starts poorly with scenes of Erin looking for jobs and botching her accident case. The first twenty minutes of the film could have been condensed into five. However, once the investigation of the case begins, the story is engrossing. It is a powerful and well written human interest drama centered on a tough and smart (though crude) woman who leads a passionate crusade on behalf of the victims.

Director Steven Soderberg played it straight in filming this after his extremely avant-garde effort in "The Limey". His key strength here was the direction of the actors with both Julia Roberts and Albert Finney giving excellent interpretations of their characters. However, my only negative criticism of the film was the way Erin's boyfriend George was presented. George is a grubby tattoo covered biker (the tattoo on his left shoulder says "DIRTY") who behaves like Ward Cleaver with a ponytail. He is genteel, articulate, level headed, patient, sensitive and kind. All of this is so disconnected with his lifestyle that it seems inconceivable that a character this wonderful could possibly come in this package.

Julia Roberts' gave a superlative performance that smashed any myth about her inability as a dramatic actor. A far cry from her accustomed lightweight romantic characters, her portrayal of Brockovich was gritty, raw and audacious. Emotionally, she commanded states from manipulative vamp and vicious harpy to sympathetic confidant and indignant crusader. This is unquestionably her best performance and legitimizes her as one of the more versatile actresses in Hollywood.

Albert Finney also gave a fine performance as the bumbling but effective curmudgeon of a lawyer. He was simultaneously obnoxious and charming and created a good contrast to Roberts' character. The two of them had terrific chemistry.

Aaron Eckhart was lovable as George, although as mentioned above, the character's forbearing personality didn't jibe with his rebellious culture. However, I put more of the responsibility for this on the director than on the actor.

The DVD has some excellent comments by the real Erin Brockovich that lend credibility to the story. However, Brockovich is so toned down in these interviews, it makes Roberts' portrayal seem like an exaggeration.

This is an excellent story that is well and believably dramatized. I rated it an 8/10. For viewers who enjoy strong dramatic performances and who are not offended by liberal profanity, I recommend it highly.

What was the last film I seen with Julia Roberts in? Ah, Runaway Bride, another Romanic comedy, and Notting Hill before that, same genre. So what on earth is she doing in a true-life drama? A lot actually......... I have to admit, I am a bit of a Julia Roberts fan, but never in my life did I expect she is this good. No, good is not the right word; Oscar worthy only comes close. That might make me a bit biased towards her but even the cynics cannot denied that she has broken her "pretty woman" mould and become a true character actor, besides Julia Roberts, her co-star Albert Finney is also excellent as Ed Masery, he almost steels the show with his subtle and convincing portrayal of Erin's boss and friend.

As I said and you probably know, this film is based on a true-life story about a woman with no skills who found out something weird is going on and sued a multi-billion-corporation company and won the largest lawsuit payout in American history. So what makes this film differ from other "true-life-dramas"? Well, a lot of the credit must be given to Julia Roberts, her portrayal of the real Erin is truly convincing. Her performance brings the character to life; the audience can truly FEEL the way she felt, I've seen this film twice in the theatre and it's just as good the second time around.

The script is sharpe, some of the dialogue from Erin is really humorous, and the drama is dealt with care and precision. This is true movie from Julia and from director Steven Soderbergh, another masterpiece to buy on DVD.

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No matter what role she plays, she can always make it better. And this movie is one of them. Erin Brockovich is the out of luck, out of work woman with two kids. She starts working at a local law firm with no experience. When she comes onto a case that has to do with her own town's water, she takes it with decication. Fighting coragously to win against the large company that has destroyed the water, she shows that she is a true fighter.

It's not Julia's usual romance. She has never shown so much skin or played such a sassy role, but she does it wonderfully.

Read Best Reviews of Erin Brockovich (2000) Here

Okay, language issues aside, Julia Roberts SHINES as the real-life Erin Brockovich, a dogged, unabashed crusader for justice.

Erin accidentally finds out that several hundred unsuspecting residents of Hinkley, California are dead or dying from poisoned water that has exceedingly high levels of toxic chromium.

This is a touching story that reminds me a lot of Sally Field's performance in Norma Rae. It's about a grass-roots effort to right a very terrible wrong, and the investigative techniques used by Erin will floor you with their sheer simplicity. It's not what she does, rather it's HOW she does what she does that makes a difference. Erin is not equipped professionally to take on this insurmountable task, but she refuses to let that stop her from trying. She's what I would call "ignorance on fire", but she's also smart as a whip.

What I love most about this movie is how Roberts character gets results when others can't. She may not be the most professional (this movie is cleavage city!), or meekest person you'll ever meet (her boss says she could use a good dose of "charm school" he's right!) but she has a way with people. True, her wardrobe doesn't hurt in her getting her way so often (especially with men), but it's her honest compassion for these victims that makes the movie work.

Erin Brockovich teaches all of us a lesson in true leadership, persistence against all odds, and how to motivate people. These victims TRUST her because they know she really CARES, That's the real lesson here, and that's why she is so successful in getting them to do something they would never have done without her.

This movie is a real gem. You will learn a lot about purpose, passion, corruption, romance, and how to deal with people so that they respond. And you'll also learn that door-to-door selling is NOT antiquated!

Highly recommended.

Cris

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"Erin Brockovich" is a wonderful movie! Starring Julia Roberts, Albert Finney, and Aaron Eckhart, it's based on the real-life story of Erin Brockovich, a down-on-her-luck, twice divorced former beauty queen with three young children. Having no post-high school education and few job skills, she has great difficulty finding and holding down a job. Despite her adversities, she displays a fierce grit and determination as she constantly seeks ways to support her family.

Then a seemingly tragic twist of fate puts her on the road to a complete reversal of luck. After being seriously injured in a car crash, she sues the doctor who hit her. Her antagonistic personality and foul mouth cause her to lose her lawsuit. With bluff and bravado, she persuades her lawyer, Ed Masry, into giving her a job as a file clerk in his law firm.

Erin finds herself intrigued by one of the cases contained in the files she's putting away. Why are people's medical records included in a simple real estate transaction? She asks Ed if she can look into it. He agrees. What Erin finds horrifies her. A large electric utility near the small town of Hinkley has been dumping a highly toxic form of chromium into the water. Citizens in Hinkley are contracting various forms of cancer and other gravely debilitating diseases.

The film's main story line tells of Erin and Ed's efforts to persuade Hinkley's citizens to join in a class action lawsuit against the utility.

Julia Roberts, Albert Finney, and Aaron Echhart each illuminate the screen with their superb performances. In Roberts' case, it would be easy to focus on her good looks and skimpy wardrobe and slight her acting. The fact is, though, her acting in this movie is probably her strongest attribute! Throughout the film, Roberts' character comes off as completely natural, believable, and admirable if not always likeable. Julia Roberts is certainly deserving of her 2001 Academy Award Best Actress award!

Albert Finney (nominated for Best Spporting Actor) plays the gruff, irascible, hard-working, and totally decent lawyer Ed Masry. Finney's Oscar-worthy performance is certainly the equal of Roberts. The chemistry between Roberts, the star of modern-day female movie stars, and Finney, the grizzled veteran of stage and screen, sparkles.

Aaron Eckhart' s portrayal of George, the biker-turned-boyfriend and live-in baby-sitter is a refreshing change from the typical and expected Harley-Davidson rider stereotype. As Eckhart depicts him, George is smart, tender-hearted, probably a bit lazy, possessed with a wanderlust he keeps under control, and a thoroughly decent fellow.

How director Steven Soderbergh managed to keep "Erin Brockovich" from becoming another tedious, cliché-ridden legal and family drama is intriguing, and is probably one of the key reasons for the movie's tremendous popularity. It would have been easy to turn "Erin Brockovich" into a film filled with stereotypical courtroom pyrotechnics; long, idealistic speeches about the "little guy" versus corporate America; and characters that are either too easy to hate or too easy to love.

That's pretty much what I expected when I began watching the movie. Instead, I witnessed a film filled with ordinary, decent people... people with faults, to be sure; but all living their lives as best they can. Instead of slick lawyers seeking victory at any cost, there are attorneys zealously representing their clients to the best of their abilities. Instead of hapless, pitiable victims of corporate greed, the townspeople of Hinkley are portrayed as caring, decent, law-abiding citizens whose only concern is the welfare of their families.

What Soderbergh has, in fact, done is present to his audiences a wonderful reflection of American life the good as well as the bad. At the conclusion of this wonderful film, it's easy for viewers to walk away feeling pretty good... not only about the ultimate outcome of the movie, but also about the fact that we Americans are, for the most part, decent, caring, law-abiding citizens. And that makes "Erin Brockovich" a film well worth seeing!

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The Phantom of the Opera at the Royal Albert Hall

I just got back from watching this exact performance at my local theatre, and I must admit, I am most impressed.

I was frightened that this might not be a staging at all, but more along the lines of a "concert in costume" much like the dissapointment I felt when I saw the Les Miserable's concert on Public TV.

Fear not. This production is pretty dead on to the staging that appears in the shows that I have watched live, and considering this was filmed "live" and simulcast, it is truly a sight to behold.

While this performance can't even compare to "being there" it is far removed than the sterile affair put on the screen by Joel Schumaker. Don't get me wrong. There is plenty of things I like about the movie, (like the spine tingling opening sequence, or the red hot sexuality of Point of No Return). But this by far is the most accurate "filming" I have seen of any ALW production.

Unlike Joseph, JC Superstar and CATS, which were "staged" recordings specifically for video, with all the "cuts" that go with it, This is a live filming that was simulcast live around the world on Oct 2, 2011 and ran on limited encore performances in movie theatres for the next few days. There are no "best performances" or "second chances". We get what was actually presented to the audience on Oct 2, and that alone is worth the price of admission.

Due to the height of the roof of the Royal Albert Hall and either logistics or safety concerns revolving around hurling a Chandalier from such a dizzying height, suffice it to say, the chandalier does not crash to the stage at the end of Act 1, nor does it "float" from the stage in it's glory during the overture. Instead, the tarp is removed during the overture, and fireworks accompany the chandeliers destruction at the end of Act 1. This is sure to be a bit of a disappointment to most Phantom fans, and if you need to experience a crashing chandalier, you will have to go to one of the live performances currently touring around the world. On the plus side there are quite a few shots of the show taken "throguh" the chandelier onto the stage below, which gives you the feeling that you are the phantom, spying at the action below from top of the chandelier. It's not as dramatic, but they did what they could and it's hard to fault them for something that was probably completely out of their control.

The production also makes extensive use of LED screens as backdrops much like was done in Love Never Dies. This can is be both effective and a bit disconcerting. One example is the backdrop of Andre and Fermin's office, which is setup to look like a wall with opera posters posted on it. From a distance, these work fine. However, some of the cameras are really close to the stage and causes this effect to pixelate greatly which takes away some of the suspension of disbelief.

The use of LED screens is also used to mimic Christines Mirror during her Angel of Music number in which Christine approaches the mirror with the Phantoms face singing in the upper right corner of the mirror. Towards the end, the screen simply slides away to review the Phantom walking towards her with the fog rolling at his feet.

Another different use of the screens is during "Notes" when the phantom is reading how Christine is to star in 'Il Muto, we see handwriting appearing as well as the phantom singing his instructions on how Christine is to be granted the role of the dutchess while Carlotta plays the pageboy. One cool effect that the LED screens provided was during the end of Think of Me, Christine faces the rear of the stage, and the actual applause from the live audience is projected on the rear screens giving the audience the feeling that they are behind Christine and their own reaction is the reaction of the "audience" who just watched her aria from Hannibal. It's hard to describe but a cool efect.

It's also fair to note that these "screens" were necessary given the sheer size of the arena, and in the vastness of the RAH, some consideration had to be made to those in the nosebleed seats, so we see some scenes where the Phantom is projected on the real wall so that the paying customer in the back can better see the action.

It's just that they lose much of their effectiveness when filmed.

Speaking of filming, the camera work is stunning. Thanks to HD and the extreme closeup we fully see the emotional range the Phantom shows at his love/hate relationship with Christine. Some might say we see too much as I was distracted by wrinkles in the Phantoms facial prostesis where it was peeling from his neckline. Proof positive that this was shot live.

The performances from the cast were spot on, and it's amazing how I find different parts of the musical which resonate with me depending on the production.

In the live stage productions I have seen, the "Phantom of The Opera/Music of the Night" sequence always sent shivers down my spine. The motion picture's rendition of "Past the Point of No Return" has a sexual tension and animal magnetism not experienced on any stage performance I have seen. The stand out number for me in this version clearly was "Wishing You Were Somehow Here Again." This has never been a favorite number of mine until now. Sierra Boggess really sells that performance and my mouth was on the floor when it was over.

The Phantom in this production is also more believable. Ramin Karimloo brings out an anquished performance of a "monster" with the heart of an "artist". His makeup is not over the top but grotesque enough to give someone pause. My biggest beef about the motion picture is that no woman in her right mind would have rejected Gerard Butler's Phantom. Even with his "hideous" makeup he was way too pretty. A slight rash, a droopy eye and a swollen lip? Really? I've seen uglier people at Wal-Mart. But Karimloo's Phantom is sufficiently hideous. You sense the bravery it took Christine to kiss him in the final scene and that courage is not lost on the Phantom, which leads to his change of heart.

One suprising highlight was the role of Carlotta. In all the past performances, Carlotta was portrayed in Caricature. Nowehre is this more apparant than in Minnie Drivers over the top performance in the film. Here, Carlotta is almost a sympathetic character. She clearly fears not only the Phantom, but also the rise of this "precious little Ingenue". She clearly see's Christine as a threat to her dominance at the Opera and we see a true human side to her as portrayed by her fear when the piano starts playing by itself during the rehersal for Don Juan Triumphant. In the past Carlotta had always been a throwaway part, but in this performance it is done with an authenticity that I have never before seen.

Overall, the show is brilliant and I am ecstatic that it will be coming to DVD/Blu-Ray. Unfortunately Phantom is no longer touring in North America, so my chances to see it live require a trip to New York, or Las Vegas to see the "truncated" version. And if my children never have the opportunity to see it live, at least they can appreciate this version. While it is nowhere close to experiencing Phantom for yourself, it is definitely more authentic than the movie, and slight staging differences aside, is as accurate a staging of the original show as could be done in the venue that it was pressented.

One final bonus is the appearance on stage of the surviving Orignal London Cast including Sarah Brightman and Michael Crawford. Unfortunately Michael does no singing, but we do get two numbers with Sarah and four previous phantoms. The Phantoms are outstanding, but clearly Sarah's voice lacks the punch it had 25 years ago. This is not a criticism but just a fact of growing older. It was still nice to see the original production team on stage.

While it seems I have levied quite a few criticisms in this review, it is simply there to let you know what you are getting before you buy. The performance was outstanding and much more accurate to the original show than the movie. If you are a fan of the original show, you will find plenty to like here. If you are a fan of the movie, you will see different nuances than was presented by the film.

Anyway, however you look at it. At it's core, it is still Phantom, and a mighty fine one at that. A must buy for anyone who loves this show, and anyone who has yet to see it performed on stage.

For the 25th anniversary of Phantom Andrew and Cameron did a fully staged concert version of pretty much the whole show at London's Royal Albert Hall complete with minor set piece and fully costumed with a cast and orchestra of over 200. (More complete then the movie just a like cut here or there NOTHING to really get excited over.) This version is nothing short of incredible. Now fans of Sarah and Michael DON'T KILL ME, please. I saw this in the theater for the live broadcast and was amazed by the performances in this. Ramin Karimloo and Sierra Boggess, who co-starred in the "Phantom" sequel "Love Never Dies" in London, reunited for the special production and with amazing chemistry. Having grown up on the OLC recording and owning about a half a dozen others I've never grown to really like the piece outside of the original cast. Maybe it's nostalgia for it or just the way others have sung it but this time I was blown away. Never in my life have I cried at this show until now. Ramin's Music of the Night was like hearing the song for the first time all over again and Sierra's high notes are flawless and clearer then ever Sarah did back in her early days. The odd standout performance for me was of all things Kiera Duffy as 'Carlotta'. She brought a fullness and venerability to the role I never ever thought about and her look go absolute terror during the rehearsals for The Phantom's opera still sticks out in my mind as genius. The performances in this alone make this for me THE version of phantom. Visually one should know off the bat that the chandler does not crash down... it is after all just a concert. The staging is mostly done with LED screens which, while not MY preferred thing, are alright. Small set piece are brought on and off and the costumes are all here in their glory. While I hope the LES screens don't make their way into the regular staging they did help to set the mood for the night, but it was hands down the cast and orchestra that makes this astounding. At the end there is the usual speeches and bringing out of the old cast and Michael and Sarah are there and while Michel doesn't sing Sarah does. She sounded eh.. ok... I wish she would get over her whole singing-with-my-arms-in-front-of-me thing but it was nice as she was backed by four past phantoms. That all is just sprinkles and dusting on what I hope will be looked back as one of the finest performances of this show ever done.

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The DVD will contained the live streaming held on October 2, 2011 at the Royal Albert Hall. I had the privilege of seeing it in the theater in the U.S. on 10/2/11 and once again on 10/5/11 as a rebroadcasted Encore performance. I'm so excited that I'll be able to watch it again and again. The taping of the show and cinematography were spectacular. You by no means feel like you are in a seat in the audience watching it from may rows in front of the stage. No, you are up close, on stage, beholding closeups of the various performers play their iconic roles to perfection. You see the costumes like you've never seen them before, the rage and hurt in the Phantom's eyes, the conflict and yearning of Christine for two men. The performances of Ramin Karimloo (Phantom), Sierra Boggess (Christine), and Hadley Fraser (Raoul) are nothing less than brilliant, as well as the rest of the cast. If you love Phantom on stage, you'll love this DVD. The after performance reprisals of the Phantom of the Opera and the Music of the Night with legends such as Sarah Brightman, Anthony Warlow, John Owen Jones, and Colm Wilkinson will move you to tears, plus the appearance of Michael Crawford, Andrew Lloyd Webber (of course), Cameron Mackintosh, and Charles Hart. This DVD is a Phantom keepsake indeed.

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I was lucky enough to see this live in the US on October 2nd and like my fellow reviewers, it was "PHANTASTIC"! I have seen the show twice before and loved it and have always loved the beautiful music. Andrew Lloyd Webber did a great job with this (along with Cameron Mackintosh) production. Ramin and Sierra shone as the Phantom and Christine. I'm not going to lie -I wan't sure about Sierra at first since I had never heard her sing before, but she's amazing. And Ramin...my goodness! I saw him as Enjorlas in the 25th Anniversary Concert of Les Miserables as well and he was so powerful there. I knew he'd make the perfect Phantom.

What I really loved about this was you truly felt like you were not only there at the Royal Albert Hall, but that you had a front row seat (better than a front row seat even). The close-ups are amazing. And this was not in a concert style format like Les Mis was last year. It was the entire show (nothing left out!!) with the actors actually acting, not just standing at a microphone singing.

The end of the show was just...I still, after two weeks of seeing it cannot even begin to explain the ending/encore. Of course ALW came out and gave a speech and then introduced the original London cast minus Michael Crawford and Sarah Brightman. I was a little bummed but of course, he announced them after the cast had come out. So great to see both of them and I must say Michael looks as good now as he did in 1986!!! And Sarah...wow. She sings 'Phantom of the Opera' as four past Phantoms (including Colm Wilkinson, John Owen Jones and Anthony Warlow...there was one more but I forgot his name) came out and sang with her. It was great! But that wasn't it. The four Phantoms (plus Ramin) sang the most beautiful version of Music of the Night. I got goosebumps. It was just gorgeous! I wish that Michael Crawford had sung as well, but I'm guessing he had a good reason.

This is definitely a DVD worth buying and watching over and over again. I know I will!

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I saw this live on Oct 2 and it was stunning. The set design was brilliant and the acting was supurb. I adore Sierra and Ramin as Christine and the Phantom. They're the best since Sarah Brightman and Michael Crawford. I was disappointed that Michael Crawford didn't sing with Sarah Brightman. It would've made it that much more special. This is a spectacular musical and a timeless story that will live on long after we're all gone.

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