Superbad (Two-Disc Unrated Extended Edition) (2007)

Rising young stars Jonah Hill (Knocked Up) and Michael Cera (Arrested Development) have one last shot at popularity in the very funny coming-of-age comedy "Superbad". Seth (Hill) and Evan (Cera) are lifelong best friends who really want to lose their virginity before heading to college. When they are invited to the year's biggest party, the boys use their friend Fogell's (Christopher Mintz-Plasse) new fake I.D. to score some alcohol for the party but their plan soon turns to a madcap night of unpredictable and outrageous situations. "Superbad" is an uproariously funny teen comedy from the creators of "The 40-Year-Old Virgin" and "Knocked Up". The raunchy teen comedy delivers a well paced storyline, some side-splitting moments and memorable comic performances. Seth Rogen (Knocked Up) and Bill Hader (SNL) are hilarious as two incompetent police officers. "Superbad" received overwhelming positive reviews from US critics and became one of the year's highest grossing comedies with over $130 million nationwide.

If you've enjoyed "Superbad" in theaters, then I strongly recommend checking out "Superbad" Unrated Edition. The raunchy teen comedy is presented in 1.85:1 anamorphic widescreen format with more unrated footage that wasn't included in its theatrical release. The picture quality is surprisingly good with no obvious flaws. The 5.1 Dolby Digital sound is clear and well balanced. Among supplemental material, the DVD includes 8 minutes of deleted scenes, trailers, a short gag reel, "Cop Car Confessions" and "The Making of Superbad" featurettes, an exclusive sneak peek of the upcoming comedy "Pineapple Express" and an audio commentary with director Greg Mottola, production crew and cast members. Overall, "Superbad" Unrated Edition scores a "B+".

I thought I'd read the 1 star reviews before writing mine. I'm guessing there are a lot of people who would be offended by this movie: some who are offended by silly sophomoric humor, some who are prudish and others for whom it hits too close to home. The rest are looking for a cinematic masterpiece and are sorely disappointed.

This is a somewhat over-the-top portrayal of typical pubescent male behavior. This is the movie's genius, because you know that much of what happens in this movie has happened in some fashion somewhere in America. Male teen behavior is inherently funny (unless you're a parent of one) and this movie takes full advantage of that fact. Everyone who has ever been a teenager has known someone who could have been a character in this movie.

Suggestion: Watch this movie with an open mind and no preconceptions. It is not like most American comedies. Do not look for a point or moral to the story, just sit back, relax and have a giggle.

Buy Superbad (Two-Disc Unrated Extended Edition) (2007) Now

Filmmakers Judd Apatow, Seth Rogen and Evan Goldberg make lowbrow comedies for highbrow audiences. With films like "The 40-Year Old Virgin," "Knocked Up," and their current gem, "Superbad" (directed by Greg Mottola), they have begun, in their own quiet way, to re-write the rules of the modern sex comedy, making films that, despite their R-rated blueness, are just a tad more insightful, a little more nuanced, and a trifle more literate than most films in that genre.

The characters in their movies may seem at first blush to be mere photocopies of the nerds and losers familiar to us from all those post-"Animal House," pandering-to-youth comedy hits of the late 1970's and 1980's. Yet, there is something rather different about these individuals, a difference that it is not always all that easy to put one`s finger on. They seem somehow more reflective and self-aware than their earlier counterparts, more able to step out of their skins and see themselves for who and what they are. It's almost as if these characters have had the added advantage of seeing themselves reflected in all those earlier movies (one imagines they've spent a great deal of their childhood reveling in "Revenge of the Nerds") and of extracting important lessons from those films to help them chart their course through life.

The storyline, in and of itself, is hardly original. The screenplay by Rogen and Goldberg chronicles the misadventures of three teenage super geeks determined to go to any lengths or suffer any humiliation to be part of the "in" crowd at school. With only a few days left before graduation, Seth, Evan, and super-nerd Fogell an outcast even the outcasts can feel comfortable ostracizing decide that the time has come to take some drastic action if they hope to have any chance of losing their virginity before high school ends. Thus, Seth cooks up a scheme to smuggle booze into a graduation party being thrown by one of the hottest girls on campus. It is the expected setbacks they encounter as they go about the business of achieving "coolness" that provide the comic energy for the tale.

As they did in "Knocked Up," the writers capture the way people in the real world actually speak. The dialogue may be crude and vulgar, but it is also sharply observant and wickedly funny as the characters lament the unfairness of life and reveal deep-seated concerns and feelings about themselves and each other. What's nice is that the characters in this film not only sound like people we might encounter in everyday life but LOOK like them as well. Even the "beautiful" people in this film aren't drop-dead gorgeous, just believably well put-together and attractive.

Jonah Hill, Michael Cera and Christopher Mintz-Plasse are so authentic and convincing in the roles of Seth, Eric and Fogell, respectively, that they have us securely in their corner from the very first moment they appear on screen. Rogen and Bill Hader ("SNL") also have a good time playing goofy cops, although their characters aren't as finely drawn or interesting as the three main characters, and the scenes with them do tend to drag a bit.

It is crucial to point out that, amidst all the blush-inducing, foul-mouthed hilarity, there's an incredible underlying sweetness to "Superbad," particularly in the final two scenes of the movie.

Together, this team of talented filmmakers is making it fun to go to the movies again.

Read Best Reviews of Superbad (Two-Disc Unrated Extended Edition) (2007) Here

Apatow's films are funny (see The 40-Year-Old Virgin (Rated Widescreen Edition) and Knocked Up (Widescreen Edition)) and this one is no different. It's directed by Greg Mottola who did The Daytrippers, another decent film. These movies take the standard sex comedy fare and add an ultimately conservative twist. For The 40-Year-Old Virgin, the movie says it's a good thing to wait until marriage to have sex. For Knocked Up, casual sex gets one into trouble and babies are better with two dependable parents. Superbad has another conservative message.

But don't go looking for a wholesome family affair, for this is not it. If I had to watch this movie with my parents, I fear that I would perhaps pass out. It's raunchy. Even though there may not be nudity per se, these guys talk like real guys, and they don't talk nicely about our, umm, private parts.

This movie is the story of Seth and Evan, based on the writers of the script, and one evening during their last weeks of high school before they split up to go to college. They have always been misfits, but finally, they may be able to become cool without changing. That's one of the good things. It isn't about these guys "fitting in" with the in-crowd. It's more about the in-crowd realizing that they're actually cool guys.

The movie is flawed, though. So much of the script is ad-libbed that some things don't make sense. Characters say things that contradict earlier ideas, and the editors just kept it becuase it happens to be funny. I guess I can forgive that.

The DVD has some hilarious extras, too, especially the one with Jonah Hill going through different versions of his lines. I don't know how they decided on only keeping one of them. I liked them all.

I have trouble recommending Superbad because of its raunchiness, but if you're okay with that kind of thing, enjoy and get something more than mere comedy out of what is ultimately a conservative, enjoyable film.

Want Superbad (Two-Disc Unrated Extended Edition) (2007) Discount?

This was a hilarious movie full of fun characters in the same vein as Fast Times at Ridgemont High or American Pie. The plot follows the lives of two high school seniors who are best friends as they attempt to get with some high school hotties before they take off to different colleges.

Some of the funniest scenes in this movie center around the antics of their friend Fogell (aka McLovin) and a pair of keystone cops. One of the cops is played by Seth Rogen who also co-wrote the screen play.

If you enjoy stupid humor about suburban kids then you will enjoy this coming of age comedy. If you yearn for something with more substance, then you might want to give it a pass. I for one enjoyed this movie enough to watch it three times, and laughed at every joke the third time through.

Save 50% Off

Max Manus: Man of War (2011)

This movie is based on a true story about a hero who did not want the nazis to take his country Norway. I watched the movie with a person who helped Max Manus escape and who actualy lived this story. He thought this interpretation was very realistic. Even some of the characters looked like the ones he remembers. A fantastic movie about a WWII chapter we rarely hear about.

I'm a fan of WWII films and always in search of new ones from whatever origin. This is the first Norwegian film I ever watched and it is a real outstanding war film.

"Max Manus" (2008) is a big budget World War II movie making good use of every cent invested in producing it. Directed by Joachim Ronning and Espen Sandberg who had co-directed four films and in a fifth one they were director one and writer the other. In this film they show a steady hand in presenting and solving actions scenes as well as intimate ones.

The story is about Norwegian resistance to German invasion of their country. They start as a small band of youthful friends implementing tiny, yet dangerous, propaganda and sabotage acts.

Then things start to get "warmer" and Max is surprised by the police, he jumps thru a window and afterwards manages to escape from hospital.

The Resistance sends him to Scotland to a special training camp for saboteurs. Back in Norway he leads many daring coup-de-main until the end of the war.

In the way he loses his friends one by one to the hands of the Germans, this erodes his soul and still he never gives up!

Playacting is really very good with Aksel Hennie as Max Manus, Nicolai Cleve Broch as Gregers Gram, Ken Duken as the German Police Chief and Agnes Kittelsen as Tikken. They all perform over par fleshing convincingly their characters.

Photography and musical score are great and period reconstruction is outstanding.

It is a great movie for all those interested in war films and general public too!

Reviewed by Max Yofre.

Buy Max Manus: Man of War (2011) Now

I saw "Max Manus" at the Minneapolis-St Paul International Film Festival in April. Actually, my cousin from Norway wrote this movie, so I have been looking for a version with English subtitles. The DVD is just like what we saw at the film festival. It's an excellent film that anyone would love...even people like me who don't like war movies. I love that the end is a documentary about writing and filming the whole thing. It was so popular at that film festival that they showed it two more time in two theaters each time . See it!

Read Best Reviews of Max Manus: Man of War (2011) Here

Good movie. Especially interesting since all the events in the movie is based on real time events from the war. All the characters are real and that makes the movie more moving. Also Norway was one of the countries where the resistance was the fiercest.

Want Max Manus: Man of War (2011) Discount?

If your like me, always searching for some little WWII movie 'gem' you might not have seen yet, you'll be very satisfied with this movie about amazing Norway resistence fighter Max Manus. Manus and a few of his friends volunteer to fight for Finland when they were invaded by Russia then watches his own country do nothing when the Germans invade Norway. He organizes his buddies into getting back at the Germans and the film documents multiple attacks and harrowing escapes he manages to survive all very well done. The story moves along swiftly with Max going to England to become part of a Norwegian company of commandos sent back behind enemy lines to harass the Germans. This is a rich & moving film as we see many of Max's comrades be captured, tortured or killed but he himself always manging to get away. Whatever Max was missing in himself in civilian life, he finds it during the war as he emerges as a tenacious, bold and fearless leader who defeats the Germans over & over. And whatever you do don't miss the special features documentary of the real Max Manus talking about his life and his friends lost to the War. The documentary also features his Wife who he married after the War and she describes Max the kind of Man who only comes along "once in a lifetime", very true.

Save 20% Off

King Kong (2010)

From the Warner's press release

Three editions:

The King Kong: Two-Disc Special Edition (SRP $26.99) will include the 104-minute restored and remastered B&W film on video in its original full frame, with Dolby Digital 2.0 mono audio and English, French and Spanish subtitles. Extras will include audio commentary (by Ray Harryhausen and Ken Ralston, with Merian C. Cooper, Ernest B. Schoedsack, Ruth Rose, Fay Wray and Robert Armstrong), the 2005 I'm Kong: The Exploits of Merian C. Cooper documentary, a gallery of trailers for other films by director Merian C. Cooper, the new RKO Production 601: The Making of Kong, Eighth Wonder of the World documentary by Peter Jackson (featuring the following featurettes: The Origins of King Kong, Willis O'Brien and Creation, Cameras Roll on Kong, The Eighth Wonder, A Milestone in Visual Effects, Passion, Sound and Fury, The Mystery of the Lost Spider Pit Sequence and King Kong's Legacy) and Creation test footage (with commentary by Ray Harryhausen).

The King Kong: Two-Disc Collector's Edition (SRP $39.98) will include all of the above in limited tin packaging that also features a 20-page reproduction of the original 1933 souvenir program, King Kong original one-sheet reproduction postcards and a mail-in offer for a reproduction of a vintage theatrical poster.

The King Kong Four-Disc Collector's Set (SRP $39.92) will include the King Kong: Two-Disc Special Edition along with The Son of Kong and Mighty Joe Young. It will NOT include the extras in the Collector's Edition tin.

Fortunately, The Son of Kong and Mighty Joe Young will also be available separately (as will The Last Days of Pompeii, also by Kong directors Merian C. Cooper and Ernest B. Schoedsack) for an SRP of $19.97 each.

The Son of Kong will include the 70-minute restored B&W film on video in the original full frame, with Dolby Digital 2.0 mono audio and English, French and Spanish subtitles. Extras will include the theatrical trailer.

Mighty Joe Young will include the 94-minute restored B&W film on video in its original full frame, with Dolby Digital 2.0 mono audio and English, French and Spanish subtitles. Extras will include audio commentary (by Ray Harryhausen, Ken Ralston and Terry Moore), 2 new featurettes (Ray Harryhausen and The Chioda Brothers and Ray Harryhausen and Mighty Joe Young) and the film's theatrical trailer.

As a young child in the nineteen fifties, I used to watch this film whenever it appeared on TV on "Million Dollar Movie". I loved it then. I love it now. Time has not diminished the capacity of this film to mesmerize and hold the viewer in its thrall.

The story line is basic. Carl Denham (Robert Armstrong), a filmmaker and entrepreneur, leads an expedition to Skull Island where he discovers its deep, dark secret. It is a land where time has stood still, and prehistoric monsters still hold sway over the island and its inhabitants. There, the natives pay homage to the one whom they revere as "Kong", and who is, indeed, king of the island.

Denham, together with his beautiful, budding starlet, Ann Darrow (Fay Wray), as well as with the crew of the ship that brought him to Skull Island, investigates the strange ritual being performed on the island by its native population. Before she knows it, Ann finds herself captured by the natives. She is to become the bride of the mysterious "Kong".

When Ann discovers who the mysterious "Kong" is, she starts screaming and doesn't stop. The ship's first mate, Jack Driscoll (Bruce Cabot), who happens to be in love with Ann, manages to rescue her from the clutches of "Kong". Notwithstanding the fact that "Kong" has taken a shine to her, Ann is relieved to have been rescued by the man whom she loves.

Denham then arranges to capture the creature, whom he calls "King Kong" and takes him back to New York with them on the ship that brought them to Skull Island. There, King Kong makes his debut, one that movie lovers will long remember.

The special effects of this film were superlative for its time and still pass muster today. The relationship between the beauty and the beast still makes the viewer sit up and take notice. This is an attention grabbing film that is as exciting today, as when it was first released over seventy years ago. It is a truly timeless, cinema classic. Bravo!

Buy King Kong (2010) Now

I have always loved the 1933 King Kong for its life-like special effects created by Willis O'Brien. It would be very difficult to reproduce a period piece such as this, yet that's exactly what Peter Jackson is attempting to do. I hope he succeeds, I really do, but...

You just can't beat the original. And it's not just the FX (spectacular for its day), but the slow build up to Kong and Kong's appearance in NYC...all just fantasic.

Here is some important news below! Warner and HP are digitally restoring King Kong for a new theatrical release followed by a multiple DVD release. This couldn't be better news for Kong fans! Since I'm sure Warner wishes to cash in on Peter Jackson's new magnum opus, we'll probably be seeing the DVDs at Amazon within the near future.

Warner Bros. Studios and HP breathe new life into classic motion pictures

Warner Bros. Studios and HP also announced that they have teamed to restore the 1933 classic motion picture "King Kong." One of the American Film Institute's 100 most beloved films and named to the National Film Registry of the Library of Congress, the original camera negative of "King Kong" has long been destroyed, leaving only elements and prints that have been deteriorating over the years.

Warner Bros. Studios has brought the best elements and prints from all over the world and has scanned them into a 4K digital file. Using HP's "dirt and scratch" technology, which was developed by HP Labs, the 72-year-old classic will be digitally restored to its 1933 brilliance. A new camera negative as well as new archival elements will be created so that the film will be saved for generations to come. This new, restored version of "King Kong," as it was originally released, will be screened theatrically and broadcast on television, as well as released on Warner Home Video.

Read Best Reviews of King Kong (2010) Here

Warner is without a doubt, the finest home video label in the industry. No doubt about it. Not even the commendable, but ultimately conventional Criterion label comes close.

So now, 8 years into DVD-dom, WB is finally giving us KING KONG. One of the greatest motion pictures ever made. One of the most popular. One of the most successful.

So why hasn't it been on DVD all this time?

Because Warner wanted to do it right.

Warner owns the RKO library (although the previous owner, General Tire (no I'm not kidding) sold of foreign rights for several years in various countries for various periods of time) and although the foreign labels that have rights to these films quickly released them, Warner didn't.

They knew the RKO library was in terrible shape, and with their near-perfect record of perfection on every release, they sought to find the best original film negatives and create the best extra material.

Many RKO films have finally started to be available from Warner over the last two or three years. In every instance, the Warner RKO DVDs have been heads-and-tails better than those released by the international companies who hold rights in their respective countries. I say this only because I've seen comparisons online between what WB has dome, and what was out previously overseas.

Looking at WB's track record, we can expect a magnificent Kong transfer, the 8th wonder of the world! But there is more, this "collector's tin" comes with something I have always dreamed of seeing, but never have. A reproduction of the lavish opening night souvenir program from the premiere at Grauman's Chinese back in 1933. I read about it and the cover was reproduced in Ronald Haver's great book about David O. Selznick.

Also, the tim comes with postcard sized renderings of original Kong posters, and best of all, you get a mail-in card that gets you a true theatrical-sized (27x41) reproduction of one of the original 1933 posters. Yes, these are reproductions, but considering the original Kong poster goes for I think 100K, an authorized, full-sized repro will look cool in my house.

I am also excited to see the special features I've heard about. Apparently, Peter Jackson (who has remade KONG for release at Xmas) is the original's biggest fan, and contributed to the special features. In addition, Kong's creator, Merian C. Cooper, is also given his own documentary here, and although he may not be a household name(by a longshot!), this guy not only created KING KONG, but also collaborated with John Ford on some of the greatest films ever made, and then went on to be the chief architect of Cinerama. The Cooper documentary has been made (so I've read online) by none other than Kevin Brownlow, who is, without question, the finest cinema documentarian of all time.

The wait is over. Now we just count the days. This tin is mine!

I'll also be buying the other related Cooper movies like LAST DAYS OF POMPEII, THE SON OF KONG, and the original MIGHTY JOE YOUNG (with a tounge in cheek, and a very beautiful Terry Moore).

So the ultimate question is, what will be the greatest DVD classic of 2005. This seemingly magnificent uber-KONG from Warner, or the new Ultra-Resoltion 3 Disc mega set on WIZARD OF OZ. Likely it will be a tie. Admittedly, I'm a huge fan of Warner. 3 years ago, there were very few Warner DVDs on my shelf, as they seemed to ignore their library. Since then, it's been Xmas almost every month. Those folks sure do a great job, and I'm sure their KING KONG, in that irresistable tin, will be worth the wait.

Want King Kong (2010) Discount?

The video quality of this _King Kong_ (1933) DVD from Cheezy Flicks Entertainment is about the same as the NTSC VHS source from which it appears to have been copied. The DVD has a pasty looking picture which suffers from a total lack of contrast and there are occasional VHS-style video dropouts. The picture is off centered to the left and has excessive overscan. The "deleted" scenes are all way too dark. The crude cover art is composed of fuzzy screen shots. The ONLY advantage to the Cheezy Flicks _King Kong_ DVD is that it has reasonably good audio and the movie is presented in its original, 100-minute length, not the 96-minute length of sped up PAL versions. This alone makes the DVD worth keeping.

This Region 1 NTSC disc was made on a DVD burner. It has an English soundtrack, no subtitles and comes with a printed label. The package is an Amaray-style case with an insert sheet that lists the 13 chapters, but the chapters are not numbered.

There are persistent rumors that Warner Bros. will be releasing a superduper Region 1 DVD of the original _King Kong_ (1933) by the end of the decade. In the meantime, this Cheezy Flicks NTSC version sounds better than a sped up PAL version and, for those who really love Fay Wray, it is definitely better than no _King Kong_ at all. Hearing Fay Wray scream on key is what it's all about.

Save 56% Off

Anastasia (2011)

PLEASE BE AWARE: The lovely cover image you see on Amazon is actually from the first DVD release of this movie. If you order this product, you will receive something that looks like this. (Unfortunately.)

Despite the horrible artwork on the cover, this DVD set is by far one of the best 2-disk special editions I have ever seen. The movie is presented in its original widescreen cinemascope glory with sparkling menus, tons of extras, a tour of the castle, and a bonus movie. If it only had a concept art gallery, I would put it all the way up there with the Disney Platinum Editions.

The first disk makes use of a map of Anya's journal to Paris as the main menu integrated with clips from the movie. It also has something the Disney DVDs have been lagging on lately--a commentary. A commentary, no doubt, with Don Bloth and Gary Goldman, the two masterminds behind this film and many other animated masterpieces.

Aside from that, the first disk also contains bonus features on how to draw four of the main characters in the movie. Now, most "how" to draw features start out with a perfect drawing of a character and then show three steps, each with perfectly matching lines and expect you to do exactly the same thing, which is simply ridiculous. This one was different, though. Don Bluth hosted four beautiful art sessions talking very realistically about how real artists do it, from 6B pencils to kneaded erasers to the fact that it's okay to make mistakes. He went through the process step by step and amazingly, his drawings looked very sketchy and none looked exactly like the character he was drawing. I thought this was wonderful because it teaches that not all drawings come out perfect at first and even the best artists don't just sit down, put their pencil to the paper, and have a perfect picture magically appear. The only thing I didn't like about this feature was that you had to click Continue after each step or it would just stay paused.

The other main feature on the disk was a singalong track containing songs from various older 20th Century Fox movies and hosted by a girl claiming to be Anastasia, but sounding nothing like her older or younger voices. The funny thing is, most of the songs on this track had absolutely nothing to do with Anastasia. In fact, I was surprised they expected kids to buy this DVD and know about these old movies such as Young Frankenstein, Shirley Temple, and many others including songs from the other newly rereleased animated Fox "Family Fun Edition" DVD, Fern Gully. Despite having little to do with the film, this 45-minute singalong track felt complete enough to sell on its own without any other attachments so it was a very hearty feature.

The second disk had the must unenthusiastic narrator I have ever heard in my life. Never the less, the disk's menu is a beautiful CGI tour of the Romanov palace. Each shelf contained objects that the real Anastasia might have had along with a description of their use and place in history. Some objects turned out to be games and others were more bonus features.

The meat of the disk was a 45-minute documentary about the making of the film. It was very nice to hear from all the voice artists and other people involved, but the best part came from Don Bluth and Gary Goldman's commentary. Those two men always know exactly what to say! Their honest, straightforward, and down to earth nature really made this DVD a gem to own. They have no intention of playing down to a young audience and are clearly very passionate about what they do. It was always wonderful to hear their insights on the movie and the art of animation in general and they really made this set worthwhile.

Among the other features on the disk were a music video of Aaliyah's rendition of "Journey to the Past," a trivia game with questions that were not too easy, but not too hard about the film, and a virtual paper doll of Anastasia. There was also a multi-language reel of "Journey to the Past" and "Once Upon a December," preceeded by a list of phonetic letters. The "karoake" section of the reel was extremely tedious because it would first show Anya singing a line in one language, followed by two girls who were being used as examples of how phonetic letters are pronounced repeating that line, then the line was played without singing so "you" could sing it in that language, and then Anya would sing it one more time and these four cuts would repeat for every line in the song in every different language. Fortunately you also have the option of just watching the multi-language song reel by itself without the girls or karaoke versions.

Now we come to the icing on the cake. Not only do you get the movie Anastasia in this set, but you also get its spin-off film, Bartok the Magnificent, absolutely free! This 60-minute film is too long to be a short, but too short to be a movie and isn't really worth buying by itself. However, considering that it's free, it's quite a worthwhile bonus feature indeed! With a unique story, original musical numbers, and everyone's favorite pink and white bat, it's sure to entertain for at least one sitting even if you never want to watch it again after that. The movie has nothing to do with Anastasia, but instead involves Bartok trying to rescue the kidnapped prince of Moscow. There are unfortunately no cameos of anyone else in Anastasia, but nevertheless, it's a cute flick.

At $10 on Amazon, this DVD is an absolute steal and anyone in their right mind should grab it the first chance they get. Not only do you get a gorgeous and expertly crafted film, but you also get a SingAlong movie, a second spin-off movie, games, historical references, and beautifully insightful commentary from the ever-devoted, ever-friendly Don Bluth and Gary Goldman. The princess Anastasia has truly returned to her rightful throne. The only reason I did not give this item 5 stars is because of the cover art.

This warm and romantic film from Don Bluth and Gary Goldman has long been my favorite animated feature. This mostly fictional story of Russia's famous Anastasia and her search for her family is sprinkled with humor and great songs. The animation, from snowy Russia to glamorous Paris, is top-notch and the story is both heartwarming and fun.

A great cast of voices, including Meg Ryan (Anastasia), John Cusack (Dimitri), Kelsey Grammer (Vladimir), Christopher Lloyd (Rasputin), and Angela Lansbury as Anastasia's beloved grandmother add depth to an enchanting film. Anastasia wants to leave Russia for Paris because the necklace she wears has the inscription, "Together in Paris," which she is sure holds the key to her journey to discover who she is and where she belongs.

Dimitri and Vladimir plan to pass her off as the real Anastasia for the reward in exchange for her visa out of Russia. The banter between Anastasia and Dimitri masks a growing attraction, of course, and when Dimitri discovers before she does that she really is Anastasia he knows he must step aside.

Complicating matters is the evil Rasputin, who has placed a curse on her family and sold his soul to destroy them. His little fruit bat, Bratok (Hank Azaria), is a very funny creation and turns out to be not so evil at all.

The story is peppered throughout with great songs, including "Journey to the Past" and the haunting "Once Upon a December." Anastasia is warm and involving, separating it from other animated films. When Anya discovers she really is Anastasia, it is bittersweet, as she now must choose between her past and her future. Love may conquer all, but not if the evil Rasputin has his way.

This is a heartfelt and funny animated feature you'll want to own and watch over and over. This particular edition comes with lots of extras for hours of family fun. Don't miss this one.

Buy Anastasia (2011) Now

I bought this movie because I've been interested in the mystery of the Grand Duchess Anastasia since I was a kid, not because I have rugrats. This movie was entertaining. Anya is a spunky heroine; Dimitri is a scrappy hero; they have a sweet and surprisingly adult romance and the plot is more realistic (except for the ridiculous villain Rasputin) than expected. There is a lovely, melancholy song called "Once Upon a December" that the amnesiac Anya sings in the empty palace as ghosts come out of paintings to dance with her. This movie isn't historically accurate, but it's a satisfying fairy tale -the way we wish it had been.

Read Best Reviews of Anastasia (2011) Here

Anastasia DVD

Anastasia is an animated movie about the Russian Romanov family and what happened to them.

It is sort of like a Cinderella story with a Russian history twist.

Highly recommended for families with young children that want to start teaching them something about European history or just want to enjoy a family oriented movie.

Gunner February,2008

Want Anastasia (2011) Discount?

"Anastasia" is a animated musical that works despite some serious problems fundamental to the story for anybody who knows anything about Russian history. The legend of Anastasia has in roots in a historical truth: that when the Communists executed the Romanovs and gunned them down, the young Grand Duchess was not shot; she fainted. When it was discovered she was still alive she was clubbed and bayoneted to death. But the "truth" remains, she was not shot dead with the rest of her family. In this version that issued is rendered moot because the young Anastasia never joins her parents as they fled St. Petersburg. However, the greatest historical liberty is the idea that the Russian Revolution was the result of a curse the mad monk Gregorei Rasputin laid on the Romanovs. Forget Lenin and the Communists overthrowing the Czar; it was a crazy monk and his friend, an albino bat named Bartok.

However, "Anastasia" has several things working in its favor to counter-attack this nonsense. First, there is the haunting "Once Upon a December," which carries the mood of the story perfectly and comes into play at several key moments in the film. The rest of the music is above average and avoids cuteness for the most part (the bad guys get the fun song with "In the Dark of the Night"), but "Once Upon a December" is musically the cornerstone of the whole film. Second, there is the wonderful vocal work by Kelsey Grammer and Angela Landsbury as the supporting characters Vladimir and the Dowager Empress Marie; they are the pair who provide the film with its heart while Anna and Dmitri wait for their brains to catch up with their hearts. Third, in true giant cartoon movie style, the film reduces everything to the fundamental desire to go home and be part of a family.

Ultimately, the backbone of the story is more the 1956 Ingrid Bergman film version of the "Anastasia" story than history: a con artist wants to earn the reward for finding the lost heiress to the Russian thrown and turns an amnesia victim into Anastasia only to discover that she is the real thing and that he is in love with her. Then basically they throw in the standard evil person trying to keep the princess and her boyfriend apart (think Disney's "Sleeping Beauty" except instead of an evil queen it is a mad monk and instead of a giant dragon there is a small albino bat and the princess is really a Grand Duchess and the prince is now a former servant boy, but other than that they are remarkably the same). Besides, kids like this film and they should be allowed to do so for a few years before they discover they can not learn history from movies (and should never let watching a movie substitute for reading an assigned book).

Save 40% Off

Howl (2011)

How do you bring the written word alive on the screen? "Howl," in depicting the famous Allen Ginsberg poem, does so ingeniously. But the beauty of the poem is interspersed with scenes of a much more conventional nature as well. The film is divided into four specific segments--the 1957 obscenity trial, a famed 1957 interview with Ginsberg (played ably by James Franco), the 1955 public unveiling of the masterwork "Howl," and an animated representation of the work in question. Then there are some flashbacks that accompany the various segments as needed. It is a lot of material for a film that runs less than ninety minutes. It is a credit to "Howl" that it works so well--but I also wonder if more impact might have been made by limiting the focus somewhat. Sometimes less is more. Also, by being so reverent to Ginsberg and the source material (the interview, most noticeably)--ultimately, I felt less emotionally connected to this fascinating character than I'd hoped.

It is actually the animation in "Howl" that stands out the most. On some level, I felt that the filmmakers had this inspired idea of how to present "Howl" (the poem) in a visually compelling style--but then had to come up with other secondary material to round out a feature film. The film comes to life with these sequences. Franco's interpretation as he reads "Howl" can be distracting, however. I know he is channeling Ginsberg, but the awkward cadence of his delivery disrupts the smooth flowing imagery. A small point, though, because I found the animation in "Howl" extraordinary and interesting. As a small film, on its own, I think it would have been a rousing success and brought "Howl" (the poem) to a new generation.

The other segments are nice enough. The 1955 reading and flashback scenes, done in black and white, provide context to Ginsberg and his era (that good ole "Beatnik" generation). We see glimpses of Ginsberg with the various loves of his life--they are fleeting moments, not particularly developed, but they do help to enhance the meaning of "Howl" (the poem). The obscenity trial, which was leveled against the publisher and not Ginsberg (Franco is not even in this part of the film), is pretty standard courtroom fare. It's well done, if not especially revelatory. With Jon Hamm, David Strathairn, and Bob Balaban as the court officials and Mary-Louise Parker, Treat Williams, Alessandro Nivola, and Jeff Daniels on the stand--you know it's impressively acted. It is the interview sequence in which Franco gets to shine. Franco's frankness is both convincing and illuminating to how Ginsberg conceptualized his poem. But again, as it is based on transcripts, we learn only as much about Ginsberg personally as he tells us.

"Howl" is a good film with elements of greatness. My only real disappointment is the biographical element in the film. Ginsberg's interview documents his journey from normalcy, to a mental institution, to a life in the professional world, to his acceptance of a counterculture. I'm sure it would make a terrific film in its own right. But "Howl" introduces us to Ginsberg, the man, but never really lets us get close to him. So as much as I admired the film--ultimately, I was not very connected to it. Interesting and intellectual, "Howl" succeeds best when dealing with "Howl" but lacks some of the insight into its author that would have taken the film to the next level. There were just too many aspects in "Howl" introduced to follow them all through. Courtroom drama, biography, artistic interpretation--it's a lot for a little film. But I did very much enjoy "Howl" and recommend it--especially to those interested in the subject matter! KGHarris, 10/10.

HOWL is a well-chosen name for this excellent movie. Yes, it indeed is a study of the creator of that significant poem Allen Ginsberg but the film seems to be more focused on bringing the audience to a level of appreciation of the impact that particular poem had on the world of censorship, of bringing to the attention the parameters of varieties of sexuality and emotions, of the so called concept and rise of the Beat Generation than it is in portraying the life history of the poet himself. Writers/directors Rob Epstein and Jeffrey Friedman have combined archival footage of the real Allen Ginsberg and moments in the cafés where Howl was read along with very fine animation to relate the grotesque feelings of the poem in a way that enhances our understanding of this important work, and with that they have gathered an exemplary cast of actors to recreate the people that surrounded Ginsberg's life and experience with the courts.

The film begin with the 1957 obscenity trial held for the 1955 creation of the poem Howl: the Judge Clayton Horn (Bob Balaban) hears the prosecutor Ralph McIntosh (David Strathairn) bring testimony from a variety of 'experts' Gail Potter (Mary-Louise Parker), Professor David Kirk (Jeff Daniels), Luther Nichols (Alessandro Nivola), and Mark Shorer (Treat Williams), and then hears rebuttal from Ginsberg's attorney Jake Ehrlich (Jon Hamm) who is also defending Ginsberg's publisher Lawrence Ferlinghetti (Andrew Rogers). And while the trial proceeds the audience is taken back to the year of the poem's creation with Allen Ginsberg portrayed with exceptionally fine acting by James Franco. Ginsberg relates his mother's insanity and the effect of him, his own hospitalization for insanity, and his coming out with lovers Neal Cassady (Jon Prescott), Jack Kerouac (Todd Rotondi), and Peter Orlovsky (Aaron Tveit). Each of these actors offer polished portrayals and truly give a sense of the meaning of a counterculture that emerged as a result of Ginsberg's masterpiece poem.

One of the beauties of this film is that it offers the audience all the information about this period and this event and this poet with astute brevity (the film lasts only 84 minutes), making the impact all the more personal. James Franco as Ginsberg, whether reading Howl or responding to an off camera interviewer, is a completely realized performance. Time will prove what an important film this is. Grady Harp, January 11

Buy Howl (2011) Now

"Howl" is the story of the obscenity trial surrounding Lawrence Ferlinghetti publishing Allen Ginsburg's Howl. Told from Ginsberg's perspective it isn't formatted like a usual movie, but more like a poem with different alternating stanzas.

The stanzas breakdown into an interview with Ginsberg circa 1957, an animated rendition of Howl, the trial, the Six Gallery reading that brought the beats and Howl to mass public awareness, Ginsberg writing Howl, and his meeting and falling in love with Peter Orlovsky.

James Franco plays Ginsberg and while not a nuanced or fiery performance you do get the feeling of what it would be like at the time of the obscenity trial to sit down with Ginsberg and talk about Howl, from how it got started to what it meant to him to write it, and the literary merits of it.

The stanzas mesh seamlessly, and intricately. For instance, the animated Howl that is interspersed with the live action works very well on its own but also in the context of the movie. If you're not familiar with the poem it provides a reference point as to what the controversy was in the first place. The trial scenes with Jon Hamm as Ferlinghetti's defense lawyer, and David Strathairn as the prosecutor provide comic relief, especially more so because the dialog was taken right from the trial transcripts. If obscenity trials are good for anything it's getting straitlaced attorneys to say things that in a different context would be considered obscene.

The movie also doesn't avoid or ignore Ginsberg's homosexuality. As a matter of fact, it's an intricate part of the movie since Howl was Ginsberg's first flash of accepting that within himself as being a part of himself, and normal.

All the performances in "Howl" are good. Everyone delivers even if they aren't asked to do much except "be" the characters they`re supposed to be. Most of the attention is focused on Franco as Ginsberg and he proves that there's more to his acting than what's seen in franchise movies such as "Spiderman."

Read Best Reviews of Howl (2011) Here

This is a shorter length feature film in the style of a documentary drama. Essentially it is Allen Ginsberg (James Franco) telling the story of writing his book of poems 'Howl', and the court case that decided whether or not it was considered obscene material. The film cuts between interviews with Ginsberg, scenes from his memory, scenes of the court case, and is broken throughout with scenes of his first reading of 'Howl'. The poetry reading is also interpreted through animation.

James Franco plays Ginsberg very well and at times his imitation of Ginsberg's vocal cadence and delivery are spot on. He refrains from a caricature of Allen Ginsberg and portrays a real, endearing and human man. The court scenes can be dry and prime to be over dramatic or cliche. They serve mostly to show the conservative and censored backdrop on which 'Howl' was published. The film doesn't have a strict chronology and doesn't need one. It is generally structured by the beginning and end of the poetry reading and a brief biography of Ginsberg's life. I thought the animation was aesthetic and interesting and I really liked the piano score that accompanied it.

There are really beautiful moments in this film. Ginsberg reading the letter of love and rejection from Neal Cassady. Gingsberg relating his revelation that he would always be loved and that he could live life happily as himself, even as a gay man in the 1950's. At the end of the film it is touching and almost thrilling as the voice over of a man singing sweetly transitions to footage of the real Allen Ginsberg.

I was inspired to write a poem while watching this film! It was a very enjoyable and satisfying experience to see 'Howl'. The best aspect of the film is that it brings to your attention the wisdom and poignancy of Ginsberg's story, and the simple beauty of living honestly and free.

Want Howl (2011) Discount?

As a journalist, I spent time covering Allen Ginsberg during a tour he made in the early 1980s, a time when he almost seemed to have turned himself into a popular little lawn gnome in American culture. Ginsberg always loved to celebrate and poke fun at himself and the culture that both rejected and eventually enjoyed him. He loved to dance, play his little harmonium as he performed and when I encountered him, he drew a big crowd of university students mostly curious to see the '60s celebrity who had managed to survive.

But Ginsberg, years before Harvey Milk, was a subversive genius and "Howl" finally puts the howl back in Ginsberg's work.

I agree with most of the other reviews on the Amazon page, but would stress a few helpful things: First, you get to experience the entire performance of "Howl" in the course of this film. That's a rare experience these days. James Franco performs it in scenes that recreate that first explosive reading in San Francisco in 1955. In the Extras, Ginsberg himself reads it. Plus, this is the entire version of "Howl," including the "Footnote to Howl," which I think and most literary scholars think is an essential part of the poem. It's amazing that sometimes "Howl" is read or assigned in classes without that Footnote.

The truly subversive choice in "Howl" was casting two of the hottest heartthrobs in America as the leading characters. The courageous defense lawyer at the "Howl" trial is played by Jon Hamm, better known to millions as Don Draper in the hit "Mad Men" TV series. The defense lawyer Hamm plays in "Howl"---from his looks to his prophetic message to the court about American values---is almost a twin to the character of Don Draper. Then, to portray Ginsberg, the producers chose Franco. While Franco may not rank with Brad Pitt on tabloid covers, he's certainly hot today. For example, he appears as one of the hunkiest heartthrobs in Julia Roberts' new movie version of "Eat Pray Love." Trying to place Franco in "Eat Pray Love"? He's the knock-em-dead young actor who tells a girlfriend: "When I look at you, I can hear dolphins clapping." Obviously, that sappy line wasn't penned by Ginsberg. Watching those two actors at the helm of "Howl"---that casting choice alone---drives home the film's plea for diversity. Two of the coolest hearthrobs in America right now see the enduring value in what Ginsberg achieved more than half a century ago.

Ginsberg certainly was as much a self-styled clown as a prophet. But, he realized years before many others of his generation that--even from the margins of our society--words are a perpetual source of power. He shouted out this truth at the very end of Howl. Even the language of the Footnote is R-rated, but those final lines should echo on for years to come. The passage includes:

Holy! Holy! Holy! Holy! Holy! Holy!

The world is holy! The soul is holy! The skin is holy!

Everything is holy! everybody's holy! everywhere is holy! everyday is in eternity! Everyman's an angel!

The bum's as holy as the seraphim! the madman is holy as you my soul are holy!

...

Holy forgiveness! mercy! charity! faith! Holy! Ours! bodies! suffering! magnanimity!

Holy the supernatural extra brilliant intelligent kindness of the soul!

This is a great film. And those are great words to remember as the credits roll.

Save 46% Off

The Passion of the Christ (Definitive Edition) (2004)

One of the most talked about films in decades; thought I would add my 2 cents as a late entry.

I think the root controversy about the film has to do with the question of whether or not it has artistic merit for a viewer without faith. I think this is a fair question, as I never really understood the idea that religion offers, so to speak, an excuse for ugly artwork. Arguably there is no such excuse, unless one of the points of religious art is to repel people who don't already share the faith.

The film has been labeled violent, which it is; but unfair here has been the label that it is in some sense unusually violent. It is not. There are hundreds of films that are far more violent. Perhaps this film is even less violent than average. It is perhaps even less violent than the blockbuster version of Gandhi of some years back, billing Candice Bergen and Ben Kingsley, of which the Passion has reminded me somewhat; at any rate they are at least in the same ball park. Rather, the distinctive mark of the Passion is that it invites us to keep the humanity of the victim of violence in full view; not to distance ourselves by, say, feeling contempt or anger towards the victim as a bump-off-able bad guy, or seeing the victim as a replaceable curiosity, a dispensable nitwit. In the Gandhi movie, for example, the majority of the acts of violence are against victims who are more or less, cinematically speaking, dispensable nitwits. All we see Gandhi suffer is being shot at the end (and even that, at the beginning also, setting up a flashback)-and a few blows to the head (from which he recovers).

Yet the character to suffer the violence in this film is not only the main character, it is a character who is anything but a dispensable nitwit. He is unambiguously portrayed as is in the Gospels--a perfect human being-and more: a Divine Person. No doubt faith is helpful here, but if the viewer can so much as entertain the premise as a possibility, then I would say that the movie is as beautiful as it is emotionally powerful. Yet even apart from that premise, the film also powerfully portrays deep love and friendships between human beings, which has surely a beauty of its own even under heart wrenching circumstances. Moreover, in what is surely one of, if not the most violent sequences in the film-the scourging (the soldiers carrying out the order, one in particular, wind up going over the top in enthusiasm)-we only see the victim about half the time; the rest of the time we see shots of peoples' faces, notably his friends, mostly of the face of his mother. The film does show us the anatomical side of the violence enough so that we really understand what is happening-but no more; the point is what it MEANS for it to be happening. In this film suffering is given a human face.

It is quite a unique experience. First, breaking out of the package of being "mere cinema," there are two points of honesty of the film even apart from any faith claim. (1) by all serious accounts, Jesus of Nazareth was at the least an exceptional human being; yet death by crucifixion was no walk in the park. (2) by all serious reflections, in one way or another-regardless of how you slice it (whether from the point of view of any religion or from the point of view of atheism)-humanity really hasn't treated God any better than the main character gets treated in this film. This is a film which portrays God as staying with humanity despite the way it has treated him (and the way human beings have treated each other). The violence is not for it own sake; still less is it for the sake either of sadism--or of a narrator stepping off the screen to address the audience with guilt trips (shaming and flagellating the viewer)--; it is for the sake of thoughtfully presenting this possibility in an artistic way. Second, rather that allowing the audience the space to distance themselves from characters undergoing violence, this film actually does the opposite: it prods the audience to see NONE of the characters as dispensable nitwits, not even those who are committing the violence. The anti-Semitism charge is simply a non-sequitur. It's not anti-anybody.

The film visually portrays what I have described without being artificial or saccharine, invoking a remarkable depth for symbolism and a good sense of timing; it plainly succeeds in telling a story blending sight and sound. I will give two examples which I found especially powerful; they are even related. One is where the film shifts back and forth from shots of the feet of the roman soldiers standing in pools of his blood as they scourge him, to shots of the feet of the Apostles as he was symbolically washing them. The other is a subtle, nonverbal portrayal of the conversion of a roman soldier which spans in a sense the entire film. This conversion story is visually framed from the film's opening scenes when a temple guard has his ear miraculously restored after it is sliced off in a struggle by one of the Apostles. The guard remains for some time on his knees, as if so overcome by the experience he cannot move. The roman solider to be converted is subtly introduced in the next scenes (he is one of the soldiers Mary Magdalene complains to about the arrest), but we see him from time to time throughout the movie, witnessing and being influenced by various events; in a final scene, blood and water falls upon his eyes, flowing from the side of the deceased victim that he pierces with a lance (though first non-verbally apologizing to the mother; he does it merely to confirm he is dead), and he falls to his knees in a way which resonates with the action of the temple guard. The temple guard, so to speak, had his hearing restored; the roman soldier, so to speak, his sight. On the side of deep friendships, notable are the relationships between Jesus, his mother, Mary Magdalene and the youngest Apostle, John. One moment uniting this dimension to the above examples is when John stumbles and falls on his knees before the two Marys (running to them to tell them of Jesus' arrest)-to be followed by John later seeing Mary's agony as she watches her son fall to his knees as he carries the cross. The kneeling image in general is itself also framed by beautiful opening and closing scenes invoking a folding together of earth and sky (the first providing the backdrop of Jesus falling to his knees in his agony in the garden; the second entailing powerful from-the-ground-up and from-the-sky-down shots of the moment of his death on the cross). Here resonating throughout is the film's awesome musical score. I would add that the use of Aramaic in the film punctuated with subtitles was nothing less than masterful; I am not even aware of the film being in a "foreign language."

Acting was good but special mention needs to go to Maia Morgenstern, who played the mother. In interviews she said she played the character from the point of view of a mother who loved her son; the result is one of the most moving and beautiful character portrayals in all of cinema.

If you are looking for popcorn-eating entertainment, this is not the film to watch. (Even during gladiatorial times at the Colosseum this movie would have gotten thumbs down.) But if you are in the mood for a thought-provoking treatment of religious themes in a serious, sensitive and artistic way, then by all means see the film.

*Note: This review is not based on the Definitive Edition (or its commentary).

When you start the movie you have the hype that has surrounded it. At the end you have the feeling that this individual loved, believed, and gave everything for his beliefs. You understand that the Jews of that society show they were like us today where a few acted as if they were the voice of the many. It is a movie that pulls at the fabric of your understanding of this horrible and painful death allowing you to understand it and what it must have been like.

In summary it is a movie that made me reflect. It made me sad, and based on my beliefs made me proud that this individual cared for me and gave his life to set me free. It was a well done and flowed well from beginning to end. It built on itself the way a great movie should. The editing and story through the lens was exceptional. It was a great technical movie regardless of beliefs.

Buy The Passion of the Christ (Definitive Edition) (2004) Now

I purchased this version after I saw it in the store the week it came out. I already owned the original DVD release, but I heard this had lots of special features and the re-cut version. Therefore I purchased this edition. However, I was a bit disappointed.

I really enjoyed the movie in the theater. It tells the story of the last 12 hours of the life of christ. It was very gory and I wouldn't want to show it to children. However, for older people (12 yrs. and up)this does a good job of depicting the trials and tribulations of Christ's crucifiction.

My biggest complaint about this movie was the subtitles. However, if you are familiar with the Biblical story, you can pretty much ignore the dialogue and focus on the picture.

Now for this "Definitive Edition" Special feature wise this is a great edition to have. It has loads of extra features.

My biggest complaint about this edition was that if you are a person like me who sometimes has to take several different times (starting and stopping) to watch a movie in it's entirety, the chapter selections are a wonderful thing. You can stop where you need to and start back just by selecting the scene you were on. However, with the definitive edition the scene selection is done with approximately 10 chapters. The chapters are set up to coincide with the "stations of the cross." Although a good idea if you are Catholic and want to see those stages but for a normal viewer of this movie it was terribly frustrating. The first chapter runs for over an hour. I usually don't have that long to watch so I have to start all over each time and use fast forward to get to where I was. It was just very irritating.

I really liked the fact that they included the re-cut version of the film as well as the original. If you are unfamiliar with the re-cut version, it essentially is a "less graphic" version of the film (although it is still very violent). This version may be better for a church library or a family with younger children.

If you like special features and want the less gory version of the Passion then by all means purchase this edition. However, if you prefer to be able to stop and start or jump to a certain scene of the movie then go with the original release (it has approx. 32 scene chapters).

Read Best Reviews of The Passion of the Christ (Definitive Edition) (2004) Here

First of all, let me start this effort by saying how amazed I was by the movie, and by its sheer emotional power. It is superbly shot, the cinematography literally breath-taking in its intensity and ability to add muscular heft to the familiar story of how Jesus came to fulfill the prophecy through his divine sacrifice on behalf of all mankind. The movie-goer is sure to be transformed by the magnitude of the oft-told and retold tale of how the events of the final twelve hours focused on the ways in which Jesus deliberately serves himself up as the sacrificial lamb for the manifest sins of the world, offering all humans the opportunity to re-establish their contact with the divine from whom they had been estranged.

Indeed, I found myself almost speechless after viewing the film, and was not quite sure to what extent it was a result of the power of the film's message as opposed to the graphically violent context in which the tale is told. Herein lies the single criticism one can level against the film, which despite many worries from bystanders that it was laced with virulent anti-Semitism, seems to clearly blame all sinners (ergo, all of us) for the sacrifice of God's son on the cross. Yet Mel Gibson's sure hand is both able and accurate, and the violence shows how carnal man greets the divine, and how we react to the message of hope and salvation; through unspeakable cruelty and gratuitous violence. So, while this is indeed a very violent movie, the murderous acts depicted quite graphically have to be taken in the context of the supernatural events transpiring, as a kind of carnal counterpoint to the ethereal repose with which Jesus bears all of the acts visited upon him. At one point He tells Mary (After he has stumbled under the burden of the cross) "Behold, mother, I make all thing anew!" This was, for me at least, a quite stunning reminder of the godly forces at work amidst all the violence and carnage.

This is a very personal interpretation of the final twelve hours of Christ's life on earth leading to His crucifixition. From the moment it opens in the solitude of the Garden at Gethsemane, one is immediately aware of the battle ongoing between good and evil, as the devil (cleverly presented as a stunning if malevolent woman with a masculine voice) attempts to dissuade Jesus from attempting what he about to undertake. From this it is obvious He is doing this for all mankind, Jews and Gentiles alike, and that we are all to blame, through our unremitting addiction to carnality and sinfulness, for the evil manifested in the world. This is a fantastic film, one that is definitely not for the faint of heart or weak of stomach, and definitely not something I would suggest subjecting a child to. Still, it is a remarkable work, and one that deserves the very wide distribution it is about to encounter.

Want The Passion of the Christ (Definitive Edition) (2004) Discount?

Let me preface this by saying that I am not the most religious person out there. I actually went with the intention of being thoroughly disappointed and wanting my money back. HOWEVER, this is an artistic masterpiece. Regardless of your religious preferences, you should see this movie. Gibson relates the 12 hours leading to the death of Christ in a series of flashbacks, beatings, and stunning cinematography. His choice of doing this movie in Latin and Aramaic was correct; it would not be nearly as powerful if performed in English. The lead actor has little match with the intensity that his eyes convey. Gibson also adds nuances and flourishes to the story (the Satan character and the demons that hound Judas) that add so much to this movie.

A lot has been written concerning the anti-semitism this movie conveys, and I'd strongly recommend that you see the movie and reserve your opinions on that until you've actually seen the movie. I don't really blame the Jews for the crucifiction, and I think Gibson utilizes the mob as a tool of Satan, and that really shows in the movie. Also, the gore is definitely present, and you should not see this if you have a weak stomach. However, it is dispersed throughout the movie, and after that first horrible whipping, you don't notice it as much. I definitely think that everyone should see this once. I don't think it has much repeat viewing value, as I was thoroughly impressed with it, but like a Schindler's List, have no desire to see it again.

But definitely worth the price of admission. Definitely.

Save 41% Off

Best Picture Academy Award Winners: 5 Film Coll (2012)

In a only one package, this selection offers five good movies, and with a price very good too. I think that "Shakespeare in love" is the film that could be think in next editions of this collection.

Save 65% Off

Sleep Dealer (2008)

Sleep Dealer, dir Alex Rivera, 2008, USA/Mexico.

The Future of Science Fiction 5*

I have seen the future of science fiction, and it is good, at least if this film has the influence it so richly deserves. Written science fiction is about so much more than the space opera and bug eyed monster tales and post-apocalyptic gotterdammerung that form the bulk of filmic "sci fi" that it is good to see the film world catching up. There have always been a few "real" science fiction movies that break the mold -"A Boy and His Dog", "2001", "Blade Runner", even "Charly" (though that butchered the original wonderful Daniel Keys novella, the intent was there) come to mind. But most of those refer back to classic science fiction written works. What is great about "Sleep Dealer" is that it takes the vision of good written SF, with an original plot and theme, mixes it with the vocabulary of the special effects driven films that dominate the science fiction theater, and comes out with something wonderful. I hope this is an indication that the new generation of writers and directors (and not just Hollywood budget types, but independent and "foreign" cinematographers) have absorbed this vocabulary to the point where it is simply another tool in their repertoir, and will continue to use it judiciously to tell a new generation of adult science fiction tales.

Sleep Dealer combines a cyberpunk vision of the near future with a clear social vision and a dynamite plot and characterizations. Memo (Fernando Pena, with a tilde) is a young man in a remote and dusty Oaxacan village, Santa Ana del Rio. His father struggles on to raise crops on the ancestral plot since a gringo corporation dammed the local river ... going to beg a few liters of water, he and Memo are faced with a remote control, talking gun at the fence. Memo dreams of leaving the dusty town, and has a Rube Goldberg radio setup (with a manual "Hacking for Beginners" :-) that he uses to listen to communications from the outside world, in best cyberpunk fashion. One day he overhears com between a drone pilot and his base, but they detect him. He cuts the connection, but shortly thereafter, while he and his brother are away at a party, they see a TV broadcast of an American drone pilot's first mission, going after "aqua terrorists"

Memo flees to Tijuana to make money for his family as a plugged in worker -the US border is totally shut down, so Mexicans toil by remote control from south of the border, using robots to the north. On the bus North, Memo meets Luz (Leonor Varela), a lovely young woman who is trying to make a living as a 'writer', jacking in and transcribing her memories directly into cyberspace for others to buy. She 'writes' a vignette of having met Memo, and what little of his story he told her. When he is mugged, she offers to get him the implanted nodes which will let him work .. and turns out to be able to do the "coyoteka's" work herself. Luz's writeup of Memo has an enthusiastic customer, who wants more material and she sees Memo again and again. Luz finds herself falling for him as he does for her. Eventually, they are brought together with the phantom customer, and the film winds to a surprising but seemingly inevitable conclusion.

.

Sleep Dealer is replete with nice little touches, such as the drone pilot being of Latino descent, from a military family; or the company Memo works for, Cybracero (cyber + bracero). The special effects may not be state of the art, but are perfectly adequate to the purpose at hand, that of telling Memo's story and presenting the world he lives in. And that world is very carefully imagined, firmly grounded in the realities of today.

In the press kit, which is available on line, director Alex Rivera describes Sleep Dealer as "a humble film ... an honest attempt to use science-fiction film to say something new, and something true, about our world today." He has succeeded in spades. A very enthusiastic 5 *'s.

Quote 1: When they dammed up the river, they cut off our future. (Memo's father)

Quote 2: "... and blow the hell out of the bad guys." (drone show host)

2008 Sundance Waldo Salt Screenwriting Award and Alfred P. Sloan Prize.

This little sleeper of a movie winds together more different strands than any I've seen in ages. It variously explores American isolationism combined with a demand for immigrant labor, the rise of a commercial military, new kinds of sweat shops, armed escalation of the water wars, and the irony of social networking (in the electronic sense). As people interact more by wire, eventually, the wires become necessary for interacting even in person.

The major plot elements seem familiar traditional society failing under pressure from the modern work, and the boy trying to support his family by working in the big city. A relatively recent stereotype appears, too: the soldier who we come to respect, even when he fights in a war that we don't.

This succeeds at many levels. It can be seen as an anti-American, anti-corporate diatribe, or as a grim extrapolation of today's headlines. Either way, it carries reminders that people will still reach out to each other, and that personal honor will continue to have meaning.

-wiredweird

Buy Sleep Dealer (2008) Now

Memo (Luis Fernando Peña) wants to escape his hard agricultural life caused by the US damming of their river. He does so with the aid of a radio interceptor. Little did he know that his hobby would lead to an unusual interaction and unique communication of three lives Memo, Rudy (Jacob Vargas), and Luz (Leonor Varela).

One scene that I can relate to is where Memo and Luz are at a rivers edge discussing life with his head in her lap. Even though this takes place in Mexico, I spent some time with my girl in a similar riverbed (Los Angeles) where it crosses with the San Jacinto River near a small park named Ford. Therefore, this had a more personal flair for me.

This is not a simple movie as not only stories overlapping but also the technology needed to tell the story is a collage of many sci-fi movies from before. I was interested in the main characters as a story however according to the voice over it is more of a political movement using technology against its self. They bend the system.

You will find a message for everyone on different levels. I think you will get the Memo.

You definitely need to see the two DVD extras "before the making of Sleep Dealer" which is almost a mini-tutorial on how to build and market a movie, and the voice over (in English) which tells all the nitty-gritty details of the movie including a more intricate use of resources. We learn that the war strike scenes are real footage from the net as are many of the other scenes and some verbiage is modeled on apache helicopter kill communications from u-tube.

Read Best Reviews of Sleep Dealer (2008) Here

I all honesty you must understand this is an independent film so some of the seens might trip you out cause you can see how low budget it is but besides that the film is great its the first sci fi from the persective of the third world its a good mixture of issues sci fi and how technology has become part of us literaly, the realtionship between the unted states and mexico and its good especially for its price plus ive been to a screening where the dirctor was at and he was a chill dude

Want Sleep Dealer (2008) Discount?

The premise of this film and storytelling vision are exceptional, but the first warning sign was the lowest cost BD I have seen in recent memory (my cost was lower than the DVD).

The story follows a man becoming part of a futuristic version of slave labor being used in America, but from south of the border via cyber links instead of physically being here. Workers are connected to their counterpart machines working both dangerous and agricultural jobs here in the United States. There are several subplots involving love, redemption and corporate treachery, but the main theme of sending the money home still rings true, even in this cyberfuture. The special effects are low grade, but they only get utilized a few times to showcase the military drones and robot workers (less than 5 minutes screen time).

The Blu quality is non-existent. There is an overwhelming orange/yellow tint that drowns out any clarity (tried to be like Traffic Criterion Collection but didn't work). There was a different camera used in the overhead city shots so they turned out clear, but otherwise the scenery is overexposed, and the grain and artifact are prevalent throughout. The 5.1 is used minimally but sounds flat. The supplements include a decent 10 minute making of and a commentary. The making of is worth the watch and has a narrated track describing the origins and process of making a passion piece like this.

3.5 for the film and .5 for the supplements, but zero for the BD quality. But for this price, why not give it a try?

Save 53% Off

Disturbia (2007)

Kale (Shia Labeouf), a teenager who recently lost his father in a car accident, is on house arrest after punching his teacher. He soon gets bored with too much time on his hands and starts spying on his sexy new neighbor Ashley (Sarah Roemer). One night, while watching the news on TV, Kale hears about a missing girl and an eyewitness report describing a suspect's car. Kale realizes that his next door neighbor, Mr. Turner (David Morse), has the same vintage car of the same color also with a dent in the bumper. Mr. Turner brings a woman home one night and Kale witnesses some rough play through the open curtains. He begins to suspect him of being the missing girl's killer and starts to spy on him with cameras and binoculars.

Disturbia is directed by D.J. Caruso (The Salton Sea, Taking Lives) and is molded after Alfred Hitchcock's classic thriller, Rear Window. I really wasn't expecting too much from this one other than it was a Caruso film, a director whose work I admire. I must say that I was pleasantly surprised; the plot and characters sucked me in almost right away. The film has a similar premise as the one in Rear Window, but with all its gadgets, flashy shot compositions, and younger target audience, it really feels like a fresh approach to a cool idea.

The script was well written in the sense that it took time to set things up, to develop its characters, and provide us with enough twists and turns so that we never have time to look at our watches. The tension increases a lot in the last half-hour of the film and builds to a climax that doesn't fall into the clichés of the recent suspense/thrillers. Shia Labeouf shows promise as a young actor, bringing depth to his character. Sarah Roemer was also pretty good, showing us that she's more than a pretty face and a hot body. David Morse (The Rock, The Green Mile) was great as usual as the neighbor who may-or-may-not-be a serial killer. Caruso's got another hit under his belt, much more satisfying than Taking Lives was for that matter.

If you're a fan of Hitchcock's Rear Window, you might really enjoy this one; it's much more than your average sugar-coated teenage flick. Horror fans and thriller aficionados will find something to sink their teeth in as well. Definitely worth the price of admission.

What a pleasant surprise! I'm the world's biggest Hitchcock fan, and well past my adolescent years, so I wasn't expecting a lot from a new flick that every critic in America said was "REAR WINDOW with teens." But this film actually works on its own merits, and the chief merit is Shia LaBeouf. I haven't been this impressed with a new talent since I saw Keisha Castle-Hughes in WHALE RIDER, or when I saw 15-year-old Matthew Broderick in the Broadway play, BRIGHTON BEACH MEMOIRS, some 25 years ago. This Shia guy is the real deal, and I have a feeling DISTURBIA will go down in the books as the film that really broke him out to a long, high-profile career.

Older folks, take note: This is not your average "teen thriller," nor is it a simple ripoff of Hitchcock. It is a clever, exciting new entity, expertly directed by D. J. Caruso. And the young lead is a perfect combination of Jimmy Stewart in REAR WINDOW (in the first 75 minutes) and Jodie Foster in SILENCE OF THE LAMBS (in the final 30 minutes), and every bit as good as both of them. Give DISTURBIA a try--I think you'll like it.

Buy Disturbia (2007) Now

"Disturbia" isn't original. It isn't too scary or gory either. What it is, though, is a fun popcorn yarn about a teen named Kale (Shia LeBeouf) who's placed under house arrest for taking out a little internal anguish on a Spanish teacher. His mother (Carrie-Anne Moss) takes away his television, his music and his X-box. What's a bored teen living in suburbia to do to pass the time? Spy on the neighbors, of course. It helps that his newest neighbor, Ashley (Sarah Roemer), is a knockout and takes regularly scheduled swims and rooftop reading breaks. Once he has all of his neighbors' daily lives timed perfectly, he introduces his friend, Ronnie (Aaron Yoo), to his voyeuristic world. The duo gets caught spying on Ashley but she ends up befriending them when they tell her that they believe one particular neighbor, Mr. Turner (the underused David Morse), might be a serial killer from Texas who was never captured.

This sets the film into motion. The three friends try to uncover the truth about their very private neighbor. The only problem is that with each clue they find that might lead to the truth, Turner seems to be one step ahead of them. Things get even crazier when the police think that Kale is crying wolf over everything.

What I really enjoyed about this film is that it's very funny. I'm not talking about it being funny in a sophomoric, slasher movie way, there's some very smart humor here. Director D.J. Caruso keeps the humor spread just thin enough to keep the suspense at an acceptable level. The cast is very likeable. LeBeouf has an ever-present goofiness about him, but when he needs to be afraid or angry, he pulls it off perfectly. Morse is sneaky and sinister at the same time. Whether he's a murderer or not, the guy will creep you out. Moss is solid, but has a very small role to fill. LeBeouf's pals do a good job as well.

The DVD doesn't have much to offer outside of the film that's worth more than one look. There's the standard "Making Of" featurette, outtakes, a forgettable music video, deleted scenes, and a photo gallery. The digital transfer is good, and the audio is nice as well.

Overall, "Disturbia" is a very fun suspense flick. It's not Hitchcock-caliber, but then again, so few films are. If you want Hitchcock, don't watch "Disturbia." If you want a good film to watch for a quiet evening at home, this film's the one for you.

Read Best Reviews of Disturbia (2007) Here

It's always exciting to see a new star on the rise. I don't know what IT is, but Shia LaBeouf has IT is spades. I'm a fan of 'Rearview' and think this is a good modern take on the classic. Though I do have to agree that the last third of the film begins to loose major points just in the sheer illogical motives of the killer. If you are going to be a psycho killer-why on earth would you live in the suburbs? Everyone knows everyone's business there...and you mean to tell me that one one would know this man was digging to China in the garage? Given how close all the houses were-no one else heard women screaming from his place? C'mon. If you can force logic to take a vacation during the movie's durance, you can actually have a pretty good time. Overall: worth watching.

Want Disturbia (2007) Discount?

While at the local multiplex watching this fine show, a few seats down from me a young teenaged boy was holding his head in his hands through most of the film, and he could be heard muttering, "I can't take this...oh my god...this is too much..." At one point, he got up and *ran* out of the theater, causing his three friends no small embarrassment. His reactions were almost more entertaining than the movie. I can't imagine this poor kid sitting through something meant to be truly frightening. I gave myself a giggle or two imagining him sliding to the popcorn-and-Coke-caked floors during the urination scene from The Exorcist while sucking his thumb and humming nursery rhymes. Poor guy.

Speaking of other films, this one bore more than a passing resemblance to Rear Window. I was also reminded of The Blair Witch Project (this may just be me but if you see it, think of this toward the end of the film when a certain someone was walking around another certain someone's basement).

Caruso didn't do a bad job with Disturbia, but he didn't "do Hitchcock proud". He was very fortunate to have Shia LaBeouf in the lead role. LaBeouf didn't bring James Stewart to mind, but he did make me forget from time to time that I was watching a dumbed down, high-tech Rear Window. As many have said, LaBeouf does have tremendous talent, and seems headed for stardom (despite Dumb and Dumberer).

The story is fairly simple. Kale (LaBeouf) is put under house arrest for punching his Spanish teacher although truth be told, if the Spanish teacher had thrown my dead father in my face I might have punched him too. Too coincidentally, the police officer assigned (or who assigns himself) to keep an eye on Kale is the Spanish teacher's cousin, and his treatment of Kale leaves a bit to be desired.

Stuck alone in a beautiful house, after his Mom has taken away his iTunes, Xbox, and flat screen TV, Kale turns to the only form of entertainment left to him spying on the lives of others. There is one such "other" who particularly intrigues him: his new next door neighbor, Ashley (Sarah Roemer), who does a swimsuit proud. Kale and his (requisite) silly friend Ronnie (Aaron Yoo) take turns with the binoculars enjoying her presence until she catches them at it one day (I'm not giving anything away here because it's in the trailers for the film). As reason would indicate, she then befriends them.

Kale becomes suspicious of his next door neighbor, and is certain that he is the person responsible for a rash of missing women. The ensuing cat and mouse game between them is made more enjoyable by the gadgets that LaBeouf's character has that James Stewart's didn't, but the next door neighbor, "Mr. Turner" (David Morse, who with much shorter hair played a very convincing cop with a grudge against Greg House earlier this season in House), wasn't as, well, icky as I would have liked him to be. He's foreboding, and formidable, but a serial killer needs an "ick factor". (That's a new technical term...).

3½ stars.

Save 36% Off

Jay and Silent Bob Strike Back (2001)

This movie was a blast, but you know that already. Read on for the

details of this fully-loaded DVD edition:

Feature Commentary Track

w/ Kevin Smith, Scott Mosier and Jason Mewes; Deleted Scenes

with Intros by Kevin Smith and members of the View Askew family; -

Jay & Silent Bob's Secret Stash w/Intros; Gag Reel w/Intro;

Internet Trailers w/Intro; TV Spots; Still

Galleries; Storyboards; Behind The Scenes Featurette;

"Morris Day and The Time Learnin' the Moves"

Featurette;

Afroman "Because I Got High" video; -

Stroke 9 "Kick Some Ass" video; Comedy Central's Reel

Comedy special; Cast and Crew Filmographies; Guide to

Morris Day and The Time; Some DVD-ROM goodies Widescreen

(2.35:1) Enhanced for 16:9 Dolby Digital 5.1 Surround Sound -

Special DVD Mix French Language Track; Spanish Subtitles

I've always heard that if you look beneath the grimy setup you'll see the beautiful interior. Well that saying is not dissimilar to the horrors of the summer movie season 2001! Some of the most anticipated flicks of the summer are huge dissappointments (ie. Scary Movie 2) and some of the best moves, the general audience are too ignorant to set foot in (ie Hedwig and the Angry Inch). Well thank god we can still depend on the rapier wit of Kevin Smith. the King of Curse Words and verbal fluency. Has given us the most entertaining installment in the View Askewniverse. Well I know it ain't saying much but "Jay and Silent Bob Strike Back" is the funniest film of the summer!!

This film has all the things that make a screwball comedy perfect. Wacky Characters, Funny jokes both verbal and physical, Good storyline, great comic timing, and of course, a monkey.

Many people were afraid that Jay and Silent Bob would be unable to handle a movie on their own. Well not only did they succeed they went through the roof!!! Kevin Smith kept the jokes piled, one on top of the other and each one different and original. Though I loathe bodily function jokes, Smith managed to make them appropriate and not over use them, unlike the comically declined Wayans Brothers, who seem to think making the characters fart is like printing money. Smith on ther other hand keeps you on your toes awaiting what's gonna happen next.

"Is Jay Gonna Do What I think He's Gonna Do?" "If Silent Bob Speaks What will he say?"

Questions like that were popping in my brain because of the aggressive spontaneity of the comedy. But another thing I loved was all our old friends from the View Askewniverse (Clerks, Mallrats, Chasing Amy and one omnipotent female from Dogma.) Dante, Randal, Brodie, Holden, Banky, and even Willam the idiot Man-child. All performed once again be the same View Askew alumni and all played to perfection. And to go with them there's also stellar performances by many new faces, like Shannen Elizabeth as Jay's love-intrest Justice and also Eliza Dushku, Ali Larter, and Jen Schwalbach (Mrs. Kevin Smith) as the evil villainesses. And including great cameos by George Carlin, Marc Blucas, Seann William Scott, Jason Biggs, James Van Der Beek And God knows how many more. (She does know)

I think Every self respecting View askew fan Is required by cinematic Law to get up off their butts and see this flick. And all those poor schmucks who think The Wayans Brothers actually care about originality, NEED to watch this movie or I'll Beat the ever lovin' tar outta them.

Now I can say there were 5 good movies this summer instead of 4.

And Oh Yeah, To Jay and Silent Bob: Snooch to the Nooch and Good Bye My friends

Buy Jay and Silent Bob Strike Back (2001) Now

a lot of cursing if your sensetive to that but the rest is so fuuny (especially the scooby doo part!) best line

Jay (rapping)30 bucks little man, put that sh** in my hand!

Read Best Reviews of Jay and Silent Bob Strike Back (2001) Here

Who'd have anticipated it? I grew up never needing to be told "just say no to drugs". I always focused on serious subjects when contemplating what movies I'd make given a chance. And now I find myself in a world where the most innocent cinematic diversion are often silly farces about potheads. The riotous hoot "Jay and Silent Bob Strike Back" is a prime example. I wasn't sure about it all the way through. Ali Larter was recently one of my favorite actresses. At least she doesn't take such a disastrous fall herein as Kirsten Dunst did in "The Virgin Suicides". Refreshingly, Ali's character Chrissie admits to being a "bad girl cliche". She gave me pause by repreating a frequent movie assertion (hopefully strictly an urban legend) about what girls don't do. But she gives a new twist, belying the claim at a point where she nearly dooms herself and co-consrirators thereby. Hence one could make a rhyme about her role: "Ali Larter plays the ......" All in all, Jay and Silent Bob Strike Back" is one of the most surprising bits of comic relief I've seen lately.

Want Jay and Silent Bob Strike Back (2001) Discount?

First and most importantly, you have to be very well prepared to watch "Jay and Silent Bob Strike Back" if you want to have any hope of enjoying it to its full potential (assume, for the sake of argument, that this is both possible and desirable). Not only do you need to watch all of writer-director Kevin Smith's earlier films (to wit, "Clerks," "Mallrats," "Chasing Amy" and "Dogma"), but you also need to have seen "American Pie," watched enough "Dawson's Creek" to know why Dawson should drown Pacey in the creek, and at least recognize every film Ben Affleck and Matt Damon have made in the past decade (know the title and a one line synopsis of what the film is about).

You need to do this for two reasons. First, it is the only way you can get all of the in-jokes in this film, which is heavily self-referential vis-a-vis the Smith oeuvre. In fact, you are better off using one hand to tick off the names of all the people from Smith's earlier films who are NOT in this movie (Stan "the Man" Lee immediately springs to mind). Second, you will need all this knowledge to be able to explain to the person next to you why Ben Affleck sometimes is playing himself, sometimes is playing somebody else (Holden McNeill from "Chasing Amy"), and sometimes is playing himself playing somebody else (Chuckie from "Good Will Hunting II: Hunting Season").

"Jay and Silent Bob Strike Back" is another one of those films where two guys go off to Hollywood to stop tinsel town from ruining their good reputations with a film. Jay (Jason Mewes) and Silent Bob (Kevin Smith) have always played small but pivotal roles in Smith's films (e.g., the "Chasing Amy" speech in "Chasing Amy"), but this time they not only get to be ABOVE the title of the film, they get to be IN the title of the film. Now, I will readily admit that I have always been one of those who could take Jay and Silent Bob in small doses, which probably explains why my favorite bits in this film usually involve other characters. However, I will admit enjoying Jay's attempt to find a nonderogatory term for women.

I have the feeling that this film is the swan song for Jay and Silent Bob. I mean, now that they have achieved titular glory, how can they go back to being the two man Greek chorus of Smith's prolonged "New Jersey Trilogy." Besides, with the appearance of virtually everyone who every appeared in a View Askew production (always good to see Joey Lauren Adams whether she is playing Alyssa Jones or not), you get the feeling the entire film is setting up a "Revenge of the Jedi" curtain call. Maybe Kevin Smith is turning a giant corner and about to start a new chapter in his life. Hey, it could happen. But I really get the feeling we have seen the last of Banky, Brody and the rest of the boys. Besides, Silent Bob speaks TWICE in this one, surely one of the signs that the end of days is nigh.

Like most View Askew productions, "Jay and Silent Bob Strike Back" is rated R for nonstop crude and sexual humor, pervasive strong language, and drug content (Actually, I did not know that the MPAA could use a word like "nonstop" in its description of a film, but certainly the term applies to everything on their little list here). So just remember to go back over Smith's earlier films before you screen this one and save yourself a lot of headaches and avoid watching it with anyone who is going to demand you justify your enjoyment every other expletive out of Jay's mouth.

Save 27% Off