Playtime (The Criterion Collection) (1967)

Why was Playtime a failure, sending Jacques Tati into bankruptcy and costing him control over his life's work of films? His previous film, My Uncle, had been a commercial and artistic success. M. Hulot's Holiday and Jour de Fete had gained Tati world-wide recognition and respect. He had become recognized as one of the few authentic geniuses of film.

Watch Playtime and I think you'll find the answer. Tati in his earlier films placed Hulot in situations where we could empathize with him. Hulot was an innocent. As we came to like him, we also came to like the people he encountered. Even with their pretensions and idiosyncrasies, we could see something of ourselves in them. Tati might be holding up a mirror for us to look in, but M. Hulot was such a gentle companion that we smiled as we recognized ourselves.

With Playtime, there is little Hulot. Instead, we have Tati's view on all sorts of social and cultural issues, from the sterility he saw in much of modern life to modern architecture, group behavior, impersonal offices, loneliness, boorishness and American tourists. We're observers, and our job is to share Tati's viewpoint. Hulot, now middle-aged, has become a minor player in the film. In his earlier movies, Tati was careful to give us small numbers of people with whom, along with Hulot, we could come to know. In My Uncle, for instance, it was essentially one family and one modern home, along with Hulot's own apartment and his neighbors. In M. Hulot's Holiday, it was a small seaside hotel and its guests. With Playtime, we have a large, impersonal office building, all glass and right angles, filled with people -employees, visitors, exposition guests, customers. Then we have an apartment building with huge curtain-less windows allowing the pedestrians to look right in, and we're among the pedestrians. Then we have a nightclub filled with customers, waiters and managers. There is little opportunity to get to know any of these people, much less develop affection for them.

However, as with all his movies, Tati fills Playtime with streams of intricate and carefully developed comic situations (although comic is too broad a term), often that build from small happenings we've barely noticed. There is only sporadic and incidental dialogue, but sound effects are vital to the movie, as subtle and amusing as what we see.

As sterile and unattractive as Tati makes the airport, the office building, a convenience store and the apartment, there are such odd and subtle sights as the bobbing wimple wings on two nuns, a floor sweeper staring at a booted officer, Hulot suddenly sliding down a floor, glass windows and doors impossible to tell if they're there or not, a table lamp that dispenses cigarettes, strange-looking and wobbling food at a self-service counter...and the list simply goes on. And it's not just one thing at a time. Tati can fill a screen with all sorts of amusing occurrences, some happening in the foreground, some in back, some at the sides.

The last hour of the movie takes place in a modern nightclub, the Royal Garden, which has just opened and is barely ready for its customers. A dance floor tile sticks to a maitre d's shoe, a fish is ostentatiously finished table-side by a waiter...then finished again and again by mistake while the two customers ooh and ah. A bow tie falls in the sauce. A bus-load of tourists suddenly appear. When Hulot manages to accidently shatter one of the glass doors to the restaurant, it is a culmination to all those glass walls we've been looking through and walking into. The follow-up gag with the round door opener is almost worth the price of the DVD. As the modern restaurant gradually disintegrates around us, Tati finally begins to ease up on personal viewpoints and let's us simply enjoy the sight of people becoming more like people. And that, I suspect, is the point Tati wanted to make. In an odd sort of way, the last ten minutes evoke the humor and warmth of previous Tati movies...a packed traffic circle with all the cars moving slowly together; a father taking a toy horn from his little boy and blowing it, too; the bittersweet last look at Hulot walking past a bus where a young woman he met at the nightclub is being taken to the airport with her tourist group.

If you like Tati's viewpoint on the impersonalization of modern society, you'll probably like Playtime. Some critics call it his masterpiece. If you like Tati, I think Playtime is essential, if only to understand what happened to him. The movie is an idiosyncratic and gallant failure, in my view, and much too long. Still, I'd rather watch Playtime than most of what passes as genius in films today.

The new Criterion release looks very good. This edition has several extra features including supplements about Tati and an audio interview with him. The case also contains an insert with an essay by Jonathan Rosenbaum, identified as a film critic.

French director Jacques Tati is considered as one of the best directors of all time. Known for his comedic work in France, his character Monsieur Hulot has appeared in several successful comedic films such as "Juor de Fete", M. Hulot's Holday", "Mon Oncle", "Traffic" but there is one film that will be his accolade. That film is "Playtime".

Considered a masterpiece by critics, the film was also a commercial failure and was the most expensive film ever created in France as Tati created a set featuring a whole city block with high rise buildings that looked incredibly real. But the film was ahead of its time.

"Playtime" is a visual film with no significant plot, nor does it have much dialogue. It's a film that is driven by its many characters onscreen and the elaborate setup as characters, buildings and vehicles are treated with so much detail on the film, that it just a feast for ones easy as Tati absolutely created a film that was sheer brilliance.

But part of the problem was his risky gamble on 70 mm widescreen and stereophonic sound. Many theaters were not equipped to handle that and to make things worse (but understandable) is the lack of dialogue which can easily turn off audiences. So, needless to say, the film didn't do well in France and also in America.

It's after Tati died in 1982, is when people found admiration in his work and seeing how his films were truly amazing.

"Playtime" is like a smorgasbord of life being changed by modern technology and as Tati was known to do, lambast modern society as he was a man that was definitely "old school" to the time of his death.

The film revolves around Tati's famous character Monsieur Hulot and an American tourist named Barbara.

For Monsieur Hulot, he easily gets lost in the city and leads him to adventures to various areas such as an office building (which he had a problem with today's modern architecture) as he gets lost trying to get to his meeting and ends up being pulled away to a high-tech trade expedition, a high-tech apartment and then leads him to nightclub known as the Royal Guarden.

As for Barbara, she just wants to experience the beauty of Paris. She accompanies her (loud) American friends but she rather enjoy France her own way. Obviously Barbara had different ideas in mind of Paris but instead she receives a modernize setting.

The film culminates with the carousel of cars as Barbara must leave the city and sees almost a carousel/parade of all these vehicles all around her and how all the people react. What we see is a city that has been transformed to a festive, enormous metropolitan playground.

"Playtime" focuses on these two characters (and other characters who shows up more than once), Tati showcases modernization (which looks beautiful) but it's that demolishing of the France that he loves and now getting used to this new France is what makes "Playtime" quite entertaining.

Viewers can watch "Playtime" with its original French audio but also an International version which features the film in English.

VIDEO & AUDIO:

"Playtime" is presented in 1080p High Definition (1:85:1 Aspect Ratio). Accord to Criterion, the black bars at the top and bottom of the screen are normal for this format. The HD digital transfer was created on Spirit Datacine from the 35mm reduction internegative made from the 65 mm interpositive. Thousands of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system and Pixl Farm's PFClean system, while Digital Vision's DVNR system was used for small dirt, grain and noise reduction.

"Playtime" is featured in its original French language but also a alternate International soundtrack which features a few scenes with English dub.

As for the audio, the audio is presented in lossless stereo. Criterion mentions that the soundtrack for "Playtime" was remastered at 24-bit from the orignal stereo audio stems. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube's integrated audio workstation.

Subtitles are provided in English.

SPECIAL FEATURES:

"Playtime" comes with the following special features:

* Video introduction by writer, director, and performer Terry Jones (6:13) Terry Jones talks about "Playtime" and what he remembered when he watched in on the theater for the first time, what he thought about the film and also a little information about Jacques Tati.

* Selected scene commentary by film historian Philip Kemp (46:44) A well done commentary by Philip Kemp as he talks about certain scenes from the film. Kemp definitely giving an intelligent and yet smooth delivery for commentary for the film. Very informative!

* Au-delà de "Playtime," a short documentary featuring behind-the-scenes footage from the production (6:30) Featuring a behind-the-scenes look of how the set was created for "Playtime" and video footage of Jacques Tati with the cast and crew.

* Tati Story, a short biographical film (20:38) A featurette celebrating the work of director Jacques Tati. Featuring photos and video of Jacques Tati from when he was a child to when worked on his final film. Very good insight to Tati's personal life and his career.

* "Jacques Tati in Monsieur Hulot's Work," a 1976 BBC Omnibus program featuring Tati (49:28) Featuring an interview conduced by Gavin Millar who interviews Tati at the Hotel de la Plage about M. Hulot and films that the character has appeared in.

* Rare audio interview with Tati from the U.S. debut of Playtime at the 1972 San Francisco International Film Festival (Courtesy of Pacifica Radio Archives) Featuring Jacques Tati at the 1972 SF International Film Festival (discussion moderated by Albert Johnson) and insight of Tati's feelings of the film being showing in the US and his appreciation for the American fans who enjoyed the film. A great audio recording that gives us insight of Jacques Tati.

* Video interview with script supervisor Sylvette Baudrot (12:09) Sylvette Baudrot talks about working on the film and reveals some secrets of how Tati made this film work.

* Cours du soir, a 1967 short film written by and starring Tati (27:41) A short film in which features Tati teaching a mime class.

Also, included is an essay (in the insert) by Jonathan Rosenbaum (a film critic for the Chicago Reader from 1987-2000) titled "The Dance of Playtime".

JUDGMENT CALL:

"Playtime" happened to be the first Jacques Tati film that I have ever watched. I was familiar with his character of M. Hulot but for years, I have wanted to watch and experience the film.

The first thing that I found surprising is the attention to detail as the unbelievable set Tati's company had created was just fantastic. The buildings look modern, the set looks like a major section of Paris with all the people, buildings and vehicles. And sure enough, "Playtime" is a film that utilizes everything on screen to show how modern technology has literally chanted the landscape. Some who embrace the changes and convenience of modernization and some who feel they are left behind and are literally lost.

What makes this film work outside of its incredible set is that Tati is a perfectionist. He literally directs each person in the film. Everyone has an import part to play. May it be how characters have this choreographed walk as they go off in several directions to characters at a restaurant as we see people dancing on the dance floor, each person dancing differently. While servants are trying to get the food out and you see visual gags as one servant clearly has their eyes on something inside the club, while another is attentive to the female patrons and those who are desperately trying to get their food out. It may seem chaotic, but Tati knows what he wanted to get onscreen and succeeds.

"Playtime" features absolutely beautiful cinematography as we see bungalows on the work floor which work almost like a maze. We see buildings that appear to be metallic and the lighting automatically synchronizing when they turn on. We see vehicles move almost in synch with other vehicles.

We see people throughout the city in similar routines at work, we see people promoting the latest in modern technology ala the late 60's and what is most amazing is that there is hardly any dialogue. It's like you are given an upfront look at how life is in the city and seeing how various people react to each other.

The film plays out quite interesting as the first half is dedicated to various characters such as M. Hulot who has a business meeting but ends up getting lost in all the modern settings. Barbara is a tourist who has accompanied several American women to Paris and finds the city to be quite breathtaking. We see Monsieur Hulot getting lost in offices from buildings that look alike.

But then the second half of the film focuses on a nightclub known as The Royal Garden that is opening and yet not ready. We see how the builders and the restaurant staff prepare for their major night despite the nightclub not yet ready. Where the first half was quite visual, the second half focuses more intimately on the people of the nightclub and the film becomes more gag-driven but yet with so many people in the film, Tati did a wonderful job in making sure each character had some part in the film and contributed in some fun or hilarious way.

A visual film without dialogue may seem boring and monotonous but fortunately Jacques Tati included a good number of gags to make the whole 124 minutes a bit lively. I did feel the film went a little long and that scenes could have been cut but with Jacques Tati putting all his energy into this film, I understand how difficult it was for him to even cut any scene out. But I do feel that the film could have been much shorter but then again, I would have been curious to see Tati's original, longer cut.

If anything, I really enjoyed what Tati did to create such a beautiful film. Three years of his life and also the crew and talent who made this film a reality is very much appreciated as I was entertained visually and I just felt so much respect for Tati after the film was completed. I did find it a bit disheartening to learn how this film which cost over $15 million (which was incredible for 1967 and was the most expensive French film at the time) caused problems for Tati as he was left bankrupt and unfortunately damaged his career. As much as it was critically well-received, it was a failure in the box office but partly that was because Tati chose 70 mm instead of 35 mm and Stereophonic sound which many theaters were not equipped to play during that time.

The Criterion Collection really did a great job in presenting "Playtime" on Blu-ray. The film looked absolutely beautiful for a film that is over 40 years old and because this film and what takes place onscreen is so immense that each time you watch this film, you will see things that you just didn't catch the first time. You can't help be amazed of how Tati and crew were able to create a modernized city. Tati made sure to really utilize his large cast in this film and what you see maybe different from what others are seeing because there are many things going on in the background. So, definitely a film that I have no doubt will require multiple rewinds because too much is happening in one sitting.

Also, The Criterion Collection edition of "Playtime" on Blu-ray features many special features that Jacques Tati fans will enjoy.

I've heard that the film is a statement by Tati of how much society has changed along with the city he has loved. The modernization with the use of electronics in buildings and restaurants and just making sure he has enough gags to make the audience laugh. If only Tati can see how much has changed today, that would definitely be an entertaining script.

A film that showcases beauty in various ways. This is absolute a film that was the highlight of Jacques Tati's career and despite how this film may have done in the box office, anyone watching now and seeing what the director was able to accomplish with no discernible plot and very little dialogue is fantastic. And again, the visuals are just fantastic. I was really blown away with how beautiful and intricate of a film "Playtime" truly is.

"Playtime" is highly recommended!

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This is a singular masterpiece in film making but totally unlike anything, even for it's day. By today's attention deficit disorder standards, this film is really really odd. But no doubt it is a masterpiece if the viewer is willing to put the effort in to catch all the nuances because this is a film of nothing but nuances. Tati himself is just one of many participants.

There is a plot of sorts dealing with a group of female American tourists and the one women who is the odd duck among them. She meets Tati and they spend the night together dancing at a night club and see in the dawn at a coffee shop. Various bits of business are constantly swirling around them and you could view this picture 10 times before seeing everything. There are many jokes but they are gentle visual puns. Don't expect belly laughs, just a wry but amazing view on modern life.

As is standard practice for Criterian these days the extras on disc two are spectacular. The documentaries on Tati's life and this film are brilliant and helped me understand his art and this film much better.

A gentle film with brilliant use of wide screen (this film would make no sense pan and scan) you need to fall into the picture to enjoy it. But there is an endless wealth of material to enjoy.

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To say too much or to say too little? I see greatness here, and the more I learn about this film and Jacques Tati, the brilliant, wonderful Jacques Tati, the more I admire this great piece of film treasure. Tati is one of these pure joys that came out of nowhere in my life, and has now fueled me beyond belief. I am in love. This is a film fan's greatest wish to find unexpected little gems like this one and to have it consume them until it becomes an obsession, and then familiar, like an old comfy hat. This is a masterpiece, and it gives me faith in the human race when I see someone go all-out like this. This may have been folly but we are so very, very lucky to have this precious classic!! I grew up with Gilliam's folly, Brazil, and it is so nice to see another person putting themselves so far out over the edge for the sake of TRYING TO SAY SOMETHING IN THE GUISE OF COMEDY. This is a remarkable film and the commentaries on these discs, the Terry Jones intro, the making of features it's all tremendous, and I cannot recommend it enough. We have movie clowns today who waste their time farting and looking at booties and hating so indirectly -you see something like this, and it's like...we need more. That's all I can really say: we need more like these. This is visionary, and a gift for the ages. Remarkable, brave, timeless. This is what film is about.

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My review will be hated by many, but the Truth must out: I just saw this in the Criterion blu-ray on my ten (10) foot screen at home. It was magnificent. I am a comedy afficionado and this may be the greatest of them all, although definitely not the most laughs-out-loud. Anyway, the awful truth: if you don't see it in blu-ray on a large screen (at least 60", I imagine), I think you'll be missing a lot. Tati fills the frame with all kinds of mishegas in the background and on the far reaches of the image. Further, the simpler shots draw power from the large scale of the sets. Now please don't be ticked off....I'm doing you a solid!

Apocalypse: Second World War

I have at least twenty historical dvds of WWII, and Countless Hollywood movies about WWII. What I believe makes This series and Blu-ray unique is seeing more of a perspective of the civilians during WWII. Many of the historical dvds give the viewer details of the battles, and film and pictures of the battles, but more from a soldiers perspective. I am glad to add this to my collection because I believe it added that civilian perspective. Many people forget that the civilian causaulty rate dwarfed that of the soldiers lost during WWII. The civilians were just as courageous as the soldiers in many instances. Hopefully we will never have to repeat the lessons that so many learned.

I have what is apparently the original version of this series which I ordered through Time-Life. It is in English with a rather bland narrator whose voice I don't recognize. While not obviously inaccurate the narration doesn't go into a lot of detail and repeats many well-worn cliches (i.e. Polish cavalry DID NOT deliberately charge German tanks in September 1939; they simply got surprised in the open by a German armored column). Disc 2, which details the first 6 months of the Pacific War, contains very little new info and I quickly became bored watching it.

Time-Life promotes this series as being spectacular and new. A lot of the footage is indeed new, but I also had seen much of it before on history websites. There are also some curious parts in which the script feels like it was solely written to incorporate available footage.

That said, there is some very interesting footage that I had never seen before. Colorized footage of U.S. battleships burning at Pearl Harbor and Japanese planes apparently ditching in the ocean after their carriers had been sunk at the Battle of Midway was nice. Footage showing executions of Jews and alleged collaborators can also be quite graphic, as can be the scenes of dead bodies.

I would recommend buying this series only for the footage, much of which is definitely worth the price of admission. But if you've been studying World War 2 in detail for any length of time don't expect to learn anything particularly new. If you're new to this subject, know that this is a well-produced series that looks and sounds nice, but just be careful about repeating what you learn from it.

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I bought the 4 dvd set from Time Life and watched it today. While some of the footage was new, much of it was stuff I had seen on the history channel and the victory at sea series. Some of the information was informative like the French invasion of Germany after the declaration of war and the fact that Hitler did not pursue the English troops evacuating at Dunkirk although Stukas did sink some of the evacuation craft. Some of the footage fell short of telling the whole story, like the part about the bombing of Monte Cassino in Italy. Much of the new footage focused on the eastern front. While the development of the Soviet air force played a large part in the battle, it was overlooked in this dvd. The pacific war footage showed the battle for Saipan and said that it was the place where B-29s took off to attack Japan, and they covered the atomic bomb drops on Hiroshima and Nagasaki, although those attacks were launched from Tinian and not Saipan. This package wasn't worth it.

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The DVD available is not like the series shown on T.V. The audio has been altered with the original narrater being replaced with a someone who is very monotone. It really changes the presentation of the show in a negative way.

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First thing I must point out about this series, is don't expect this to be the most comprehensive in terms of technical details, this is more of a broader overview of the conflict. The aspect that makes this series fantastic is the footage..it is some of the best, if not THE best I've ever seen. Especially German military footage, I don't think I've ever seen another documentary on the second world war with better footage of the Wehrmacht. A lot of the footage in Apocalypse you won't find in any other series, or if you do it will most likely be in black and white and not remastered in HD. This is a more cinematic presentation of the war, with no interviews to break up the continuity. The sound is also a great selling point for Apocalypse, because it's in 5.1 surround. If you have even the slightest interest in WW2, pick up this one. If you want a more detailed synapsis on the conflict I would suggest picking up the classic 'The World at War'.

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Stir of Echoes (2006)

This movie was truly a surprise, and a victim of bad timing. It was eerie, suspensful, funny, and somewhat similar to and released around the same time as the Sixth Sense. The mammoth success of Sixth Sense truly wounded this film's potential.Kevin Bacon does a great job as playing a madman driving by those subliminal movie messages like "Dig". He opens up a pathway into the paranormal world after being placed into a hypnotic spell by Ileana Douglas(Fox's Action). From there he finds that he not the only one in his family with the "Shinning", yes the Shinning. Do you want to get sued lad! Sorry, Simpson's reference after he sees his son talking to "imaginary" dead friends as we all tended to do from time to time. While the movie was overshadowed by Sixth Sense it had more action, and moved at a faster pace. The only thing that Sixth sense had over the films was it's incredible ending. The movie would have you jumping one minute and laughing the next, but not in the predictable way most horror movies do. It was truly well done, and had a great sex scene where the wife wakes the husband(Bacon) for some loving. It's true in movies dreams can come true. Go see it or buy it either way you shouldn''t be disappointed unless you one of the people that likes to ruin a movie by saying that's a rip-off from Sixth Sense or that doesn't happen in the Sixth Sense. Also, look for the microwave burrito on the nightstand. I'm still not sure of the symbolism, but I'm sure it's something genious. Take care, go get it!

It seems this movie will forever be compared with "Sixth Sense". The unfortunate timing that had Sense opening first seemed to push this movie off to the side. That is a terrible shame, because this movie is as good as any around. Comparing Echoes to Sense is like comparing DaVinci to Michealangelo. Both are great in their own distinct ways.

The story of an ordinary working class guy (Kevin Bacon) living in his version of a safe, ideal neighborhood whose world is throw out of whack when he is hypnotized by his ditzy sister-in-law (the always good Illeana Douglas). When he starts to experience strange things, it turns his and his family's world upside down. It would be a shame to say more and possibly spoil the suspenseful plot, but the twists and turns this tale takes are wonderful.

This movie will keep you on the edge of your seat and give you a good half-dozen or so jump out of your skin scares. Well acted (Bacon and Douglas are the "big" names, but Kathryn Erbe, Kevin Dunn, AJ Oto lead a great supporting cast, and Zachary David Cope does an amazing job as Bacon's son) and written, this movie should have been a much bigger hit. The second life it has received on video/DVD is well-deserved.

If you missed this one when it was first out, grab a copy. It is a GREAT film, and worth adding to your DVD collection.

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WOW! This has to be the most underrated movie of 1999. This movie is guaranteed to freak you out. The visual effects, although low tech, are extremely well done and provide a very eerie look into the world of the paranormal. The plot is also done very well. Elements that are introduced throughout the film are tided together quite nicely in the end. The acting is superb, with Kevin Bacon giving the best performance of his career. He really makes you believe in his character, which is one of the elements that makes this movie work so well. I have the DVD edition, listening to this in 5.1 format is a must. The ghostlike voices that come from the rear speakers gives new meaning to the DVD experience, especially in a dark room.

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I've heard all the comparison's between Stir of Echos and The Sixth Sense and I don't really think it's fair. They have some similarities, yes, but the storyline is totally different. Kevin Bacon is fantastic in this film. he is hypnotized by his sister-in-law at a party and begins receiving horrifying and eerie images in his mind of a shy girl named Samantha Koufax. He only sees bits and pieces of these images and he tries to place them together to figure out what they mean. He will stop at nothing to figure out this mystery whether it means tearing apart his house, his marriage or his life. It's a non-stop thriller that will keep your interest peaked and keep you guessing throughout the film. This is a good movie to watch in the dark!!! Maybe it doesn't get the accolades of The Sixth Sense but I believe it's just as good.

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"Stir of Echoes" was a major surprise. Big time. I wanted to see it since I first saw the trailer in July but I never got around to it. I waited for video (Which most of you have probably done also) and was thoroughly impressed. So impressed in fact, that I went out and bought it the next night. It's sort of a mish-mash of "Poltergeist", "The Shining", "Rosemary's Baby", "The Sixth Sense" and whatever else ghost movies are out there for that matter. Kevin Bacon gives the performance of a lifetime and the movie has dazzling surprises that truly surprise. On the DVD, I LOVED that creepy cool menu beginning. All those flash cuts and stuff FREAKED ME OUT! If you LOVE good horror flicks, this one is for you! It's pretty scary.

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White Lion (2010)

This story is about a young White Lion cub named Letsatsi. Letsatsi is destined to be revered by the Shangaan.

A white lion cub must beat the odds to become an adult. According to legend, white lions are the messengers of the gods, but Letsatsi's uniqueness just makes him vulnerable.

He is cast out from the pride and, close to starvation, befriended by Nkulu. The older lion helps him survive but is killed by a farmer, leaving Letsatsi to survive on his own.

He learns to hunt and grows into a formidable adult. But before he can take over a pride of his own, Letsatsi must face his greatest foe the trophy hunter, for whom legends are worthless and rare skins priceless.

This is a Real-Life LION KING MOVIE!! It is for anyone who also loved the movie about two tiger cubs in "Two Brothers."

I have been waiting for this movie to come out on DVD and I am glad that it finally did!! I plan to purchase this amazing DVD about Letsatsi's Journey Home and recommend it to anyone who loves animals, particularly lions.

This movie is one of the greatest achievements in Film since the movie "Born Free" about a lioness named Elsa.

I recently got to watch an advance showing of "White Lion" and can only say that if you aren't already an animal lover, this film should make one of you! My first comment after watching the film was that it was as good as any comparable Disney flick I've ever seen (and that says a LOT!)

I recommend the "White Lion" for everyone!

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All who are interested in the conservation of the great cats of the wild should be directed to this film. Photographically, it stands up to anything filmed in Africa.

To an African tribe in South Africa, the white lion is revered...and the disappearance of such an animal spells hardship for the land. A young African male discovers a young white lion cub and through his lifetime acts as a secret protector of this sacred being.

Parts of the story are a coming of age tale of the young cub who gets lost from his mother, finds an older lion friend, and then

is compelled to strike out and hunt on his own. [All the animals in the Disney animated film The Lion King are actually filmed in this story but the true conflicts between these creatures in the great wild are quite thrilling). Yes, there are several cinematic shots that can only be described as "hold your breath" moments.

As explained in the special feature, no one has "ever" filmed these lions so intimately before. The movie took years to make and it is the result of the special bonding of the caretakers in South African parks with the white lions themselves.

Whether you are eight years old or eighty I highly recommend this gorgeous film... obtain the Blu-Ray if you can. The emotions it stirs is a respect for the sacredness of all life. Given the choice I actually preferred this movie to [National Geographic's} "The Last Lions" (released in 2011)...but both are extremely impressive cinematic achievements.

And for those interested in human stories of the people of Africa and their relationship to the lion, I do recommend "Masai: The Rain Warriors."

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I bought "White Lion" when I was in a local music shop, because I heard a French couple ask the assistant for a good local (South African) movie. When the assistant recommended this movie, the couple said they'd already seen it and it was "excellent!"

Curious, I bought it...and from the moment Letsatsi, as is the nature of lions in the wild, was cast from his pride until he has to face his greatest challenge, I went through every emotion. I laughed at his youthful explorations; cried at his hunger; was so angry at the very real threat trophy hunters pose to all the lions of Africa (lion numbers have been so drastically reduced in recent years, they will shortly be on the endangered species list!) and was constantly in awe at the beauty of these magnificent creatures.

This story, redolent with the mystique of the bush, is a tale of that speaks of myths and legends, of spirits and heroes. Letsatsi's struggles, the dangers he faces from both cruel nature and even crueller mankind, could be the conflict that any person must overcome. But Letsatsi is a white lion, a messenger from the ancestral spirits who guard this land of ours and, although he loses one friend, he finds another, sent by the ancestors. Getsani, a young Shangaan, is called to protect this symbol of hope and helps guard Letsatsi from the terrible dangers he must overcome.

Although there are not many humans--the real stars of this show are the lions--the acting, as one expects of the likes of John Kani, is excellent. Showing the sweeping vistas of this beautiful country, the photography is breath-taking. In its respect and love for these animals, the well-written script is touchingly sincere and, while avoiding any proselytizing, clearly emphasises the importance of protecting our wild life from senseless slaughter by callous killers.

To say I was proudly South African throughout this film is an understatement, because this movie combines an evening of good family entertainment with an emotional melancholy at what one fears is an endangered and rapidly disappearing natural world.

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This is a great film and a wonderful story, in the making, in the telling, and in the seeing. Filming real cats (who could easily have us for lunch, even with their handlers around) while coaxing them to "perform" in front of a camera crew was not an insignificant accomplishment. Talking about herding cats, the blu-ray "extra" featurete on the making of the film tells that part of the story.

Along the lines of Winged Migration, or March of the Penguins, the main characters are the animals (real cats from the lion preserve in South Africa). The visuals are stunning, the cinematography is amazing and the musical score is quite a treat. This movie has become an immediate big hit with my children, though much like Winged Migration it was never intended to be a children movie. You can see how the jungle is not a place suitable for human habitation. Predators prowling at night looking for food will not hesitate to kill any number of two or four-legged creatures they find... with all the unfortunate consequences associated with such encounters...

I'd much rather the school districts pick this one up and show it to our second and third graders. It will be quite an education. The moms and dads should see it too. It is an invaluable journey and experience for city-folk like me.

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The Killing (The Criterion Collection) (1956)

An ex-con engineers a race track heist in "The Killing," a taut and suspenseful film noir from director Stanley Kubrick. Johnny Clay (Sterling Hayden) is fresh out of Alcatraz after five years, and immediately goes to work on a job he figures to be worth upwards of two million dollars. He puts together a gang who are not real criminals, just "Some guys with problems and a little larceny in them." Marvin (Jay C. Flippen) is good for some front money Johnny needs; George (Elisha Cook Jr.) is a cashier at the track, and Mike (Joe Sawyer) is a bartender there; Randy (Ted de Corsia) is a cop with loan shark payment problems. Clay's got it all figured out, a precision plan that can't go wrong as long as everyone does his part and keeps quiet about it, before and after. But George has a wife, Sherry (Marie Windsor), who wants nice things, and he can't resist the temptation to let her know it's all going to get better real soon. Trouble is, Sherry has a boyfriend, Val (Vince Edwards), who has more than a little larceny in him, as well. As it is with all "perfect" plans, there are, after all, imperfections. The presentation of this film is not one of them, however; Kubrick keeps the tension high throughout, working with a tight narrative and an out of sequence chronology through which he dispenses bits of information, building the suspense, until it all fits together in the end like pieces of a giant puzzle (Much the same as Tarantino would do with "Pulp Fiction" many years later). The stoic delivery, coupled with the stark black and white photography of the film, creates an almost surreal, fatalistic ambience that works so well with this material; especially at the end, for it underscores the climax and heightens the drama of the final moment, all of which makes for a truly unforgettable scene. The supporting cast includes Coleen Gray (Fay), Kola Awariani (Maurice), Joe Turkel (Tiny), and Timothy Carey, who makes his detached and indifferent hit man, Nikki Arane, one of the most memorable characters in the film. It must be noted, however, that Elisha Cook Jr. gives what may have been his best performance ever, here. His scene, after it all goes bad for him and he stumbles into his apartment, bullet holes in his face and wide-eyed with acceptance, to confront Sherry, is so cool and underplayed that it becomes one of the lasting impressions of the movie. Kubrick wrote the screenplay (with some help from Jim Thompson with the dialogue), adapted from the novel "Clean Break" by Lionel White. "The Killing" is one of Kubrick's earliest and best films; and it's not just for Kubrick fans or for those who love the "noir" genre. This is an excellent piece of work that will definitely be appreciated by anyone who likes good movies.

The movie: THE KILLING (1956) by Stanley Kubrick, was the film which brought the twenty-eight year old director to Hollywood's attention. Based on the 1955 crime novel CLEAN BREAK by Lionel White (and re-named THE KILLING for its 1988 redistribution), director Kubrick incorporated the author's use of the staggered time interval (which began in chapter eight) within this well balanced and tightly paced story of seven disparate characters brought together to orchestrate a logically planned two million dollar robbery of a race track in broad daylight.

A brilliant effort of film making by Stanley Kubrick as he demonstrated an impeccable choice in cast selection, choosing established 'B' movie actors such as: Elisha Cook, Jr. as George Peatty and Jay C. Flippen as Marvin Unger (both actors had appeared in "The Three Stooges" skits more than once); then Sterling Hayden as the main character, Johnny Clay: though one of the beauties of this film is that all of the actors had such memorable performances. The limited acting abilities of these stars only added to the subtle gritty reality of their lumpenprolitariat roles which carried this film as much as any special effect.

While Stanley Kubrick wrote the screenplay and maintained a number of elements from the book, he eliminated Lionel White's character of Maurice Cohen and had Johnny Clay assume those duties; and also replaced the boxer, Tex, with the burly (and hairy) wrestler Maurice Oboukhof for the spectacular bar room fight diversion. In the book, Marvin Unger deeply despised Johnny Clay; but in the movie, Unger demonstrated a fatherly pride and deep paternal admiration for Johnny Clay the movie is noted for its admirable male commeraderie!

But how much more was Stanley Kubrick influenced for this movie outside of the Lionel White novel was suggested during the actual stick-up scene performed by Sterling Hayden's character, Johnny Clay. In the book, Johnny tied a loose handkerchief around his face as a disguise, but this was changed in the movie to a full rubber clown mask almost an exact duplicate of the masks published in police photographs used by the bandits in the 1950s Brinks robbery in Boston; a robbery that was then nationally advertised as "The Crime of the Century"! The similarities continued as the Brinks building was robbed of two million dollars by seven armed men in rubber masks and got clean away. This is too strong a resemblance to be ignored, and the well-read Stanley Kubrick may have also been influenced by this event, coupled with the novel CLEAN BREAK, to produce his advanced and visionary robbery debut film.

Still, the movie: THE KILLING by Stanley Kubrick, is a brilliant and typically Kubrickian ahead-of-its-time work of art which is a *must* watching experience in black & white for all its lasting and provocative scenes.

Buy The Killing (The Criterion Collection) (1956) Now

While not his first film, I do believe The Killing (1956) was the first film by writer/director/producer Stanley Kubrick to really showcase his talents and earn him the public, critical, and professional accolades that would eventually lead to bigger, more lavish productions like Spartacus (1960) and 2001: A Space Odyssey (1968). Based on a novel called "Clean Break", by Lionel White, the film was co-written and directed by Kubrick (Jim Thompson, who wrote the novel "The Grifters", wrote the dialog). Starring in the film is Sterling Hayden, whom I'll always remember best as the character of Brigadier General Jack D. Ripper from one of Kubrick's later films, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), and his stance on fluoridation (he was against it). Also appearing is Jay C. Flippen (Oklahoma!), Elisha Cook Jr. (House on Haunted Hill, Rosemary's Baby), Marie Windsor (Support Your Local Gunfighter), Vince Edwards ("Ben Casey"), Coleen Gray (The Leech Woman), Ted de Corsia (20000 Leagues Under the Sea), Joe Sawyer (The Challenge of Rin Tin Tin), Timothy Carey (One-Eyed Jacks), and Kola Kwariani, former professional wrestler `Nick the Wrestler' and chess expert, in his only silver screen appearance.

The story here details that of a `daring and methodical' heist of a horseracing track, which begins as we meet the principal participants...there's Johnny Clay (Hayden), the brains of the operation, Marvin Unger (Flippen) the money man, George Peatty (Cook) and Mike O'Reilly (Sawyer), both inside men (meaning they actually work at the track), and Randy Kennan (de Corsia), a crooked cop, who rounds out the core group. Each man is your fairly average Joe type (except maybe for Clay, who just spent a nickel in the joint), drawn into the plan by their own, particular circumstances, for example, George, a somewhat spineless weasel of a man, is married to a real manipulative piece of work named Sherry (Windsor), who becomes a pivotal part of the story later on...anyway, the setup is solid, but things become complicated as George, perhaps in an effort to prove his manhood to his generally disinterested wife, lets loose with some of the details, to which she relates to her even more manipulative gigolo boyfriend Val (Edwards), with the intent being on taking George's cut after the score and running away together, but Val's got the greedy eyes for the bigger prize...the job does end up going down as relatively planned, just like clockwork, but the major complications develop afterwards, proving yet again the hyperbole "The best-laid schemes o' mice an' men gang aft agley"...that last bit basically means `often go wrong'.

All in all The Killing is a most excellent film, featuring some really innovative direction in terms of non linear storytelling, a style which people may often associate with director Quentin Tarantino's films, particularly Reservoir Dogs (1992) and/or Pulp Fiction (1994), but it's a technique that's been around for awhile, one that he basically copied, and quite well...come to think of it, much of his stuff is copied from other films, but I digress...the main difference between one of Tarantino's films and this one, to me, is the near seamless quality in switching between timeframes. Here it feels completely natural, and doesn't disrupt the flow of the story. In the other examples I mentioned, it's a bit more hectic and random, which isn't a criticism but an observation (I dig Tarantino's stuff immensely, but I do get annoyed when people seem to believe he actually developed they very stylized techniques displayed within his films). Within the notes, it's actually stated, after Kubrick finished this film, he was pressured to edit the film in a more linear fashion, which he did, and, after viewing the newly edited version, it confirmed to him his original version was much stronger, and that's what ended up getting released. This non-linear aspect isn't present throughout the entire film, but rather primarily used during the actual heist sequences. One aspect that is present through much of the film is narration, providing details and a bit more depth to a particular action or character. I'm curious how this film would have played out if there'd been no narration. The movie plays out extremely well, feeling a little like a documentary given the narrative and blending in of stock racing track footage with the shot footage. The performances were strong all around, especially Sterling Hayden as the no nonsense brains of the operation. It did feel a little strange near the end that he should have thought of everything so very carefully only to miss out on a key detail with regards to that cheap suitcase (if you've seen the film, you know what I mean)...I know it sets up for the wonderfully ironic ending, but it still, it felt a little out of character. Check out the scene where Johnny Clay nails Sherry to the wall with his astute and completely accurate observations with regards to the type of person she truly is...another performance I really liked was Marie Windsor's character of Sherry, acid tongued, wife to George. She knew exactly how to work him, but then the suffered the exact, same treatment from her boyfriend Val...as the worm, turns, I suppose...she also had some of the best lines in the film, none of which I'll post here as there's no way I can duplicate the delivery, which is just as vital as the lines themselves. One most excellent scene to watch for is when George's wife is caught snooping as the gang is reviewing their plans, and, in a effort to find out how much he shared with her, one of the members gives George a much deserved, massive slap upside his fool head (it looked pretty realistic to me), all in a beautiful close up shot. Check out the startled, moonfaced expression on George's face...and then pause it on that frame...I may get a print of that and put it on a t-shirt. If you like strong, stylish, no nonsense crime dramas, this is one definitely worth seeking out. I've watched it twice so far, and it was just as good the first time as it was the second.

The film is present in full screen, which I do believe is keeping with the original 1.33:1 aspect ratio, and the picture is very sharp and clear with no noticeable flaws. The Dolby Digital mono audio is strong and comes through extremely well. As far as special features, there is an original theatrical trailer, along with a four-page booklet insert highlighting the making of the film, along with providing details with regards to Kubrick's style, technique, and creative vision. Pretty skimpy, but know this film was released to DVD sometime ago (I think in 2001), and the inclusion of special features weren't as prevalent than as it is now, or, at least that's my opinion. The film alone is worth getting this DVD, and if you're really interested in learning more, your local library, or the Internet, are both viable sources of information.

Cookieman108

By the way, I'm most definitely not an advocate of animal cruelty, but, if I were the character of Johnny Clay in this film, the urge to throttle that ugly, little dog (and its owner), featured near the end, would have been undenialable.

Read Best Reviews of The Killing (The Criterion Collection) (1956) Here

If you haven't seen this yet, do yourself a favor and watch John Huston's Asphalt Jungle (1950) first. The Killing is an informal sequel/tribute which in my humble opinion is even better. I must admit I am not a big fan of Stanley Kubrick but I thought this film was great. It lacks star power but the performances are all excellent nonetheless and the story is innovative, tightly wound, and thoroughly entertaining. I should also mention that I thought Tarantino & Avary were primarily influenced by the likes of Melville, Truffaut, & Godard, but I now see that this film was at least as influential upon his neo gangsteresque mojo movement as anything from the French new wave. In fact it looks as if Tarantino borrowed excessively from here for the non-linear plot structure of his Pulp Fiction. In my opinion Stanley Kubrick's The Killing deserves a spot somewhere behind The Maltese Falcon, Double Indemnity, and Touch of Evil as one of the better film noir efforts ever produced.

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Stanley Kubrick's oldie but goodie suspense flick about a daring racetrack heist is brilliant! Though the film is black and white, he is able to use his lighting skills well. The film's characters are developed very well from start to finish. Sterling Hayden's unmistakable voice and acting talents add the cherry to this sundae of a film. It also has one of the best endings I've ever seen in a movie........but I'm not giving it away!

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Kung Fu Panda 2 (Three-Disc Combo: Blu-ray 3D/Blu-ray/DVD + Digital Copy) (2011)

The original Kung Fu Panda is one of the only Dreamworks Animation films that actually holds its own in comparison to Pixar films. It managed to capture the look and feel of the classics old and new that martial arts film enthusiasts such as myself admire so much while also offering humor that was actually funny, fantastic animation, and just an incredibly entertaining film overall. It turned out to not only be one of the more enjoyable animated films of 2008, but one of the best films of that year period. So, here we are, three years later with Kung Fu Panda 2 resting on the horizon of its release that actually feels just as strong as the original without all of the endless shortcomings most would expect to plague a sequel.

When it comes to animated films, one of the most important ingredients is the cast. The voice cast can make or break an animated feature. A talented one can make it even better while a weaker one can result in it hurting the overall enjoyment of the film. Fortunately, the cast for Kung Fu Panda 2 is pretty spot on. The entire main cast (Jack Black, Angelina Jolie, Jackie Chan, Seth Rogen, David Cross, Lucy Liu, Dustin Hoffman, James Hong) returns from the first film and while it would be nice to see some of them have meatier roles and/or more lines (Jackie Chan and David Cross for starters), just having them return is fantastic. Casting changes between sequels are never really great. They can be pleasantly surprising, but it never feels the same. So it's great to see the entire ensemble back in full form. My personal favorite from the original cast is James Hong as Mr. Ping. The Asian American actor is perhaps best known as the villain in Big Trouble in Little China and was also Hannibal Chew in Blade Runner, but hearing that actor voice a goose who runs a restaurant and is so attached to his kung fu panda/China saving son is awesome in itself. Mr. Ping is an emotional wreck with Po putting himself in danger so often and Hong just makes his heartfelt performance stand out above the rest.

Newcomers such as Dennis Haysbert (Heat, "24") and Michelle Yeoh (Crouching Tiger, Hidden Dragon, Sunshine) were fun additions. Yeoh voices The Soothsayer, who has a few humorous moments with Lord Shen, but realizing that Jean Claude Van Damme voiced Master Croc gave a little more weight to the throwbacks to well-known martial arts films. That influence is definitely there in the Kung Fu Panda films and both of them use that influence as a crutch in the best of ways, but having talent like Van Damme, Jackie Chan, and Michelle Yeoh participate make it all feel a little more genuine. It'd be like bringing in Chuck Norris, Jet Li, Donnie Yen, or Sammo Hung. The cast in this is just as much a drawing factor in this as it is in something like The Expendables. It makes that homage mean so much more.

Gary Oldman practically steals every scene that he's in though. He brings that intensity and dark lunacy associated with his roles in Leon and The Fifth Element to the Lord Shen role; those same traits that made fans love his talent in the first place. He fits the role of an evil albino peacock rather well.

The animation is really the film's Tour de force. Every movement flows naturally and everything is so crisp and smooth. Fight scenes are so fast yet easy to digest. Animals talking, portraying human emotion, their hair folding in the wind all look natural. But the art direction of the film is something special. It was already fantastic in the first film, but they really bulked it up for the sequel. It's slightly reminiscent of "Samurai Jack" yet more awesome; more engrossing. It captures the feel of Chinese martial arts perfectly and the use of traditional animation during Po's flashbacks was an extremely welcome addition; having Guillermo Del Toro as the creative consultant on the film surely helped in their benefit.

Kung Fu Panda 2 is beautifully animated, exceptionally cast, laugh out loud funny, and nearly upstages the original at every turn. While certain things in the film like the "inner peace" bit are slightly predictable, it doesn't take away from the overall enjoyment of a sequel that capitalizes and improves on its predecessor rather than feeling like a watered down version of it.

When it comes to sequels, it's rare enough that one manages to measure up to the first film. More often than not they end up being disappointing to one degree or another. Particularly when you're talking about animated films (the Shrek and Toy Story films being more the exception than the rule). But Kung Fu Panda 2 is that rarity among sequels in that, in my opinion, it is actually an improvement on the first film in quite a number of ways, which I'll get to later.

In this film, Po (the kung-fu panda of the title) and the Furious Five (Tigress, Mantis, Monkey, Viper & Crane) are called on to face a new threat: the return of the exiled Prince Shen (a peacock), who has come back armed with a powerful new weapon and determined to take over the kingdom. Complicating matters though are the fact that Prince Shen apparently had something to do with how Po, a panda, came to be raised by a goose, Mister Ping, his loving if noodle-obsessed father. In order to find the 'inner peace' he needs to defeat Shen, Po must first find the secret of his past, a past that he only sees in flashes of haunting memory that Shen's appearance has awakened in him.

Beyond the plot though, almost everything in Kung Fu Panda 2 is better than the first film, which was already pretty respectable to begin with. One thing is that KFP2 steeps itself even deeper in Chinese culture and it shows in both the sumptuously colored and detailed art of the backgrounds, in the traditions subtly brought out in the story, and even in the musical score wrought by John Powell and Hans Zimmer. And there is more depth, both philosophically and artistically, to the kung-fu; a particular key sequence by Master Shifu early on is a slow and beautiful thing to watch.

The voice actors are all excellent, with all of the original actors reprising their roles: Po (Jack Black), Shifu (Dustin Hoffman), Tigress (Angelina Jolie), Monkey (Jackie Chan), Mantis (Seth Rogen), Viper (Lucy Liu), Crane (David Cross) and of course Mister Ping (the inimitable veteran James Hong). New additions include a sooth-saying ram (beautifully done by Michelle Yeoh), and kung-fu masters Croc (Jean-Claude Vam Damme) and Ox (Dennis Haysbert). And a notable cameo for film buffs is the voice of the Musician Bunny (director Paul Mazursky).

I have to give particular praise though to how well Prince Shen was done. At first thought, the idea of a villainous peacock sounds, well, ridiculous. But Prince Shen, as conceived and dazzlingly executed by the animators of KFP2, and as masterfully voiced by Gary Oldman, radiates arrogant menace and threat, in attitude and physically, in a fashion that is both artful and deadly. Director Jennifer Yuh said that "Shen proved to be a great challenge to animate, so much that the complexity of the character was like that of doing six characters all at once." IMHO, KFP2 is worth seeing just for Shen alone.

And, for what it's worth, this is one of the few 3D movies I've seen that was actually worth seeing in 3D.

My only quibble with the film is that it really didn't develop the Furious Five much as characters, which I would like to have seen. There are hints of things given about Tigress, but they're never really developed, and the rest of the Five are relegated to the same hero-support roles they had in the original.

Highly recommended for anyone who likes a good story and especially for anyone who liked the first film. This one definitely takes it up a notch.

Buy Kung Fu Panda 2 (Three-Disc Combo: Blu-ray 3D/Blu-ray/DVD + Digital Copy) (2011) Now

My husband, child, and I are fans of the original Kung Fu Panda, but I was rather wary about this sequel since most sequels are never nearly as good as their predecessors. Well, I am glad to be proven wrong by Kung Fu Panda 2! All three of us thought this was not only a worthy successor to the original but actually much better. The key elements that make an animated movie a winner are all here a stellar cast, impressive animation, well-written script, and a story that appeals to both children and adults.

The original cast returns in this sequel with Jack Black providing the voice of Po the adorable Dragon Warrior Panda; Angelina Jolie as Tigress; Jackie Chan as Monkey; Seth Rogen as Mantis; Lucy Liu as Viper; David Cross as Crane; Dustin Hoffman as Shifu the Kung Fu Master; and James Hong as Mr. Ping, Po's dad. In this sequel, viewers are introduced to a new nemesis, Shen, a magnificent peacock skilled in Kung Fu, yet possessed of the blackest of hearts. Shen is ably voiced by Gary Oldman, and every nuance and turn of phrase conveys the evil residing within this creature. One of my favorite Asian actresses, Michelle Yeoh provides the voice of the Soothsayer Ram, an important character in this movie.

The story this time centers around Po trying to find his inner peace as instructed by Shifu. Trouble is, Po is haunted by questions about his past, triggered by an encounter with a bandit wolf. Meanwhile, as Po goes through this inner conflict (something which he chooses not to share with his friends), there is serious trouble brewing over in the capital city. Shen, who was once the heir to the Peacock Throne has amassed an army of ferocious wolves, and most importantly, invented a weapon that makes Kung-Fu seem almost obsolete. Shen is enraged when the Soothsayer Ram refuses to back down from her prediction made many years ago that Shen's fate is intertwined with that of something which is black and white. So the stage is set for a showdown between Po and Shen.

The story flows seamlessly, and the animation is of stellar quality. We watched it in 3-D, and I enjoyed the effects, especially the battle scenes (and there are tons of those in this movie). The talented cast makes this a pleasure to watch as each actor brings a unique interpretation to his/her character, and it wasn't about Jack Black voicing a panda, but Po as a real character that comes into his own in this sequel. As in the original, positive messages abound here and these are woven seamlessly into the fabric of the story without seeming to come across as overly didactic. Themes such as the notion of what constitutes a family; loyalty; friendship; ambition/greed/evil; and self-identity are all portrayed in a convincing manner, and best of all, there's lots of humor in here, even when the subject matter is serious. This perfect balance of light and dark, the comical and serious, goes perfectly with the Eastern philosophy of Yin and Yang, and Po is the embodiment of these contrary forces.

Kung Fu Panda 2 is rated PG, with a running time of 90 minutes. It is a movie that will appeal to both children and adults, and is entertaining, fun, and poignant. Highly recommended!

Read Best Reviews of Kung Fu Panda 2 (Three-Disc Combo: Blu-ray 3D/Blu-ray/DVD + Digital Copy) (2011) Here

First off let me say I loved the movie. Loved it so much I purchased a digital copy to download and keep on my Kindle Fire. The problem came when according to Amazon tech help, DreamWorks decided they were not making enough sells in the DVD area, and blocked this from the streaming content on what they called a blackout period. Which in return caused Amazon to remove my purchased copy from my Kindle and block me from the streaming version. Amazon did return my money but it has made me very cautious about making future digital purchases. Just a warning to any buying digital movies from Dreamworks.

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My ratings are based mainly on the QUALITY OF THE 3D, not the video content.

OOS EFFECTS:

There are about 110 out of screen effects that extend about 10% of the way, from the screen to the viewer. There are about 42 from 15% 20%, 32 at 25%, 7 at 30%, 4 at 40% and 2 at 50%. These are some large numbers but the bulk of the OOS effects are very quick.

IN SCREEN / OBSERVATIONS:

Like most of the newer animated 3D films, the in-screen 3D looks very good but I found the background lacking at times. The shading and detail of the characters are an enhancement to the 3D experience.

I rarely comment on video content but as an adult viewer I was unimpressed by the storyline. IMO the film is geared for a young audience but conversely has a large amount of cartoon violence.

ACTIVE GLASSES USERS:

There is some crosstalk sprinkled throughout the film but most of it is barely noticeable by being hidden within objects.

(crosstalk varies from system to system)

MY 3D RATING = VERY GOOD (poor, fair, good, very good, excellent)

Note: As far as the percentages go, everyone's eyes are different. What I see at 25% you may see at 15% or 35%. To fully realize how far something is out of the screen for you, pause on an effect and direct a partner with an extended finger to the tip of what you are seeing. You may be surprised.

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Dan in Real Life (2007)

I blame it solely on that horribly cheesy poster art portraying Steve Carell's head laying on a stack of flapjacks, but I wrote off `Dan in Real Life' well before actually seeing it despite the good reviews and word of mouth from friends. It was supposed to be really good, but in my head all I saw was cheesy ridiculousness pretending to be sincere. I'm really glad that I finally gave in and watched this film this past weekend.

What a treasure.

I know this may seem like an odd comparison, and I will say off the bat that the film I'm about to compare it to does have some heavier themes, but this reminded me a lot of last years independent surprise `Rachel Getting Married'. In fact, I actually think that overall, `Dan in Real Life' is the better of the two films, or at least the most complete and comfortable of the two (when have I ever shunned away from discomfort in a cinematic offering?). I had a few issues with `Rachel's construction, but here I was completely soaking up every frame. It was funny, touching, charming, emotionally resonate and beautifully structured.

In quoting the film itself, and my review's title; "Plan to be surprised".

Steve plays Dan, an advice columnist who has lost his wife to an illness and is rearing his three young daughters with difficulty. His eldest daughter just wants to be given some freedoms, his middle daughter just wants to be allowed to express her newfound love and his youngest daughter just wants a little attention. Dan, depressed yet never to the dramatically overstated and clichéd effect that many actors would have played it, is just not capable of giving them what they need. When they make a trip to visit family, Dan meets the beautiful Marie and sparks fly, but she is involved and so they part only to uncover that they will be spending a lot of time together as Marie is dating Dan's younger brother Mitch. Trying to hide their growing affection for one another, Dan and Marie try and play cool, but it soon becomes more than either of them can handle.

The film is so much more than a glorified rom-com, as it seemed to have been marketed as. I really wish that this would have gotten the push it deserved, and that it had been campaigned as what it really is; a heartfelt and honest portrait of middle-aged growth and development. There is a sincerity about the way Dan comes to terms with his own person, trying to understand who he is as a man, as a father, as a widower. Carell is outstanding here (something I never imagined that I would say). Juliette Binoche is marvelous, as usual, giving her delicate performance a layer of spunk and wit that makes her delicious in every sense of the word. I even enjoyed Dane Cook's performance, and I find him repulsive. He was genuine and charming and natural.

I just love the piano-side sing-along (piggyface), for it was scenes like that that gave the film this lovely sense of naturalness.

Between the stellar cast and the wonderfully constructed scripting (nothing is ever too clichéd and even the romance is developed with smarts as apposed to the usual laziness) that contains some comical yet appropriate dialog ("MURDERER OF LOVE!"), `Dan in Real Life' is the real deal. I am just in such a state of pleasant and very welcomed shock right now.

Now, let's talk about fixing that ridiculous cover-art.

A tired formula gets a shot in the arm by affecting performances in this quaint little film that will touch you.

I have grown to really appreciate the acting talent of Steve Carell who really can carry a film. Carell darn near stole the show in Bruce Almighty to the point where the funniest segments were cut from the theatrical release because he upstaged Carrey so much, but those scenes where fortunately made available on the DVD release. Carell was again the saving grace of Evan Almighty and The 40-Year-Old Virgin in which both most likely would have died unnoticed had it not been for his sincere performances. This comedian definitely knows how to act. Carell reminds me of the legendary Dick Van Dyke when he had serious roles or moments and Bob Newhart's dry comedic delivery. It all just seems so effortless on Carell's part.

In another affecting performance we have Carell as a widower raising three daughters alone and giving his tidbits of wisdom on doing so in a local column titled "Dan in Real Life." Even though his wife has died four years ago, he has yet to really move beyond that in the way of a relationship. He has focused all his attention of his children and while that is admirable, a parent is still allowed to look out for himself too. He has not and the annual fall trip to his parents' cabin plays out all too realistically with everyone pushing him to find someone and he does.

He bumps into a lovely woman in town that he's immediately drawn to. She is played by the ever radiant Oscar winning actress Juliette Binoche, the only reason to see The English Patient and one who makes turning 43 seem really cool and desirable. In the hands of any other actress this role would have been blown out of portion, but in the subtle hands of Binoche, it is a delicate and balanced performance. Unfortunately, this terrific woman who seems perfect for him is, in reality, his brother's latest flame that he's brought down to the family cabin to meet everyone for the first time because "this one is different."

Sadly, the effects of this are handled much like a TV-movie or a good episode of that old series "Love Boat", or any other sitcom for that matter. What makes this film ultimately rise above that is admirable work done by the leads. These are seriously understated performances that are quite touching, believable and memorable in spite of a seriously flawed script at times.

Some of the humor in this film is both lame and predictable, but the execution is always dead on. Again, the performances are the key to this tired formula of the awkward romance. I guess this film is a good example of style over substance. Will this save this movie for everyone, no, but I think most might like this film. I doubt many will love it or even remember it much after seeing it, but it's a nice experience in spite of it's obvious weaknesses.

Buy Dan in Real Life (2007) Now

Anyone who actually believes that love is a many splendored may not get their money's worth from "Dan in Real Life." Here's a film that shows just how unexpected, irregular, and confusing love can be, both in terms of family and romantic interests. There's intelligence to this story that's equally humorous and heartbreaking, proving once and for all that love is difficult to receive and even more difficult maintain. At times, it's also difficult to acknowledge, especially if it's being kept a secret. The greatest difficulty of all is letting go of love, to recognize that the past is the past and to know when to move on. All this is explored in "Dan in Real Life," a smart, witty, and touching romantic comedy that doesn't lose itself to an overabundance of clichés. The formulaic elements are there, but they're presented in a new way, and they're used in a story that can actually support them. They're not used simply because we expect them to be.

The plot focuses on Dan Burns (Steve Carell), a widowed advice columnist living in New Jersey with his three daughters. They all drive to Rhode Island for an annual family reunion, and its there that Dan meets Marie (Juliette Binoche), a good-natured woman who has traveled the world and seen many sights. Their romance comes to a halt when Dan discovers that Marie is dating his brother, Mitch (Dane Cook). Dan spends the rest of the film struggling with his feelings, unwilling to let Marie go yet unable to be honest with his family, who he can't seem to connect with.

As simple as this plot sounds, a number of fascinating, thought provoking elements liven things up. One of the most interesting is the relationship between Dan and his daughters. The two oldest are typical in that they hate Dan: seventeen-year-old Jane (Alison Pill) is desperate to see the world, and a great way to start would be to finally learn how to drive; fifteen-year-old Cara (Brittany Robertson) believes that she's deeply in love with a boy from school, and she openly despises her father for not letting that love develop. At one point, she screams that he's a murderer of love. Dan tries to rationalize the situation--Cara has only known the boy for three days, and it's impossible to know whether or not you're in love so quickly. Eventually, Dan begins to analyze his love for Marie, who he had only met three days earlier. His youngest daughter, Lilly (Marlene Lawston), is the least hostile, despite not understanding why her father behaves the way he does. As his love for Marie deepens, he loses track of Lilly, and he ultimately hurts her feelings by neglecting to read a special book she made for him.

Another important element is the relationship between Dan and his immediate family; because he makes himself so distant, they look at him more with concern than with love. Some feel that he needs to finally let go of his dead wife--his parents (John Mahoney and Dianne Wiest) set him on a blind date with an old family acquaintance (Emily Blunt), hoping that he'll finally have some fun. This suits his brother, Clay (Norbert Leo Butz), just fine, since he feels that Dan should "uncork" himself. The pressure they're putting on Dan is unmistakable, as is the fact that their actions are well intentioned but completely unnecessary. This is probably why he attempts to engage his nieces and nephews, even when they make it clear that they don't want to be engaged.

But the relationship between Dan and Marie is the most important element. It all boils down to the fact that two love struck people are under the same roof, unable to show their feelings for each other. How long can this go on? Will anyone notice? Will either of them be able to come clean? These are the questions we find ourselves asking as the film progresses, not only because the story is entertaining, but also because we eventually realize that Dan is not following the advice in his own written columns. Dan himself realizes this when his articles are considered for syndication in a major newspaper--he has become a hypocrite, someone so blindsided by love that he didn't think about who might get hurt by it.

Is it normal for love to be this emotionally exhausting? I don't think I'm the right person to answer that question, which is probably just as well; a recommendation for "Dan in Real Life" doesn't depend so much on what I think, but on the mindset you bring to the theater. This classic Boy Meet Girl fable is told in a non-traditional way, relying more on genuine emotional development than on a formulaic structure. Although it allows for the film's one weakness--an abrupt ending--the emotional development still does wonders for the story, preventing it from becoming a bland, meaningless romantic comedy. It helps that all of the characters are believable, especially Dan; as he comes to terms with the ups and downs of life, our own humanity is reaffirmed. This alone makes "Dan in Real Life" a heartfelt, funny, and thoroughly enjoyable film.

Read Best Reviews of Dan in Real Life (2007) Here

When Steve Carell and Dane Cook were given top billing in "Dan In Real Life," I expected a great or mediocre comedy filled with laughs and humor. Congratulations again goes to the marketing that makes a film appear different than what it actually is. This is the case with "Dan In Real Life," a film that will make you laugh with the characters, but also make you bury your face into your arms at the awkward situations dealing with love.

Dan (Steve Carell) is a widower, whose job is writing for an advice column in the paper and raising his three girls. As much as he's good at helping people, Dan can't seem to connect with his daughters. He decides to take the family to his parents' lodge for the weekend and while there he meets Marie (Juliette Binoche) in town and they immediately make a connection, only to separate soon after. Coming back to the lodge, he finds out that his brother, Mitch (Dane Cook) is dating Marie and Dan has to endure the weekend, tormented with the love he has for Marie and his daughters' dislike of him.

First things first, "Dan In Real Life" is not a comedy. It does have touches of humor and slapstick throughout, but it's much more dramatic. The title character is depressed and trying to make life work for him and his family. This is the film's downfall, because at times, it doesn't know if it wants to be either a comedy or a straight drama. It lands in the middle of the spectrum and this hurts it slightly. Luckily, the acting is very good and keeps the film from being less than mediocre.

Steve Carell is one of my favorite actors (huge fan of "The Office") and he didn't let me down here. From what I saw, he was in every single scene and he truly made them better. At one point, you'll be laughing at the absurdity of his situation, when you'll be sympathizing for his character the next (the "Let My Love Open the Door" scene). Carell makes Dan extremely likeable and a character to root for. Dane Cook gets a bad rap for his acting and although some of his movies aren't great, he does fine here as Dan's brother. Cook downplays it and his love for Marie is believable. He needs more roles like this. As the love interest, Juliette Binoche is great and has good chemistry with both Carell and Cook. All the acting was fine and was the best part of the film.

What really hurt the film was Dan's daughters and the ending. Although the actresses playing them did a good job, their characters were so poorly written. Instead of being loving, they became annoying and grating. Dan is trying his best to help their situation, but they make it harder for him. Finally, the ending was too "sweet" for my taste. It seemed like it came too abruptly and the end credits montage had my eyes rolling. If they took that out, then maybe it would have fared better.

Overall, "Dan In Real Life" surprised me in that it wasn't a consistently funny comedy, but a heartfelt drama. Unfortunately, it had a hard time juggling both genres. Thankfully, good acting helped the film along and made it better than it should have been.

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This, along with a couple other movies now (only a couple though), is the revival of good script writing and good screenplays. This movie has zero special effects, but yet is such a good, good movie. I was very impressed. Carell can play a more serious role. This is where it's at. Dane Cook too did well out of his typical comedy role. I wish everyone would give this a chance. It's great.....More movies should be made like this. It's simple and great all in at once.

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Australia (2008)

I did not see this in theatres on release as the trailers made it look like a big, overly wrought romance... a la Gone with the Wind meets Cimarron and not my cup of tea. Nor am I a fan of Nicole Kidman, so no appeal there. And when I finally saw it, I found it nothing like I expected nor was it much like many of the other reviewers have portrayed. Yes, it used broad, almost stereo-typed characters to carry the "Anglo" story line, and yes, there were actions in the movie that required the "willing suspension of disbelief"; that hardly seems unusual.

However, the thing that made the movie unusual in a most positive way was the telling of the story from the point of view of the racially-mixed "outcast" little boy, Nullah. This introduced an entirely different point of view, signficantly, at least for Americans, of the characters and the story line. While I do not pretend to know much about aboriginal culture, the concepts and importance of "singing" and "stories" were presented sufficiently well to open up the ideas to the large portion of the American audience which likely is unfamiliar with this. A number of strong and appealing cultural ideas were referenced or illustrated either in the dialog / actions of the aboriginal characters or occasionally the brief comments of "The Drover": the geographical mapping of the aborigines through "singing" (music); the importance of one's story and how one connects to the "tribe" / ancestors / universe through "singing" (stories). In fact, the word "sing" as used by Nullah and The Drover in the movie clearly has a richer meaning in this aboriginal context, one which cannot easily be translated directly into American English and which is worth exploring.

I thought Jackman did well in a role that called for a man's man--in American movies cowboys are not too chatty, either...men of action, mostly defined by showing up and doing, so I remain puzzled that other reviewers thought Jackman was too silent. However, the actors that stole the show were the aboriginal actors. Uncle George was marvelous and mystical throughout--totally elegant, grounded, and convincing as the shaman "singing" (guiding with knowledge) his charges through the desert. The Drover's brother-in-law was excellent, playing his role with a quiet dignity.

But this movie was Nullah's story, from beginning to end, and the beautiful Brandon Walters is a revelation as to what a pure talent can produce when given the right chance; for that we can thank Mr. Luhrmann's effort to get that key role right. I do not know who actually did the singing (humming, chanting) which seemed to eminate from Nullah--if it was dubbed or done by Brandon Walters. But this movie has indelibly burned in my mind the earnest, trusting face with huge brown eyes in and the pure, musical tones of the child-mystic when Nullah utters this simple line (and variations on it): "I sing you to me." For this line alone, whether taken as a simple plot facilitator or as a greater metaphor, I would see this movie again and again.

I love Howard Hawks' films...Bringing Up Baby, His Girl Friday, Red River, and Rio Bravo are amazing pieces of entertainment. As I was watching Australia, the new Baz Luhrmann movie with Hugh Jackman and Nicole Kidman, I kept thinking...man, Baz must really love Hawks' movies, too.

As evidenced by the films above, the mismatched couple who fight and fight until they realize they're perfect for each other (see Much Ado About Nothing, Taming of the Shrew, and Moonlighting as other examples of the form) and the group of underestimated misfits who come together to fight evil are two big elements used again and again by Hawks. Throw in a bit of John Ford's The Searchers and its hard look at racism leading to inhuman deeds and mix well and you have...Australia.

The problem modern audiences may have with Luhrmann's new movie is it's very, very earnest. This is straight ahead epic storytelling with its heart on its sleeve and hat and boots with never a wink to the crowd in the theater to say "ain't these people quaint". You either buy in or you don't. If you do, like I did, you're in for a hell of a ride.

This, I feel, is the flip-side to The Dark Knight. Good and evil are trapped in something akin to a battle and an embrace in Nolan's Gotham City. You root for Batman, but he does stuff that is on the wrong side of freedom and civil rights. The Joker is pure crazy, but he's the most mesmerizing character in the film. In Australia, there are good guys and bad guys and you are either really good or twirl your mustache evil. The main villain actually may be a bit too two-dimensional in that aspect, but it didn't hurt my overall enjoyment.

Why? Well, epic melodrama is hard to pull off...I'm talking about the real stuff here. The recent BBC production of Bleak House is a great example. There are very good and very, very bad people in that story, but the acting is so fantastic you rarely if ever catch yourself rolling your eyes (like whenever I've watched Smallville...see: bad epic melodrama). Kidman and Jackman sell their characters...the displaced Englishwoman and the rough-hewn "Drover". They are thrown together just to, initially it seems, thwart a nasty cattle baron from monopolizing the beef industry in the country. But the other big story, the main one in fact, centers around Australia's "lost generation". These were Aboriginal children who were fathered by white men who didn't claim them. They were taken by the government, the mothers had no rights, and handed over to the church to be taught to "act white" and then work in the servant class. Nullah, played by the fantastic child actor Brandon Walters, is one of these "creamies" who has been hidden on the ranch now owned by Lady Sarah Ashley (Kidman). Lady Ashley discovers what is going on, is horrified by the law, and works to keep him hidden as well. Why the Drover cares so much about Nullah becomes clear later in the film (no, it's not what you think...that would be too easy) and Jackman's experience with stage and musical work does him proud here. He can do earnest better than almost any actor alive when he needs to and his later use of the f-word (the only curse I can remember from the entire film) hits so hard, in just the right emotional moment, that it kills. Russell Crowe was originally cast as the Drover but backed out. If Crowe had done the film, and I have liked him in other things...the Napoleon-era British navy film that I can't remember the name of right now, it would not have worked. Crowe never loses that bit of edge and the Drover, at one point, really has to fully break down and become completely vulnerable. Jackman shines at that point.

Anyway...a warning, the movie is long 2 hours and 40something minutes, but I didn't realize that until I had left the theater. I saw it alone...I was out of town at a pediatrics meeting...and that's a good thing. I didn't have to hide from Holly the few times the movie hit me a bit too hard and do that cough-throat clearing thing we dudes do to cover up a stray tear.

Buy Australia (2008) Now

I was looking forward to seeing this movie when it was release late last year given all the hype, and was not dissappointed!

Director, Baz Luhman, has served up a slab of nostalgia ala Australian style with all those beautiful elements we love from films of the 40's and 50's, breathtaking, sweeping landscapes, gorgeous costumes and two fine actors in Kidman and Jackman who get the essence of the film. It nostalgia in every sense of the word, in every frame. The acting style reminds us of Bogart, Grant, Bacall and Dunne. The story is epic in every way and just lovely. I loved the salute to "The Wizard of Oz"a really nice touch!

Of course we all know how it's going to end. Watching Australia was like eating a box of Quality Street chocolates. Sure I know what I'm getting, but I still love it.

For those of you who want to spend a few hours (and I mean a few; it's almost 3 hours) being completely entertained then thisis the movie for you. I only wished they had inserted an interval on it's theatrical release and made the whole event at the movies a real nostalgic experience.

I can't imagine why anyone wouldn't like this movie, unless you just aren't up for a feel good picture. I want to see more movies being made like this!!!! Well done to all!!!

Read Best Reviews of Australia (2008) Here

I know what Baz Luhrmann was attemting to accomplish with Australia. He even hinted at it himself with regards to Gone With The Wind. He wanted a glorious epic of mass proportions but what he really created was a long, beautiful, but sometimes dull film. He strived for perfection but clearly didn't quite make it.

I am a HUGE fan of Moulin Rouge. I love everything about it-the music, the acting, the costumes and the story. I can see some of that shining through in Australia as well. The beautiful array of colors, just splendid choreography and direction, there is no question about that. The problem lies with the script and the plot.

This movie did not need to be over 3 hours long. I do not mind sitting through a film that longI have done plenty of times before. But there were obvious parts that just dragged and some that were not necessary at all. The parts with the cattle drive were especially tedious, and that was most of the film...

The 'magic' aspect didn't really fit into this. It worked in Moulin Rouge but for obvious reasons. This to me, is more of a serious film with serious issues. Stealing aborigines children and removing them from their home is something that should have been the main aspect of the plot. But it was muddled along with the other, less important subplots. Of course there is a bad guy-nicely played by David Wenham, and a hero-Hugh Jackman.

Jackman is the true gem in this film. He carries basically the entire film and at least makes it more interesting to watch. Nicole Kidman, usually a huge favorite of mine, seemed somewhat lost in this. She appeared to overdo most of her lines and while she looked lovely in her part, it just didn't suit her all that well. I was a bit surprised at that. The little aborigine boy, played by Brandon Walters was a heartwarming surprise. His acting, I thought, was extroadinary.

The climax of the film was more anticlimatic than anything. Just a tad predictable. I am indifferent with how it played out, though the very end gave me a slight lump in my throat...

All in all, a worthy and well-made film. Clearly it took a lot of time and effort on everybody's part and should be commended. It's just not the sweeping epic Baz of the rest of us were hoping for.

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This movie was by far my favorite of 2008, even with such crowd-pleasers such as The Dark Knight and The Curious Case of Benjamin Button. It's story is well formulated, honest, and believable. The acting is superb, with Hugh Jackman stealing his scenes and Nicole Kidman has the most developed character of any film she has ever done. Sprinkled intermittently with comedic moments, Australia is presented in a raw, emotional format with a hint of epic provided by the sweeping wide-angle shots of Australia's scenery. This film deserved more ratings and awards than it has won, and it's Baz's best movie yet. Yes. Better than "Moulin Rouge!". Best of 2008!

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