Command Performance (2009)

Dolph can definitely act and direct.This is even better than Missionary Man.I like the idea that an old burn-out rocker can "get it together",take charge,kick butt and get the girl.Melissa Smith was SMOKING HOT!My Italian blood pressure was off the charts. My testosterone level was thru the roof for days!I liked the way she looked at him in the beginning-with admiration and sensual interest.It is never too late for old warriors(like me) to get the girl.My copy did not have any extras,and I would have liked to see how the film was produced,with interviews,etc.The music thruout the film was great and made the movie.I hummed Melissa's opening tune "Lost in Love"for days!The one liners Dolph had were great!Remember"Watch the hair ,dude!"when he fought the first man in the restroom? Get this film ,you will love it and be surprised how far Dolph has come in the movie industry.

I would say this is easily on of Dolph's best movies. Its a decent although, predicable die hard clone, but for lovers of action movies, it gets the job done. Once the carnage starts up, it never really stops, and true, Dolph only dispatches 11 bad guys, most are quality and entertaining. If you hate 80's action, and tough guys, then find another movie. I though the film had a nice mix of humor and action. To all the Dolph naysayers out their, you just wish that you could go shirtless for a whole movie when your his age. The man has still got it.

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Good, old school action. Some righteously cheesy one liners, delivered like only Dolph can, a bit of weed and a bunch of dead Communists.

What else do you need to know?

Read Best Reviews of Command Performance (2009) Here

It has been a while, and I mean a while, since I've checked out anything that has Dolph Lundgren as the main star. However, there was something about Command Performance that made me want to see it, so I gave it a chance, and it turns out that it actually isn't half bad, and probably one of the best things that Dolph has ever starred in. Dolph (who also directs) stars as Joe, an aging drummer in a band that is opening for a huge American pop princess (Melissa Smith) in Moscow, when out of nowhere terrorists make their presence felt. Before you know it, things basically go into Die Hard mode, but what stops Command Performance from turning into a yawn-fest are some well assembled action sequences and even some surprisingly decent acting. Lundgren is enjoyable as he can be, and former Pussycat Doll contender Melissa Smith is a sight to behold. All in all, you'll certainly see better action flicks than Command Performance, and you'll certainly see worse ones too.

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Dolph delivers the goods with Command Performance! Great Action Movie.

Written, Directed and Lead by Dolph. Dolph shows he is also an accomplished drummer.

Dolph is the smartest Action Star on the Planet (Master Degree, Speaks Several Languages, Multiple Martial Arts Titles, Drummer, Writer, Director, a total Bad-Ass Swed) One of my favorites.

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By Brakhage: An Anthology, Volumes One and Two (The Criterion Collection)

I give thanks from Japan.

A picture of the blue-ray disc is very beautiful.

When I watch a silent film of Mr. Brakhage, I get dark the illumination and get alone at midnight.

This process make me a mysterious impression.

You can probably find ample good reviews of this set online, since this is an early Blu-Ray edition from the essential Criterion Collection, and is a lush and perfect enough package to have received awards. I purchase very few movies on disc, in spite of being a rabid cinephile; and this is one BR set that I bought _without hesitation_. Describing some of the films might sound like parody, insured boredom, or unbearable pretense, but I'm telling you....experiencing the films is something else. Theoretical baggage is posterior to the immediate, sensual experience of the films, as they unfold. Brakhage was a magician of some kind, a sui generis artist.

Listening to music while watching these silent film-paintings (even the ones that are not hand painted, as are his later films) is probably fine, but I'd personally suggest trying (and trying....and trying...) them in silence, the way he intended them to be seen. The effect is, I think, an intensification of the experience, since (if I'm correct) SB intended the films to BE A FORM OF MUSIC, or at least to be very much like music, in its essence. I've done this with friends, sometimes several hours at a time, and the effect is not just in my own head; others concur, and even bring it up afterwards without me prompting them.

The only other thing I might suggest is going out of your way to see these on celluloid if you can, while celluloid and film projectors still exist. And while these particular films still exist, _as_ films, which might not be for terribly much longer. It really is a different experience. I know, I know...isn't it always? But with many of these works, maybe all of them....it's really, really a different experience. It will shake you.

Critic Fred Camper, a sensitive and humble writer on many kinds of film art, has written extensively on Brakhage (including notes in this DVD/BR edition), and his website is a valuable resource. Also amazing is Brakhage's own short-lived radio show, which you can hear on Ubuweb. It is wonderful to hear the man speak! He's a mystic, but not a flake. And not drunk on himself, just honestly intent on, well, breaking through something to something else. How else to say this?

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Stan Brakhage is one of cinema's most unique artists. His films have a (literally) hands-on and human approach that has simply remained unmatched. Highlights include Mothlight, Window Water Baby Moving (surely one of the most beautiful films ever made), Dog Star Man, 23rd Psalm Branch, Night Music and Chinese Series (Brakhage's final work).

Criterion's massive blu-ray release of 56 Brakhage films allows his vision to shine even clearer than ever before. These films look magnificent. While some are limited by their sources, others (particularly his hand-painted films) look immaculate.

The audio is a bit hard to judge, as most of these films completely lack a soundtrack. Those that do have sound come across decent enough, though they are, again, limited by their sources.

The extras are plentiful and all worthwhile. The mulyi-part Brakhage on Brakhage series allows the filmmaker to freely discuss his creative process and influences, as well as share from interesting stories about fellow artists. Several lectures and interviews are also included, as well as For Stan, Marilyn Brakhage's short film dedicated to her husband.

The real treat here are the audio remarks by Brakhage, which detail the making and inspiration behind each individual film. These are only included on the first volume of this collection, however.

By Brakhage is one of Criterion's very finest releases, and thus, one of the greatest home video releases of all time.

Read Best Reviews of By Brakhage: An Anthology, Volumes One and Two (The Criterion Collection) Here

This is a fantastic blu ray for vj's and artists in general, a great update on the Vol. 1 and 2 on DVD. For me it is a great way to pepper my live music with his images. Stunning.

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This video was a requested gift something he had seen and wanted. This particular video was as expected, excellent quality and condition and he is quite satisfied with it.

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Operation Condor 2: Armour of God (2012)

This is an awesome Jackie Chan movie.This is one of my favorites. Even though they released this as a sequel to Operation Condor. Although this was the first movie and Operation Condor was the sequel.

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Bridget Jones's Diary (2011)

Dissatisfied at age 32 with the direction her life is taking, a young woman vows to make some changes, and to keep herself on track she decides to start a daily journal, hoping it will make her toe the line, in "Bridget Jones's Diary," directed by Sharon Maguire and starring Renee Zellweger. Bridget (Zellweger) begins with some New Year's resolutions that include no more drinking or smoking, not being paranoid about her weight, and developing poise. And-last, but not least-to avoid any romantic attachments to alcoholics, workaholics, peeping Toms or perverts. Of course she promptly falls for the one man she knows who embodies all of those characteristics: Her boss, Daniel Cleaver (Hugh Grant). In the meantime, her mother, Pam (Gemma Jones), continues to play matchmaker for her daughter. At a holiday gathering of friends and family, Pam nudges her in the direction of an old childhood chum, Mark Darcy (Colin Firth), now a respectable attorney, and recently divorced. Their initial meeting, however, proves to be a less than monumental event, further complicated by the fact that Cleaver was Darcy's Best Man at his wedding, and has some tales-out-of-school to tell about the subsequently ill fated marriage that puts Darcy in a rather bad light. But Bridget could care less; she thinks Darcy is rude and a bore, and anyway, Daniel is her guy. Work is good, her life is going well and-as she is about to wake up and realize-she hasn't kept a single one of her resolutions. And, oh! she should have.

First time director Maguire proves with this auspicious debut that she certainly knows her territory and how to negotiate it. She has the touch and the eye for detail of a seasoned professional, and her sense of timing is impeccable. She successfully avoids a major pitfall that do in many rookie directors right out of the chute, by never fishing for the cheap, forced, disdainfully pretentious or concocted laugh. Everything in this film, especially the humor, flows freely and naturally from the circumstances of the characters and the story, which makes it all real and believable and allows it to be readily embraced by the audience. This is a funny, often hilarious movie, but it's also very warm and at times poignant, and for handling it so sensibly, and with such sensitivity, Maguire deserves to be granted even more kudos. It's quite simply an exceptionally well made film, presented with a style and grace that reflects that of the director herself.

Of course, having a superlative leading lady was certainly not disadvantageous to Maguire's efforts, either, and Renee Zellweger has never been better than she is here as Bridget. With her quirky good looks, personality and charisma, she is endearing, and she invades Meryl Streep territory by affecting a perfect British accent. Whether she's lip-syncing to a Celine Dion song, doing karaoke at an office party after having a bit too much to drink, or battling with a blender, it's easy to believe that someone would like her just the way she is. Even with her hair mussed, or in a somewhat disheveled state, she's alluring, and it all has to do with who she is deep down inside; Zellweger makes it clear that this is a woman of substance, and it's easy to like her. There's a down-to-earth honesty and accessibility about her that makes her appealing, and she's someone to whom many in the audience are easily going to be able to relate. For her portrayal of Betty in "Nurse Betty," Zellweger received a Golden Globe; "Bridget" should land her smack in the middle of Oscar territory.

As Bridget's smarmy boss, Daniel, Hugh Grant turns in a noteworthy performance, putting a rather tarnished sheen on his natural charm that works so well for this character. It's a nice departure from his usual bumbling, reserved Mr. Nice Guy routine he perfected in such films as "Notting Hill," and "Four Weddings and A Funeral." With this role he challenges Greg Kinnear's part in "Someone Like You" for the top spot in the Boss-You-Should-Never-Date category. And Firth does a memorable turn as Darcy, fairly reprising his role of the same name in the PBS miniseries, "Pride and Prejudice," from which this story is loosely derived. Initially appearing a bit sullen, he gets the chance to develop his character as the story unfolds, and he does it quite nicely, ultimately revealing Darcy's true nature.

In a supporting role, Gemma Jones gives a performance that deserves mention, doing a good job of fleshing out Bridget's mother in the brief time she is allotted. Rounding out the supporting cast are Crispin Bonham-Carter (Greg), Jim Broadbent (Colin Jones), James Callis (Tom), Sally Phillips (Shazzer), Honor Blackman (Penny), Embeth Davidtz (Natasha), Shirley Henderson (Jude) and Celia Imrie (Una). A warmly humorous, uplifting film, "Bridget Jones's Diary" is a delightful and satisfying experience with more than a touch of magic in it. Not only is it an entertaining showcase for Zellweger's many talents, but heralds the arrival of a director from whom we can expect great things in the future, Sharon Maguire. A well crafted, reality based comedy/drama that is enjoyable and refreshingly devoid of inane nonsense or gross jokes is a rare find these days, and this is one of the best to hit the screen in a long, long time. It's a film to be heartily embraced, and one I guarantee you'll want to see more than once.

Renee Zellweger does a fabulous job of portraying Bridget Jones. You would never guess that this great accent came from a Texan. At the age of 32, she is unhappy with her unmarried status, and everyone constantly throws it in her face. She is interested in her boss Daniel Cleaver, but knows he is not the type of man that she should see. When she meets Mark Darcy (a set up by her mother), they dislike each other immediately, and the fact he hates Daniel is just a bonus. The comedy that follows is just hilarious.

This is a very entertaining movie. Hugh Grant sheds his normal good guy persona to be the guy you love to hate. He is very effective in the role switch. Colin Firth is just plain loveable. This is a movie to pull out and watch again and again.

Buy Bridget Jones's Diary (2011) Now

I saw this movie, kicking and screaming, when my younger sister foisted it upon me. Thinking that it was going to be another Gen X piece of claptrap, I gritted my teeth and prepared myself for what I erroneously thought would be a waste of time. Was I ever wrong! It turned out to be a sublime cinematic experience.

Renee Zellweger is definitely the star of this film. She positively twinkles! She is absolutely marvelous in the role of Bridget Jones, our single, thirty something, English Holly-Go-Lightly. Employed as a somewhat graceless publicist, the plump and perky Bridget enters into an affair with her caddish, handsome, sexy boss, winningly played by the ever charming and debonair Hugh Grant.

Meanwhile, her mother has introduced her to an attorney, the stiff-necked Mr. Darcy, played to taciturn perfection by Colin Firth. Even though they were once childhood playmates, he and Bridget do not initially click, and it is not love at first sight, as Bridget's mother had so hoped. Bridget goes on her merry way with her boss, unaware that he is two-timing her. When she discovers his perfidy, it is too late, as she already fancies herself in love with him.

Mr. Darcy, however, re-enters the picture, and what happens is a thing of beauty to watch. The film is very funny. Rene Zellweger as a Brit is totally believable. She is so good that she would even fool the Queen into believing her to be one of the Queen's own subjects. Without a doubt, this is one of Ms. Zellweger's best roles to date, and she is positively delightful. Moreover, Sharon Maguire's directorial debut is certainly noteworthy, as she shows signs of a deft comedic touch in her direction. This is simply a terrific film. Bravo!

Read Best Reviews of Bridget Jones's Diary (2011) Here

I cannot rave enough about 'Bridget Jones' Diary'! It is so marvelous that finally there is a woman conveyed on film who's got a real body and has problems she's trying to control, and she can still get the man of her dreams.

Renee Zellweger does excellent as a thirty-two year old singleton who is having problems with cigarettes, alcohol, and men. Her mother is constantly trying to set her up and the latest is Mark Darcy, who has recently gotten a divorce. But Bridget has other ideas and is soon flirting with her boss (not to mention making a total fool of herself, but that's why we love Bridget!)

Nonetheless, the story is very sweet and enduring. And it is HILARIOUS! I haven't laughed this much at a movie since 'Meet the Parents'. I just loved the fact that this movie had a smart heroine who wasn't afraid to mess up and to just be herself. And it's nice to finally see Hugh Grant as a real bad guy instead of his usual roles. And I loved Colin Firth. This movie is definately a must-see! Bridget rocks!

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American Renee Zellweger did it. She made a convincing Brit. She also looked fabulous, even though she had to gain weight for the role. I loved this movie. The script was a well-done adaptation and it is very fun to watch.

I was very surprised by the performance of Hugh Grant. He typically gets cast in the romantic lead role, playing some sort of charming, bumbling idiot that you can't help but fall in love with. This movie, he actually tries something different. He still plays an idiot, but this time he's the sort of idiot you love to hate. It's a nice change. And, if there are any of you out there who hate Hugh Grant, this is the movie for you--there is a particular scene that you'll love (but I don't want to ruin it for you).

Colin Firth also does a marvelous job. His character is probably one of the most interesting in the movie (aside from Bridget herself). He progresses in a way that you don't really expect from the beginning, and it's rather nice. I love Colin Firth.

If you're in a bad mood, this is a great movie to see. It fits the romantic comedy mold, but it's good to watch even if you're not a fan of that genre. It's great fun.

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Ed Wood (1994)

Ed Wood (1924-1978) is generally regarded as the single worst film maker to emerge from Hollywood. This is not really true, for there were and are aplenty worse. But one thing has always set Wood above the pack, and that was his own unshakable faith in his talent. Unfortunately, the faith was misplaced and the talent was nonexistent--and although this Tim Burton film takes a slew of liberties with the facts of Wood's life and career, it does a remarkable job of capturing them as Wood likely saw them through the filter of his own outrageous ego.

The film has two tremendous assets: the performers and its visual style. Johnny Depp leads the cast in the title role, and it is a virtuoso performance, for he entices us to like a man whose self-blindness would normally lead an audience to reject him out of hand; the performance is incredibly witty, wildly over the top, and yet it contains just enough pathos to allow us to relate to Wood on a human level. But the real stunner in the cast is Martin Landau, who picked up a Best Supporting Academy Award for his performance as Bela Lugosi, a legendary actor who was very much a forgotten star (not to mention morphine addict) by the time Wood befriended him in the early 1950s.

As with Wood himself, the film plays fast and loose with the facts of Lugosi's life, but it nonetheless captures something very essential about both Lugosi and the Hollywood that destroyed him, something very elemental that transcends the weird comedy of the piece. And Landau gives the performance of his career; you truly believe that this is Lugosi before you, a strange but appealing mixture of faltering humanity and arrogance desperate for an audience now lost to him. Other memorable performances include Bill Murray as the inept and very la-dee-dah actor Bunny Breckinridge; Jeffrey Jones as The Amazing Criswell, popular "psychic" and occasional Wood actor; Lisa Marie as television's "Vampira;" and Sarah Jessica Parker as Wood's fast wife and occasional actress Dolores Fuller. Indeed, there isn't a false note in the entire cast right down to the bit players and extras.

In terms of visual style, Tim Burton nails the very look of an Ed Wood film in glittering black and white--but working with a budget that Wood never dreamed of he merges it with a series of classic Hollywood idioms that lift the style out of Wood's unfortunately flat style and into the realm of high art. In both look and direction, I strongly feel that this is Burton's single finest film to date.

If the film has a flaw, it is that at times it recreates the flatness of an Ed Wood film a bit too precisely over too long a period--and the result can feel slightly dragged. And it is also a film that will register most clearly with those who have actually seen the films on which the movie focuses, so it may not appeal to the uninitiated. But for those who have the right eye, it is a remarkable film--and a film that desperately needs the DVD release that has been so repeatedly postponed. Wickedly funny, unexpectedly touching, extremely memorable... and strongly recommended.

GFT, Amazon Reviewer

Why make a movie about the man universally regarded as the worst filmmaker of all time?

Well, simply because the word "worst" does not even adequately describe Ed Wood. He was the absolute, undisputable worst, unrivalled in his mindless disregard for decent production values, coherent storytelling, credible scriptwriting, and competent acting. If he were just "the worst," he would be no more than a mere footnote in cinematic history. But by single-handedly redefining the standards of ineptitude, Wood achieved that rare status of lovable loser. I mean, really, you have to admire someone who approaches his craft with so much grit and determination and so little talent.

It takes an A-grade cast to bring to life this story of Z-grade moviemaking. And we have one. Johnny Depp delivers a performance of fire in the title role, giving us a lot of insight into the character that Ed Wood was. Martin Landau (in an Oscar-winning performance) doesn't just portray Bela Lugosi. By golly, he becomes Lugosi, almost convincing us that the horror movie legend was resurrected for this project. Sarah Jessica Parker, Jeffrey Jones, Bill Murray, George "The Animal" Steele, and Lisa Marie comprise the ensemble cast that portrays a motley crew of rank amateurs. Think about it, these people had to re-enact the shooting of Wood's movies, looking serious but coming out funny, and doing all that with a straight face.Try that, folks.

Appreciate too, the film's most memorable line. At the premiere night of Plan 9 From Outer Space, Wood declares with unqualified conviction: "This is it. This is the one I'll be remembered for."

Whether you're a fan of bad movies or not, you simply have to see Ed Wood. It's not often that a film comes along that makes you like a man who so admirably succeeded at being a failure.

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At last, the whole (shocking!) story of Edward D. Wood, Jr. I enjoyed everything, from the acting down to the musical score (fans of "Dracula" will notice that movie's opening theme plays in several scenes). Johnny Depp is a hoot as Ed Wood, and Martin Landau absolutely shines as Bela Lugosi---he certainly deserved the Ocsar he won for the role.

The film is by turns hilarious and sad. There are loads of great one-liners ("Yes, but if you take that ... and put a star in it, then you've got something!") and other endearingly funny moments. Landau's portrayal of Lugosi provides most of the pathos, showing us the tragic decline of a man who tried his best to work until the very end.

"Filmmaking is not about the little details. It's all about the big picture!" Tim Burton has done a wonderul job with both in this movie.

Read Best Reviews of Ed Wood (1994) Here

Well folks, I thought long and hard on what film to mark my 200th review. I thought of this one. One of my all time favorite movies. Hopefully, it will be yours as well. Director Tim Burton really outdoes himself with this brilliant film about the worst filmmaker ever. Johnny Depp plays Ed Wood, a man so in love with Hollywood and filmmaking, that he doesn't see that he has no talent for it. But, in his own mind, he thought he was really making great cinematic art. He was a cross dresser who was not gay. He had a history of wearing pink angora sweaters. He would even sometimes wear them to work!. Ed Wood's films have become famous because of their horribly incompetent filmmaking. Bad actors, cheap sets and effects, and so on. But Good old Ed, god bless his heart, thought he was making 'Gone With The Wind' every time. Martin Landau is on hand delivering a jaw droppingly brilliant performance of old horror star Bela Lugosi. His performance is incredible. One of the best performances I've ever seen. He deserved ten Oscars instead of one. Bill Murray gives one of his best performances ever as Bunny Breckinridge, an actor of Ed's looking to having a sex change. Patricia Arquette and Sarah Jessica Parker play the women in Ed's life. Landau's own daughter, Juliet Landau, has a part. Burton's girlfriend Lisa Marie plays Vampira. The film was shot in glorious black and white, and it was a brilliant move on Burton's part. It really adds to the feel of the time and the movies Ed made. Depp is great. He is definitley one of the best actors of our generation. His interpretation of Wood is upbeat and hilarious. Even in the bad times, he still shows Ed having a sunny outlook. This is one great film that did not get great box office returns. What a travesty. Some people just don't understand things. I'm telling you right now : this is a great movie to be treasured. A genuine film classic.

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Touchstone has released the technical details on the director's cut for one of my favorite movies ever (that's right, "Director's Cut")! Here they are:

Anamorphic Widescreen Presentation

English Dolby Digital 5.1 Track

Audio Commentary with Tim Burton, Martin Landau and Technical Crew

Let's Shoot This! (Making Of) Documentary

The Theremin (Film Score) Featurette

Making Bela (Make-Up) Featurette

When Carol Met Larry (Cross Dressing) Featurette

Pie Plates Over Hollywood (Visual World of Ed Wood) Featurette

Original Music Video Co-Directed By Tim Burton

Original Theatrical Trailer

As I've already stated, this is probably one of my favorite films ever made and after a long wait, it's reassuring to see they're finally going to release Tim Burton's masterpiece on DVD. Why us folks in the states have had to wait so long is beyond me.

This movie is hilarious and inspiring and in fact inspired me to want to become a film-maker. The black and white is perfect for this film, Martin Landua and Johnny Depp give great performances, some scenes are just flat-out hilarious.

I encourage everybody to go out and grab this movie when it comes out (or do like me, and pre-order it). I've yet to meet a person who has watched this film and not like it!

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The Raid: Redemption (2012)

"The Raid: Redemption" is a movie that pulls no punches. Or maybe that's all it pulls. It's been a long while since I've seen a film so relentless, so brutal, and so unapologetically violent. Writer/Director Gareth Evans' film is a non-stop barrage of fisticuffs, shoot-outs, and explosions. It is a well choreographed exercise in action movie mayhem and it succeeds wholly in its intentions. If you want a nuanced screenplay, in-depth characterizations, or an intricate plot--"The Raid: Redemption" might not be your first choice of entertainment. Don't get me wrong, I like and expect those things too. But if you give yourself over to the visceral experience of this down and dirty movie, it provides more thrills and excitement than a slate of Hollywood blockbusters. If you like action films, this micro-budgeted indie flick shot in Indonesia (yes, it's subtitled but, believe me, the dialogue is relatively minimal) has got to be on the top of your must-see list.

Evans reunites with the star, Iko Uwais, of his previous film "Merantau." While "Merantau" showed promise, it was plagued with a relatively uninspired plot and some serious pacing issues. While I'd still recommend it to fans of the genre, it didn't fully come together in the way that I hoped it would. Both Uwais, as a martial artist and a screen presence, and Evans, as a creative force, have upped their game in "The Raid: Redemption." Uwais plays an upstanding cop who is part of a SWAT team in Jakarta. The plot is very simple on the surface. The officers must infiltrate a slum apartment building that houses a gangland overlord and his band of criminal mercenaries. But on their way to the penthouse suite, they must fend off countless attacks as their numbers dwindle. There is a little political back story, as well, with corruption and greed factoring into the equation as to just why the building is being raided in the first place. You need more plot? Too bad.

What you get instead is relentless action. The pacing is dynamic and the tension escalates throughout. There are some terrific combat scenes, lots of gunfire, and an endless array of hand-to hand fight sequences. The martial arts aspect to the fighting is exciting and extremely well done without being too over the top. "The Raid: Redemption" did quite well on the film festival circuit (winning audience awards in Amsterdam, Toronto, and Dublin) and with the majority of mainstream critics (including raves from the Los Angeles Times and USA Today). The reason seems very simple. The movie doesn't aspire to be anything other than what it is. Evans focused on making a brutal and exhausting bit of ultra-violent escapism. And that's exactly what he and his team delivers. Is it a perfect film? Not particularly. Could it have benefited from improved storytelling? Probably. But what it does provide more than compensates for what it doesn't. In the end, this movie may not be for everyone. That's perfectly fine. But I suspect that the film's reputation will only grow in certain circles making it a true cult classic a few years down the line. About 4 1/2 stars, I'll round up for the sheer madness of it all! KGHarris, 6/12.

Included Bonus Features:

Commentary with Writer/Director Gareth Evans

6 behind-the-scenes video blogs with Gareth Evans

Behind the Music: Featurette with Mike Shinoda of Linkin Park and composer Joe Trapanese

Inside the Score: A trailer teaser for Mike Shinoda's first feature score

An Evening with Gareth Evans, Mike Shinoda and Joe Trapanese feaurette

Conversation with Gareth Evans and Mike Shinoda: Details on the hard shoot, score, stunts, and themes

An Anatomy of a Scene: Outlines hole drop sequence

THE RAID TV Show Ad (circa 1994): Spoof of an actual 1994 Japanese anime TV commercial

Claycat's The Raid: Lee Hardcastle's UK claymation short film with a Mike Shinoda music score

Here's some fun math for you...This entire film cost as much to make as ~52 seconds of Transformers 3. I'll say that again. For the same price, you could make either a) the best action flick since John Woo's Hong Kong masterpieces, or b) 52 seconds of bloated PG13 mediocrity. Stunning.

In any case, the second collaboration between Gareth Evans, Iko Uwais, and Yayan Ruhian demonstrates just how far you can take the form. The plot is simple and straightforward, and set up with incredible economy. A few carefully edited scenes and a smattering of dialogue puts all the pieces in place, then it's 90-odd minutes of exquisitely crafted mayhem.

Technically, the film is very well shot. The camera work is both fluid and at times surprisingly creative (they pull off a great drop-down shot early on using one camera but two cameramen). Most importantly though, it's choreographed into the action itself. The camera is the 3rd (or 4th or 10th) player in the fight scenes, moving with the actors to give the audience a clear view of the lightning fast techniques while highlighting the incredibly kinetic nature of the fights themselves. And kinetic is the only way to describe the fighting. The choreography in The Raid is the some of the most aggressive I've ever seen. There's no dancing around, no sizing each other up, no slow-mo, and definitely no waiting around for a downed opponent to regain his feet so the fight can continue. The actors go after each other like their lives really are at stake, attacking relentlessly from whatever position they find themselves in, using whatever weapon is available. Silat (the primary martial art on display here) is a viciously practical close-quarters system, and it's full range of open-handed combination strikes, knees, elbows, and grappling techniques is on full display; along with some knife-work that's almost too fast to keep track of.

This is a particular treat for martial arts fans who have seen a lot of Karate, Kung Fu, or Muay Thai films. The mobility and variety of attack angles employed by Silat fighters is distinct and makes the already aggressive choreography doubly unpredictable. These guys never stop moving. The stunt work is top notch, and you really get a feeling throughout the movie that these guys are hungry for it. This is their big shot to bring Indonesian martial arts to a western audience, and they pull out all the stop to make it happen. While the level of violence has been criticized by some as being gratuitous and misanthropic, what I see is an incredibly driven crew of young, talented Indonesians going balls-out to earn their indigenous martial art a permanent place in the genre canon. As far as I'm concerned, they succeed and then some.

One final thing that sets The Raid apart from most other martial arts flicks is the weird but successful blending with the survival-horror genre. In between fights, Evans ratchets up the tension as the dwindling number of survivors try to evade roving bands of bloodthirsty killers. This alternation between tension building stealth and explosive action keeps you on the edge of your seat pretty much the entire time. It's a very smart way to do things, and avoids the usual curse of foot-taping "I'm bored, when's the next fight" the plagues a lot of genre films. Not that there's any shortage of fight scenes. I can think of plenty of martial arts movies for which the climactic showdown was less exciting than every single action sequence in The Raid.

Anyway, I've gone on long enough. This is the new high water mark for pure, unadulterated martial-arts mayhem. I can't wait to see what these guys come up with next.

Buy The Raid: Redemption (2012) Now

Writer/Director Gareth Evans learned his lesson from MERANTAU, his earlier collaboration with former truck driver and now budding martial arts star Iko Uwais. MERANTAU exhibited some first-rate martial arts mayhem but was crippled by Evans' meandering pace and flat explorations of the lead character's culture. In THE RAID: REDEMPTION (or "Serbuan maut") Evans sets us up with everything we need to know about premise and characters within the first five minutes. From then on, brother, it's best that you grab hold of something. Nerves will be jangled and eyes glued and behinds parked precariously on the edges of seats.

Sub-text and this film go together like Merchant Ivory cinema and Uwe Boll. And yet, sometimes, there's something to be said for guerrilla filmmaking. THE RAID: REDEMPTION is strictly no frills, production values-wise. But Gareth Evans makes the most of his shoestring budget and minimalist plot. He turns the focus on the action sequences. You know how, in martial arts films, the plot merely serves as a framing device for the fighty fights? Here, the plot makes a cameo appearance and then gets the ef out of Dodge lest it catch a vicious Iko Uwais boot to the head.

In the slums of Jakarta looms a squalid 30-story highrise, an apartment complex which the vile ganglord, Tama Rivadi, rents out to assassins, psychopaths, gangsters, and drvg traffickers. Tama's impenetrable sanctuary has long been regarded as a "no-go zone" for the police. Until today. Today an elite squad composed of twenty police officers has just gotten the go-ahead to infiltrate Tama's fortress and capture Tama himself. What are the odds they could do this on the Q?

The squad manages to systematically secure only the first few bottom floors before the cat is let out the bag. From then on, it's an apocalyptic fight for survival. There's a twofer in this one: RAID: THE REDEMPTION is most recognizably a martial arts film, but there are elements of the survival horror genre peppered in. Tama Rivadi is quick to offer lifelong tenancy to them residents what take out the coppers.

Get your raw thrills, get your jaw dropped. Gareth Evans and Iko Uwais have created something primal here, and credit Evans, too, for establishing an oppressive atmosphere. I would not want to be caught in that lethal tenement, with homicidal maniacs swarming up on me. THE RAID: REDEMPTION is an Indonesian film (with English sub-titles) and, as such, it gleefully showcases the nation's traditional martial arts discipline, Pencak Silat. What Evans constructs with the action sequences is stunning. He adeptly stages the tense gunplays. But when the ammo runs out and the firearms discarded, what's left is intense, close-quarters, I can smell your breath, hand-to-hand combat, and that's when the film achieves another level of excitement. Evans applies deft camera work to capture the speed, grace and brutality of Pencak Silat. Iko Uwais plays the unassuming rookie cop, Rama, who only wants to survive the mission and return to his pregnant wife. Uwais demonstrates a quiet appeal; he's certainly got more of an acting presence than Tony Jaa. And Iko Uwais in motion is something to behold. I'd put his electrifying marathon hallway fight and, later, his extended brawl with the machete gang against any other fight scenes captured on film. Uwais and Yayan Ruhian who plays Tama's vicious lieutenant "Mad Dog" choreographed the fights, and what they've come up with is UNREAL!

And just when you think the film's action couldn't top itself, it does. I don't know if these fighty fights are that original or inventive, but, damn, they're executed with such verve and swagger and shot with such clarity that they deserve all the plaudits and hyperbole. The pulsating score only punctuates the electrifying symphony of violence. I won't go too much into my favorite kill, only that it involves the jagged remains of a door and that one baddie gets rudely introduced to that.

The pace blisters. Even the quieter moments are laced with nervous anxiety. There's enough "acting" done that you do end up caring about certain characters and what befalls them. Ray Sahetapy nails it as the deliciously malevolent ganglord Tama. Joe Taslim lends solid presence as the experienced Sergeant Jaka, one of my favorite characters in the film. THE RAID: REDEMPTION won't escape comparisons to ONG BAK and DISTRICT B13, and that's fine. Moment for moment, in terms of relentless pace and sustained suspense, RAID is superior to those other two, especially ONG BAK. Is Tony Jaa still a hermit in the woods? Can he still handle a goon so that the poor bastard goes hurtling backwards on a trajectory across empty space and nearly cracks in half against a lower railing? Iko Uwais just did that.

Ear to the ground news is that there's already a sequel in the works. I'm not sure how Iko Uwais plans to top this film without setting himself on fire. Niche market, my butt. Even the more sophisticated crowds owe it to themselves to see this one. After all, THE RAID: REDEMPTION is an independent foreign movie. It's practically Merchant Ivory.

The DVD's bonus stuff (with English sub-titles):

Audio Commentary with writer/director Gareth Evans

6 Video Blogs: includes the cast undergoing military bootcamp, the cast rehearsing their fight choreography, behind the scenes of Rama's fight with the machete gang, Sgt. Jaka's fight with Mad Dog, the hole drop sequence, and much, much more (totals 00:39:30 minutes)

An Evening with Gareth Evans, Mike Shinoda (of Linkin Park), and composer Joe Trapanese a moderated onstage interview (00:40:38 minutes)

Behind the Music with Mike Shinuda and Joe Trapanese (00:11:05 minutes)

Anatomy of a Scene with Gareth Evans the director talks you thru the process of shooting the Hole Drop scene (00:02:15)

In Conversation Gareth Evans and Mike Shinoda Q & A each other (00:11:31)

Inside the Score a short promo featuring Mike Shinoda, clips from THE RAID, and rave blurbs from film critics (00:01:22)

Claycat's THE RAID a claymation spoof of the film... with cats (00:02:56)

THE RAID TV show ad, circa 1994 (00:00:44 seconds)

Theatrical Trailer

Read Best Reviews of The Raid: Redemption (2012) Here

"The Raid: Redemption" is a much-talked about, highly anticipated movie that did not make it into my part of the region for a theatrical screening! I suppose the distributors had a rough time when they tried to distribute the movie because: (a) It was one of the best I've seen this year; (b) it wasn't a stupid, epically boring love story, or (c) it wasn't animated. Shows you where Hollywood's tastes really are: in their mouths.

"Raid" is a non-stop, b*lls-to-the-wall movie encompassing the maelstrom that 20 of the "best" cops are thrown into while they try to take over a 30 floor drug empire disguished as a tenament and arrest its sadistic boss. I was hooked after only five minutes which is basically all the movie takes in trying to deliver any "warm fuzzies." Once the policemen arrive at their location, the viewer is then privy to watching (and even more importantly ENJOYING) one of the best action movies ever made. You will be left speechless watching some of the fight choreography.

The movie is Indonesian with subtitles, so I'm not going to try to tell you any named actors because, well, I didn't recognize any! There is a plot twist that I did not anticipate, and that made the movie even more enjoyable. So, if you like your movies (like I do) to consist of a basic plot, tons of carnage, and LOTS and LOTS of action, this is the movie for you. It is unrated for lots of violence and language, but, really nothing you've haven't seen in many other movies. This one is just done WAAAAY better!! HIGHLY RECOMMENDED 8-20-12.

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Anyone that gives this film less than 5 stars is a complete moron. I'm so sick of nit-pickers that can't just enjoy a movie for what it is. This movie is awesome and a repeat viewer.

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Michael Clayton (2008)

'The truth can be adjusted' is the official tag line for this brilliant film MICHAEL CLAYTON, a film that deserves and demands audience attention to appreciate all of the layers of complexities of thought and message while delivering a slick, brooding, polished piece of cinematic art. First time director is highly regarded writer Tony Gilroy (The Bourne Ultimatum, The Cutting Edge, The Bourne Supremacy, The Bourne Identity, The Devil's Advocate, Proof of Life, Dolores Claiborne, etc) who understands the tension of suspense films and here adds to that entertainment element the key ingredients of social and philosophical statements. It is a film that works on many levels.

Michael Clayton (George Clooney, in one of his finest moments) is a lawyer with a major firm headed by tough yet compassionate CEO Marty Bach (Sydney Pollack, finally in top form as an actor), but Michael's position in the firm has been reduced to a 'fixer/janitor', a man who cleans up messes that are always part of legal cases. Michael is cool, brilliant, but is struggling with his own demons of gambling addiction, inherited debt from covering for his wasted alcoholic/druggie brother's failure as a restaurateur, and a divorced man trying to relate to his son. When a long term law suit against a major chemical corporation comes to a head, the chief lawyer for the case Arthur Edens (Tom Wilkinson) falls victim to the pressure of the case, and while he holds the key to the truths involved, he disintegrates into a manic depressive state. The chemical company's lawyer Karen Crowder (a brilliant Tilda Swinton) struggles to please her Board of Directors in a plea bargain that is backed by all manner of lies and crimes. It is Michael Clayton that persists in 'fixing' and cleaning up the case, uncovering a massive tragedy the company has been shielding. To say more (and there is SO much more to tell!) would spoil the development of this nail-biting plot.

Every actor involved in this film is superb, thanks in large part to the sensitive direction of Tony Gilroy. Clooney proves he is one of our more well rounded actors on the screen today, Wilkinson continues to prove his mettle as a character actor par excellence, and Swinton is so fine in this tough role that she leaves the audience staggering. Watching MICHAEL CLAYTON restores faith in just how fine Hollywood movies can be. It is sure to be on the list in many categories come Awards time. Grady Harp, October 07

George Clooney once again shows us the Hollywood powerhouse he is as lead actor and producer of this engaging film.

While the film is essentially well-written and extremely well-acted, it offers nothing new to the corporate thriller genre and most of Amazon's comments in their review are dead on accurate. The film is essentially a mystery that involves corporate baddies trying to screw over the little guy by covering up a danger to the public. We've seen this plot before in film's like Erin Brockovich. In addition, we have a conscience driven lawyer who is tired of defending criminals he knows are guilty and another lawyer who is burnt out from playing the firm's "Janitor" and now wants to find some moral ground to land upon. Both lawyers are seeking some kind of redemption. The first has a nervous breakdown finding it and the second is forced to find it as his life spirals out of control. This is very much like Paul Newman's Oscar nominated role in the fabulous film The Verdict.

The script is clever, but all too predictable by the final third of the film. In fact, as generally satisfying as the finale is, it is something of a letdown too. Things are wrapped up far too neatly for what was a complex film with deep round central characters. Clooney's character has his nature revealed to us slowly as if peeling a rotten onion. Each layer is ultimately unsatisfying until we get to the core which seems damaged, but salvageable. I certainly expect another Oscar nomination for him and it's well-earned here. Tom Wilkinson as the manic depressive attorney who has an epiphany that his corporate clients should not get away with what they are doing is a bit over-the-top and even stereotypical, but still convincing in the end. A supporting Oscar nod is not out of the question, but I think he would be undeserving of it. Contrary to a majority of the reviews here, even Tilda (The Chronicles of Narnia) Swinton's controlling corporate bigwig who lies to herself to justify her actions is a deeper character than most give credit for her being. Her avoidance of actually saying, "Kill (fill in the blank)" coupled with her sweating fit scene clearly demonstrates a believably conflicted individual. I would not be surprised to see an Oscar nod for supporting actress come her way. Even Sydney Pollack, sometimes director (but better actor), is very convincing here and he also serves as co-producer with Clooney. These generally terrific performances nearly make up for a somewhat flat ending.

Credit must be given to first time director James Gilroy who adapted the "Bourne" books to film and wrote the screenplay for this film. He handles his actors well in that he knows what he wants, but also trusts their instincts to deliver what they believe are their character's true emotions. His directing style in unobtrusive and that greatly benefits this particular kind of film. His lack of coming up with a more complex, less tidy ending is his only major flaw in this otherwise outstanding film that is certainly worth your trip to your local theater or Blockbuster when it becomes available on DVD.

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Tony Gilroy has already proven that he can weave/write a great story via his writing for the "Bourne" franchise. And the striking thing about "Michael Clayton" is how Gilroy has written ironic, conflicted, complicated characters that are at once "good" (and in the world that Gilroy has created here...this is in itself a term that is up for interpretation) yet are often bad as in unethical, mean, misanthropic. These characters can and do betray themselves and others: There's no one to truly love or hate, from Sydney Pollack's quietly devious law firm CEO, to Tom Wilkinson's holy madman of an ace courtroom defense attorney, to Tilda Swinton as a tricky senior partner in nice suits that peel off to reveal sweaty armpits and a gift for rationalization. Even our hero, Michael Clayton as portrayed by George Clooney is a loser: a 12 year veteran at his law firm who is utilized as a bag man, a fixer usually dispatched to do what amounts to private eye work.: cleaning up the firm's client messes. Clayton is a failure both professionally and personally: a failure as a father, brother, husband and Clooney strikes just the right notes here as Clayton struggles, fights to regain his dignity both as an officer of the court and more importantly as a father and a human being.

The central plot revolves around a large chemical firm's responsibility for sickness and deaths in a farm community and because Gilroy weaves and bobs among the big ensemble cast and among the various plot points, I was hard pressed to figure out just exactly what was going on for the first half hour. But this is to Gilroy's credit: he refuses to foreshadow or explain thus adding texture and ambiguity to the film.

Moral and social dilemmas multiply as "Michael Clayton" races to its exciting denouement: a denouement that satisfies both emotionally and morally. Yet all is not as it seems here as Gilroy manages to leave a small festering wound of deceit and decay not quite healed: ready to re-open and re-infect itself.

Read Best Reviews of Michael Clayton (2008) Here

"Michael Clayton" is a magnetic, engaging film, with a plot so intriguing that you find yourself absorbed within the first five minutes. Here's a story that can't be defined by a single genre; while it is above all a drama, so much more is being presented. Parts of it work like a thriller while other parts work like a social commentary, and these in turn make for a pseudo-morality play that requires a little extra observance on the audience's part. And that's a good thing, simply because not all stories should make everything clear. This film is intelligent, not only because the plot relies on strategic obscurity, but also because logical thinking is needed in order to understand it. This is not an escapist film--absolutely nothing will be hand delivered to us.

George Clooney plays the title character, and he gives Clayton a restrained yet powerful presence that was truly fascinating. This is no small task, considering the direction his life is going in: Clayton was once a highly respected trail lawyer, but his talent for negotiating has reduced him to take an unrecognized, poorly paid position. He basically does the dirty work for one of New York's most prestigious law firms, co-owned by Marty Bach (Sidney Pollack). Clayton cleans up legal messes by talking directly to plaintiffs and defendants and striking up deals. Clayton considers himself a janitor, a Mr. Fix-It, a miracle worker; he bends the rules in exactly the right ways to avoid exactly the right people. When it comes to other people's problems, he's the one everyone turns to.

But when it comes to his own problems, he needs a lot of help. A gambling addiction is established, as are financial problems--he owes quite a bit of money on a failing bar, which is co-owned by his drug-addicted brother, Timmy (David Lansbury). For obvious reasons, Clayton was forced to finance the business by himself, which required him to hock virtually every item he owned. On the bright side, he has a fairly good relationship with his son, Henry (Austin Williams), who greatly enjoys reading fantasy novels. Clayton drives Henry to school one morning, and on the way, Henry raves about the book he's reading, explaining each character's significance with childish zeal; Clayton listens, realizing that his son is actually giving an insightful description of life in general. It was a brief but wonderful scene proving how casual profound statements can seem.

The film's main focus is a legal dispute between Clayton's law firm and a chemical company (which happens to be Bach's most important client). Coming to its defense is Karen Crowder (Tilda Swinton), a litigator whose career depends on negotiating a multimillion-dollar settlement. But this will not be so easy to accomplish; attorney Arthur Edens (Tom Wilkinson) complicates matters by interfering with the case. He believes that the chemical company is responsible for poisoning the population, and he claims to have the evidence to prove it. Because his conscience is guilt-ridden over keeping his mouth shut, he loses his rational state of mind, becoming a manic, paranoid, and seemingly incomprehensible wreck. A severe emotional spasm was caught on tape--while at work in Milwaukee, he stripped completely naked, after which he ran through the parking lot.

Thus begins a taut, suspenseful, and compelling quest for the truth. Part of the quest leads to the discovery of Anna (Merritt Wever), a young woman who lost some of her family to the chemical poisoning. For some bizarre reason, Edens feels responsible for her, and he shows this through incessant phone calls and cryptic messages. Clayton is initially unwilling to believe anything Edens has to say, simply because he's acting erratically. But as the film progresses, he begins to question himself. Could Edens have been on to something? Is it possible that his odd conversations were more than mere ramblings? Was he sane, after all? Unbeknownst to Clayton, getting the answers to these questions will mean endangering Edens' life.

Crowder, meanwhile, is busy on her own quest, which turns out to be more stressful than she anticipated. There are key shots in this film showing her in panic mode: she hyperventilates in a hotel bathroom, her hands shaking, her armpits soaked with sweat. There are also moments of her standing in front of a mirror, practicing her speeches; most of these shots are inter-cut with actual meetings, in which a subtle yet significant lack of confidence undermines her delivery. Swinton made this character her own, turning Crowder into one of the film's most fascinating characters. A quiet desperation is visible on her face, and it's obvious that she's trying to hide it. She wants to be a professional: shrewd, capable, and strong-willed, unwilling to back down from a challenge.

The fact that I can gather this much from so few characters is a good sign. A clear, specific level of character development is vital for a film like "Michael Clayton," especially since the genre spectrum is broad. Well-defined characters make for a much more engrossing story; thank goodness this film includes a number of them. And despite what some people say, a complicated plot is not necessarily a deterrent. This film proves that some stories need to be richly detailed, if not for clarity, then for establishing the climactic finish. The ending of "Michael Clayton" is one of the year's most satisfying, a perfect blend of deception and emotional resolution. That alone makes the film worth recommending.

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***1/2

If "Michael Clayton" didn't seem like quite so obvious a rehash of Sidney Lumet`s "The Verdict," I might be inclined to recommend it more highly. The basic premise of both films revolves around a dissolute legal type who achieves personal redemption when he lands on the "right" side of a class action lawsuit. Since imitation is the sincerest form of flattery, the best thing to be said for the makers of "Michael Clayton" is that, if they had to find a movie to emulate, they at least chose one worth emulating.

Michael Clayton is no longer a practicing attorney himself but rather a "fixer" or "bagman" for a powerful legal firm, a man whose job it is to troubleshoot or run interference for any potential problems that might arise in one of its many cases. As with most such protagonists, Clayton spends so much time at his job that he doesn't have much of a personal life going for him: he's a divorced father with a serious gambling problem, a drug-addicted brother, and a failed business that has him in hock to the tune of $80,000. One of the firm's biggest clients is a chemical company whose powerful weed killing formula has allegedly resulted in serious medical conditions and even death for some of the farmers and their families who've come in contact with it. Clayton is called into action when the lead attorney for the defense suddenly goes berserk at a taped hearing, stripping off his clothes and launching into a Howard Beale-like rant for the other side. As he delves further into the case, Clayton undergoes a metamorphosis from cynical corporate water-carrier to enlightened populist do-gooder, finding personal redemption and fulfillment by helping the common man in his fight for justice.

"Michael Clayton" is, for the most part, a solid legal thriller, serious, intelligent and extremely well-served in the acting department. The "little man vs. vile corporation" theme has been pretty much played out by this time, but there are enough twists and turns in the plot and enough decent red herrings to keep us interested at least on a superficial level. The story goes through periods of murkiness when it isn't always clear what exactly is going on, but writer/director Tony Gilroy manages to straighten out most of the confusion in time for the finale. The moody score, bleak winter settings and dank cinematography all contribute to the chilly atmosphere that permeates the film.

In a role tailor-made for his acting style stoic yet heartfelt, rugged yet vulnerable George Clooney carries the weight of the film on his sturdy shoulders. The gifted Tilda Swinton doesn't fare quite so well with her character a ruthless, emotionally unstable career woman with no personal life and no romantic prospects, a character, quite frankly, that feels just a trifle out-of-date in the year 2007. Tom Wilkinson, Sydney Pollack and Michael O'Keefe excel in minor roles.

"Michael Clayton" is a proficient, professional legal drama that never cuts as deeply or touches the heart as profoundly as one would like for it to do. Still, compared to most other cinematic offerings around at the moment, this is substantial, if not exactly sumptuous, movie going fare.

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Hannah and Her Sisters (1986)

Woody Allen's "Hannah and Her Sisters" is the finest of the neurotic writer-director-actor's pictures. His prowess in weaving together complete characters and compelling storylines is as intricate as Altman, as artful as Renoir. Yes, those are "big movie terms," but are warranted in describing this bitersweet marvel.

Allen's command of the medium results in some terrific photographic shots, including the classic "camera-revolving-around-the-table" sequence featuring Hannah (Mia Farrow) and her sisters (Barbara Hershey and dynamite Oscar-winner Dianne Wiest), whose lives all seem to be going through very adult mid-life crises with their husbands, ex-husbands, boyfriends, and families. Michael Caine's work in this film also shines, and Allen himself is in his prime. The ensemble cast in this film creates an atmosphere that has you really believing you're watching friends and family, and not simply actors acting, reciting lines, a problem even the better "ensemble films" often face.

All of the elements in this picture --cinematography, classic jazz tunes, nearly-musical dialogue --are on ample display in a film rich with human warmth and big laughs. Although Allen's films are not for all tastes, this is a film that should very easily be enjoyed by nonfans and especially film students who can get a chance to see a virtuoso talent at the top of his form, not conforming by traditional storytelling and filmic norms.

Without a doubt, this is my most favorite of Allen's works. This film is an American classic, and it needs to be on the list of the 100 greatest American films. I, too, lament that it is no longer available--but thanks to the glorious Amazon.com, I was able, last month, to purchase this in an online auction. I now own this marvelous film whose themes range from love (what else? it's Woody Allen), to general despair and the search for God in an ostensibly godless and hostile universe, to infidelity (why not?), and infertility giving way to miraculous pregnancies (the last line of the film is, after all, uttered by Weis's character: "I'm pregnant" she tells a confused and then moved Allen); and, of course, there is that famous question students of Allen's must ask: "Do we have the right to think we deserve more or that we deserve to be happy?" I'll let the film answer that for you.

A brilliantly comedic performance is given by Diane Weist who plays Holly, the most boisterous and fame-driven of Hannah's sisters, and who fights so comically with Carrie Fisher's April over architect David played keenly by Allen fixture Sam Waterston (see Waterston and Weis in Allen's "September"; they're breathtaking together). Mia Farrow is adequate as Hannah--mother, stage actress, and Thanksgiving hostess--and Barbara Hershey leaves us cold as the much sought-after Lee. Bergman icon and Allen hero Max von Sydow gives an obvious performance as the angst-ridden artist in the 20th century (this was the 80s...) Allen also gives a brilliant but by now familiar comedic performance as hypochondriac and god-searcher Mickey Sacks. And Michael Cain is superb as Hannah's wandering husband, Eliot.

The film revolves liturgically around the seasons and around the most Protestant of holidays, Thanksgiving--the scenes were filmed in Farrow's real-life New York apartment (she talks about it in "What Falls Away," available from Amazon.com). Sophisticated jazz tunes fill the house from Hannah's father, played by Lloyd Nolan, and Farrow's real mother, Maureen O'Sullivan (remember her swim with Tarzan?) plays the reminiscent and libidinous mother--"just a boozy old flirt with a filthy mouth." These Thanksgiving scenes are designed splendidly--around the other seasons of the year--to show us each character's progression (or lack thereof).

The soundtrack (which I also own on tape, not CD, unfortunately) is what makes this film so splendid. Melodies swell up from the true American composers and musicians--Rodgers and Hart, Cole Porter, Count Basie. The film is haunted by two melodies serving as themes: "Isn't It Romantic?" and "Bewitched." These songs are woven seemlessly into scene after scene in moody and melancholy ways. This soundtrack is perfect for a rainy day.

If you ever find a copy of this film, snatch it up and treasure it forever!

Buy Hannah and Her Sisters (1986) Now

HANNAH AND HER SISTERS was recommended VERY, VERY highly by a fine arts teacher when it was first released in '86. He couldn't say enough good things about how wonderful the casting, the story and the humor made the movie a real treat. 15 years and at least a couple dozen viewings later, I couldn't agree more.

This movie is like comfort food. I have connected with the characters, Holly in particular (played wonderfully by Dianne Wiest, who won the Best Supporting Actress Oscar for this role)so many times that they are literally like old friends. The themes are common to everyday life and family, which doesn't make them a cliche, but more meaningful every time I watch.

There are moments in the film you can replay in your memory time and again: my favorite is the taxi scene when Holly is ruminating over her awful "date" with her friend April (another great performance by Carrie Fisher) and the architect, David.

I think this is one of the most well-cast films made by anyone, American or foreign directors included. Michael Caine, Mia Farrow, Barbara Hershey and Max von Sydow form a perfectly blended ensemble.

The DVD transfer is of average quality. The picture is crisp enough, but it doesn't look enhanced in the DVD format. It would be nice if the studio had included more than a skimpy essay on the film's production that is included as a two-page liner/note on the inside cover.

HANNAH AND HER SISTERS will make a great holiday gift for everyone, friends and family included this season!

Read Best Reviews of Hannah and Her Sisters (1986) Here

There is a scene near the end of this film where Hannah (Mia Farrow) and her sisters Holly (Dianne Wiest) n"Lee(Barbara Hershey) meet over lunch and the camera slowly circles them as they engage in a heated emotionally charged conversation that is one of the most poignant moments I have ever seen on a screen. All 3 of these actresses are just outstanding in this movie. Mia Farrow has some scenes where her emotions are so vivdly expressed in her words and her facial expression that it is in my opinion one of the finest performances ever.

The secondary story line features Woody Allen as Hannah's ex-husband who is completely neurotic and obsessed with iiness and death. However Allen is able to twist this to great comic effect. The story weaves back and forth between the emotional upheaval in the lives of Hannah, her husband(Michael Caine) and her sisters to Allen and his character's search for spiritual fullfillment. All of the characters are fully realized people , none perfect, and yet basically well meaning. (with the possible exception of Caine's character).

I believe this is one of Woody Allen's finest films and have viewed it repeatedly over the years. The only weakness is the ending which is a bit contrived but that is easily forgivable in a film that is entertaining, thought provoking and funny at the same time.

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I am a self-proclaimed Woody Allen fan but even for those of you who do not take to his exaggeratedly stammering, quivering, uber-NY personality ...this is a must see-movie. There is much lesser of the typical Woody you are used to -the neurotic vocal tics, the dry white whine -and a lot more of story in this movie than others I have seen of him. This is also NOT your archetypic semi-comic semi-profound study of contemporary relationships (e.g., Manhattan, Crimes & misdemeanors etc) in terms of stylistic treatment, which is quite refreshing.

I hesitate to regurgitate the script as other reviews have done so already, but I can bet you'll leave with several enduring scenes from the movie, including one where Micky (Woody's character) ends up in a movie house watching the Marx Brothers and realising the value of life, or the depiction of his hypochondria (a trait not uncommon among most urban city denizens, esp. New Yorkers). Other brilliant moments emerge when Mickey vows to convert to a religion that provides him the answers to life's big questions such as "what am I doing here?". So he wavers through a wide range of options from catholicism (much to the chagrin of Jewish parents and his interludes with his father are hilarious) to Hare Krishas dancing in parks and airports (which he decides to give up for fears of handing out flowers with a shaved head).

The acting all-round is superlative and as others would confirm this is one flick where you'll get to see a Michael Caine behind the cold British veneer that he is typically associated with otherwise. His promiscuity between two women is outstandingly potrayed.

Most people familiar with Woody Allen would still rate Annie Hall as the pinnacle of Woody, or Manhattan as his most iconoclastic, but this is a charming, funny, deep and entertaining film and a close second/third to Annie. Highly recommended.

(And contrary to some reviewers, I absolutely love the ending. Why should every story have a feel-goody ending?)

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The Crow (1994)

This DVD has it all, and is well worth the extra price. First of all there is a great movie. The Crow is a cult classic, but I don't mean to demean it at all by calling it one. Based on the comic book of the same name, The Crow has a great premise (a man comes back from the dead to avenge the death of the woman he loves) and is made well. It's a dark film made in muted, dark colors, almost black and white. The action sequences are great (after all, Brandon Lee is Bruce Lee's son). This would have been Brandon's break-out role if he hadn't died. It also has one of my favorite fight scenes, the shoot out at Top Dollar's. And Ernie Hudson is surprisingly good in his role in the film. And a great soundtrack.

The DVD is loaded with extras. There is commentary by Jeff Most (producer and executive music producer of the Crow movies) and John Shirley (co-writer of The Crow). Their commentary is almost as good as the film. You get a lot of insight into the movie, how it was made, and why certain choices were made. This is what DVD commentaries should be like. (It is a shame that Brandon Lee was unable to do a commentary, it would have been very interesting to see what he had to say about the film). Most's commentary is very informative and very entertaining. My only fault with the commentary is that there wasn't much on Brandon's death. I really expected to hear more about it, since it is such a huge part of the mythos of the film. Also on disc one is the DVD-ROM extras. There is the script that you read the same time the film is playing. There is a trivia game (which really isn't that great and is about the entire Crow franchise and not just this movie). You can also watch the "enhanced playback track" which has trivia and other features as the film plays.

In addition to the usual production stills, posters, and (five) story boards (one of those is the story board for the Shoot Out at Top Dollar's and it is very interesting to see), Disc 2 contains a Behind the Scenes featurette that runs about 15 minutes. It is not a making of, rather those involved with the movie (including Brandon Lee) discuss the movie and concept. There is a 30 minute Portrait of James O'Barr (creator of The Crow comic book) which is O'Barr in his basement talking to someone holding a video camcorder. You get a lot of insight into his life, his work, the movie, Hollywood, and where many of his ideas for The Crow came from. There is something called the Deleted Footage Montage, but it really isn't deleted footage. There is some deleted footage in the montage, but most of it is outtakes, alternate takes, behind the scenes footage, and what looks like scenes that weren't deleted from the movie. It's a touching `tribute' to Brandon Lee, but not what it should have been. And finally there are three extended scenes (The Arcade Bombing; Fun Boy Fight; Shoot Out at Top Dollar's). What makes these so interesting is that you see what the original footage was and how they edited the scene to make it move so fast paced. You see the decision process in removing unessential footage to keep the movie from bogging down.

So you have a great movie and some really good extras on this DVD. Definitely one that should be in your library.

For those of you don't know this movie is Brandon Lee's last. Tragically, he died during the last days of filming. This film would have catapulted Brandon Lee into major-stardom.

Knowing this only makes the movie darker, sadder, and more heart-wrenching.

Based on the comic book series of the same name by James O'Barr, the movie stays close to its comic book roots. Dark imagery, up-close shots, and stark contrasts add to the comic book feel and gothic look of the movie. The music in the film, both soundtrack and songs, convey thoughts and imagery.

The Crow is a story of love and revenge, loss and retribution. It is a portrait of the struggle between the pain of seeing the past, and the peace of gaining closure. Director Alex Proyas did a wonderful job of capturing this struggle on film.

While the bulk of the supporting cast is at the very least believable, Michael Wincott is disturbingly creepy as the main antagonist "Top Dollar." Ernie Hudson, here playing a cop who thinks he's seeing a ghost, delivers an even performance.

But the movie is ALL Brandon Lee. He brought his martial arts background and talent to this film and gave 200%. He was also the movie's fight choreographer. This means: sit up and watch!

This movie is 80% action, 5% comedy, and 15% heart-wrenching, tear-jerking tragedy. Be prepared to sit on the edge of your seat, and use up a box of kleenex.

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I never saw this originally in '94 because I dismissed it as A. a martial arts film (and I hate those) and B. adapted from a comic (and I just can't get into those) and C. aimed at a teen/goth/punk audience (and I am way too old for that). What a mistake! Finally almost ten years on, a friend heard me say I really liked Alex Proyas' DARK CITY -a neat sci fi film with a very different story but the same kind of dark fantasy look -and couldn't believe I had never seen THE CROW and made me watch it.

I have to say that I really think this is a fine, well made movie and none of my preconceptions were remotely correct. The art direction is brilliant, with a wonderful and creepy gothic fantasy look, almost but not quite black-and-white, set in a mysteriously surreal "Detroit" that is in some kind of alternate universe from the real Motown. Brandon Lee is really charismatic and haunting in the role of Eric Draven, and not merely because of the tragic incident surrounding the film. He was real star material and just totally inhabits this part.

After seeing the film, I did read the O'Barr comic, which is very sincere and heartfelt, but I think the filmakers -in what is a pretty rare event -IMPROVED the plot and characters while keeping all of the angst and atmosphere. They totally honored the character of Eric and the basic idea of the avenger, the memories of his beautiful girlfriend, and sense of overwhelming grief that inhabits the graphic novel. Where they impoved the storyline in cinematic terms is in the treatment of the minor characters and villians. They really fleshed them out, and it enriches the movie and balances the storyline well.

Bookending the film with quotes from Sarah (Rochelle Davis), the little girl who narrates and observes much of the story is an example of a good idea that doesn't really exist in the comic, where the little girl is called Sherri and only appears briefly. Even more so is the expansion of the character of Top Dollar, who again is a minor episode in the comic and more of a grubby hell's angel/drug dealer -in the film he has been transformed into a complex and compelling crimelord. Michael Wincott is simply amazing in this part, playing Top Dollar as a kind of depraved, satanic, renaissance prince, and clearly having a great deal of fun with this role, especially some wonderful and very clever dialogue. The very, very sick but quite sincere love story between Top Dollar and his psychic half-sister is the reversed-mirror image of the pure and innocent love of Eric and his fiance, a clever idea.

Wonderful music, great visuals, terrific acting...The Crow should NOT be missed.

NOTE: I bought the "Collector's DVD". Don't bother. There is NOTHING worth looking at on the second DVD, some production sketches and posters, nothing special. The director's commentary (on the first disk) is interesting to listen to ONCE, but you can get that on the single disk DVD. There is a smattering of extra footage, but nothing you will miss. Save some bucks and just get the one disk wide screen version.

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The Crow. Your link between the land of the living and the realm of the dead ... or in this case, your link between a really good movie and a couple mediocre sequels.

The Crow collector's series turns out to be a pretty good disc overall, with a couple unfortunate ommissions. The picture looks and sounds fantastic! The deleted scenes are great for anyone who has never seen them. The extended arcade games sequence shows us what truly "bad guys" these men are. I can't for the life of me figure out why they cut this scene down. The funboy extended scene was also great. It showed him going absolutely insane on drugs and you could see why he did the things he did. The shootout at Top Dollar's lair was the weakest of the three with just a few alternate takes and extended takes of the shootout, but it does have one great line delivered by Brandon that was not in the theatrical release. There is also a deleted scenes montage (similar to the one in Gladiator), which could have been great, but it looked like they put it together in about 5 minutes. Couple nice shots of Brandon though within.

The Jeff Most commentary is OK with some funny and interesting side stories, but he just talks and talks and talks. The point of a commentary is to tell little stories about what the viewer is watching at the time AND still be able to see and hear what is going on in the movie! Sheesh!

The most noticeable ommission from this dvd is NO DIRECTOR'S COMMENTARY. This is a real drag. According to David Schow, the main writer of the film, Alex Proyas had indeed completed a commentary for the film, which was to originally be included. There was some in-fighting between the producer, Miramax and Alex, which I won't go into, and ultimately Alex was pulled from the disc. VERY sad for the fans. Maybe in 2 years, for the Crow's 10 year anniversary, we will get a better disc with the Crow Chronicles and the Commentaries included this time. What do you say guys, can we put our feelings aside and do something for the fans for a change??

It would have also been nice to see the skull cowboy footage (shown very briefly in the deleted scenes montage) which is on the CD-Rom and also it would have been nice to see Brandon's "Complete" last interview. Even though this has been shown elsewhere, it's nice to have this stuff neatly packaged together. I hear that there is a moment where Brandon is talking about "safety" on movie sets and how no one should get hurt doing movies. Very eerie. No wonder Miramax won't give us this.

The featurette is not good. It's just a re-hash of interviews from 1993 with very little new material. This could of and should have been much better if the Crow Chronicles had been included, but it wasn't because of more Hollywood nonsense.

The James O'Barr interview is good and for the first time, James really opens up. He's just a little dry and uncomfortable in front of the camera, but if you can get past this, this is really pretty good.

Other extras: There are some alternate Crow poster concepts that were really cool to check out. I hope one of these shows up in auction sometime. The storyboards and conceptual art included was also neat to see, but ultimately a "one time" viewing in my opinion. It would have been nice to see some unpublished photos of Brandon and some behind the scenes stuff from on-set photographer Robert Zuckerman. I REALLY wish they would have included these. I don't have a dvd-rom so I was unable to check out the other goodies. I REALLY wish they would stop putting dvd-rom stuff on dvd's. Just put it on the disc so I can watch it all in ONE PLACE!!! Why do I have to watch most everything from my dvd player and then take the disc out and put it in my computer to see the rest? This has always been a stupid idea to me.

Overall this disc is worth it, but avoid the Crow box set. Crow: City of Angels has very little extras with no deleted scenes, so if you own it already, don't bother. Salvation is a good "rental" but ultimately not a very good movie.

ENJOY!

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Excellent box set... still in my top 10 over 7 years after my initial Amazon review. The O'Barr interview remains a treasured highlight, and City of Angels has even grown on me considerably over the years (can't say the same for the latter two films in the series).

Now if we could just get a restored, uncut version of City of Angels on the market...

With a third version of Highlander 2 available, anything is possible! :p

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Romy and Michele's High School Reunion (15th Anniversary Edition) (1997)

Who doesn't want to go to their high school reunion, and show everyone they look better then they did then with success beyond anyone's dreams? This laugh out loud satire of course takes it to the extreme, but it is a fun movie. As the movie switches back and forth between the present and the past, we see how they were tortured in high school. Mira Sorvino and Lisa Kudrow act well together with great screen presence. The supporting cast is priceless! Well done comedy!

Mira Sorvino and Lisa Kudrow are Romy and Michelle, two ditzy blonde friends who live together in LA. When Romy runs into a high school classmate (Jeanne Garofalo, at her finest) the two women decide to attend their tenth high school reunion. Michelle and Romy decide to fabricate lives for themselvessuccessful careers, boyfriends, etc., to impress the people they went to high school with.

Using "like" after "like every "like" word "like," the two drive a Jaguar from LA to Arizona, reliving memories from the pastincluding old crushes and avoiding the "A" crowd of popular girls. While at the reunion, a lot of things (some of them improbable, to be sure) occur.

Although not of the highest calibre, this movie is extraordinarily funny, light comedy. It reminds us of what was good (or bad) about our high school years, while making us laugh at the same time about the foibles of the past.

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Love that quote. I actually had mono in college and lost about 10 pounds, but I wouldn't recommend it as a diet. Anyway, my college roommate and I would watch this movie when fighting stress, trying to hide from stupid people at college, and for relaxation (which means that we watched it about every other week). A most necessary escapism!

The opening scene, in which R & M are making fun of "Pretty Woman" ("As if the salesgirls there aren't bigger whores than she is"...."i get so happy when they let her shop!") is pretty much evocative of the whole movie comparing themselves with other women, shopping for jobs and men.

Another great scene is when they're at the club, looking for suitable men, and Romy gets away from one guy with the excuse, "I cut my foot before, and my shoe is filling up with blood."

A wonderful movie in general, especially for individualists who were never part of cliques, who despise people that still grade others with shallow high school hierarchy systems.

Laugh outloud funny, and Janeane Garafalo's character is a perfectly independent blend of bitterness, sarcasm, and bitchiness. "This dress exacerbates the genetic betrayal that is my legacy."

Especially enjoyed the 80s high school flashbacks. Dressing like Madonna for the prom, happily basking in their fashion skills and originality (but of course Billy had to ruin it). When one of the A-list crowd put the magnets on Romy's back, it was so tragic. As Michele said later, "You couldn't help that you had scoliosis!" Duh! Bullies who pick on people for traits that they cannot change should be dragged out into the street and shot (Garfield used to say that, I believe).

The reunion itself is both sad and a relief. The post-it notes lie was taken advantage of by the knocked-up Chrissy, who should be a laughingstock herself just for being pregnant and having a husband who's an alcoholic and manwhore (and who was never cute, in my opinion). Well, she does end up a laughingstock by the end of the movie, when the wind from the helicopter blows up her dress. Ha!

Also, Chrissy never satisfied her dreams of becoming a news anchorwoman/weatherwoman because of marrying early (which is rarely a smart idea), effectively forcing herself into a little hole unlike Romy and Michele, who have lived as they wanted to live, have had fun even though they aren't "successful" in the eyes of the world.

Read Best Reviews of Romy and Michele's High School Reunion (15th Anniversary Edition) (1997) Here

Kudos to the other reviewer who mentioned why they don't attend High School reunions. I told my alma matar to put me on a do not call list but luckily I live 3000 miles away and my family left town as did I LONG AGO! The 80's flashback and songs carry this film. Romy and Michelle are an adorable duo who have lived their life on their own terms. Like many independent souls, the two were a pair of teenage girls who were desperate to fit in and only experienced social torture from the popular crowd. One very telling scene in the film was how one of their former tormentors, now a fashion editor for Vogue in New York, defended them against the former "hot girls" who still slugged them at the reunion despite being married (trapped), unhappy(of course), and pregnant (baggage). I agree, those who looked like shoe-ins for a life of success sometimes don't live up to their teenage glory.

This poignant moment reminds me of a Greek quote: "Whom the Gods adore they sent turbulence, turmoil and thunderbolts. Whom the Gods would destroy they crown with early glory"

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Almost ten years after the fact, "Romy & Michelle" endures as one of those personal Top Ten Feel-Good Movies that can be watched over and over with any kid or teen in your family, much like "Mrs. Doubtfire." When all else fails....

As a matter of fact, my college-freshman niece is receiving for Xmas this year a brand-new copy of the DVD and a stamper that says, "Let's Fold Scarves"!! R&M created traditions for us!

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Friday the 13th / Nightmare on Elm St / Freddy Vs (Triple-Feature) (2012)

ok the friday the 13th remake is the best movie of the set then freddy vs jason and then the worst of the bunch nightmare on elm street but all in all this is a great set the picture quality is top notch on all the movies and the 5.1 lossless sound is amazing if you have the system for it so if your a fan of jason get this set !!

excelente pelicula, muy escalofriante y con bastantes momentos de terror, lo mantiene a uno sentado esperando loq ue sucedera a continuacion.

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3 of the best movies ever great quality too, freddy vs jaos 5 out of 5, nightmare on elm sreet 5 out of 5 and fri the 13th 5 out of 5

Read Best Reviews of Friday the 13th / Nightmare on Elm St / Freddy Vs (Triple-Feature) (2012) Here

Friday the 13th remake Terrible!

Nightmare On Elm Street remake Even Worse!

Freddy Vs Jason turns 2 of America's most popular horror creations into comedic cartoonish versions of themselves.

Now you can have all three of these jokes of films on a BluRay together!! The only thing I don't understand is why this item is listed under Horror rather than Comedy.

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