How to Lose a Guy in 10 Days (2003)

Kate Hudson plays Andie Anderson a columnist for Composure magazine. Even though she has a degree from Columbia, she is stuck writing a "How To" fluff piece for the magazine. Her latest assignment is to pick a guy, and do all the stupid things girls do to chase a man away. "How To Lose A Guy In 10 Days" is Andie's next challenge to write. Ben is the perfect man for her column!

Matthew McConaughey plays Benjamin Barry an ad executive wanting to break into a market he has never represented before. To market diamonds, his boss believes you have to understand what true love is, so Ben has to make a woman chosen for him, fall in love with him. Of course, Andie is the women Ben has to woo.

Kate and Matthew have so much chemistry on screen that they sizzle. This is such a fun movie. There are many funny moments, and some touching serious ones. You will want to see it over and over again.

A film by Donald Petrie

Here's a highly predictable, yet cute romantic comedy. I have to wonder if these sorts of situations actually occur in real life, but they seem to happen all of the time in the movies. Andie Anderson (Kate Hudson) is a columnist at Composure Magazine. She writes the "How To" column intended for a female audience (Composure is similar to Cosmo or Glamour). The column she agrees to write for the current month is "How to Lose a Guy in 10 Days". She has to find a guy and start dating him, but intentionally make all the classic mistakes that women make in relationships. These mistakes will cause the guy to dump Andie in 10 days or less, which is just in time for Andie to finish her column and get it published.

Benjamin Barry (Matthew McConaughey) works in advertising. He is very good at what he does, but he is known for working on "guy" related campaigns. Ben wants to land his company's largest client, a diamond company, but he is seen as not having the right expertise and style for it. Ben is very good at selling himself and convinces his boss that he can get any woman to fall in love with him (being able to do this is similar to being able to sell diamonds, apparently). His boss gives him ten days, until a party that his boss is throwing for the new client. Benjamin has to be able to prove to his boss that the woman he brings to the party has truly fallen in love with him.

Out of all of the people in New York City, Andie and Ben are going to meet at the perfect time to start dating and try to work out their conflicting assignments. How this happens is moderately clever, and is actually believable if convenient. Andie tries to get Ben to break up with her, though in a cute non-threatening way. Ben is trying to get Andie to fall in love with him, so is willing to put up with everything that Andie throws at him.

"How to Lose a Guy in 10 Days" is incredibly predictable, but it is still an enjoyable movie. Nothing is a surprise, but it is cute and slick and Andie and Ben are two very likable characters. Sure, the movie is not very plausible and not very realistic, but cuteness and likeability goes a long way.

-Joe Sherry

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"How to Lose a Guy in 10 Days" is a truly delightful little movie. It's packed full of laughs and fun and boasts a great cast that gives it the edge over the slew of romantic comedies recently released.

Ben (Matthew McConaughey) makes a bet with his boss that he can get a woman to fall in love with him in ten days to land a valuable advertising campaign (don't ask questions, you'll understand when you see the movie). Andie Anderson (Kate Hudson) is the "How To..." columnist as the hot new women's magazine, Composure. The topic of Andie's next column? How To Lose a Guy in 10 Days, hence the name of the film. If Andie writes the article, her boss, Lana, will give her complete freedom on the topics she writes about Apparently Andie wants to write about "serious" issues. That's great, hon, but why are you working at a glossy fashion mag if you want to write articles on global issues?

Of course, Ben and Andie see each other at a bar and coincidentally choose each other as their "victims". And then you know what happens...

Kate Hudson is an absolute gem! She is sweet, funny, and completely adorable. The audience genuinely likes Kate Hudson, and thus sympathizes with Andie. A big problem with most romantic comedies is that the characters are so dislikable that you don't really care what happens to them. Kate Hudson was able to prevent that.

McConaughey was fine, but I firmly believe that he doesn't really act in films, just plays himself (he plays the same kind of guy in almost all his movies).

Ever noticed how most romantic comedies are really quite funny until they reach that inevitable stage when the two stop hating each other (or whatever was holding them from love) and fall in love? Take McConaughey's "The Wedding Planner" (another film in which McConaughey plays himself), which I thoroughly enjoyed until they fell in love. "How to Lose a Guy in 10 Days" blessedly does not fall under this category. The film is consistently funny through and through and never gets boring.

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Why review this movie? For the simple reason that I was stuck on an airplane for hours with nothing to do. Against my better judgment I decided to check out this 'romantic comedy', a genre that has become a breeding ground for garbage in the past 20 years or so.

Should have known better. If we want to call romantic comedies genre films, then this has all the pieces. And like many genre films these days, it sucks, made of half-baked ideas or the same old ingredients baked to nauseating results. Here's a movie about two people you would never know: he works at a super cool ad agency and has the type of office no one you know has, she works at a Cosmo-like magazine writing vapid columns for vapid people in a vapid office. They both make bets with their respective bosses: he'll get a girl to fall in love with him in 10 days, and she'll get a guy to dump her in 10. Want an easy solution to lose someone in a weekend? Start here.

The characters are happy, beautiful people living in impossibly large Manhattan apartments in your typical romantic comedy New York (which means full of rich, pretty people and none of the grit of the real city). They make a bet that they can basically ruin someone for the sake of their jobs, both of which are appropriately hollow professions (he is trying to sell diamonds to more women, she is doing columns for your typical New York society ice queen boss). Of course this means we'll see him be the nicest guy on the planet (cooking, court side Knicks tickets )for her while she tries to make his life a living hell (buying a puntable little dog who does his business on the man's pool table, interrupting his poker night, etc.) But of course, he has to try and work it out as his job depends on it. Meanwhile most men would have booted her and the dog in a jiffy.

The movie flat out insulted my intelligence. It has the obligatory scene where he takes her to his humble beginnings, which in this case is Staten Island, a place they want to portray as more down to earth, romantic, homey, etc. Blah. Kate Hudson may be nice to look at but she has none of her mother's famous expressions and in general, she has about half the talent. Matthew Mc-whatever is his same down-home nice guy.

Romantic comedies do not have to be this sappy and cheesy and insulting. Movies like this border on contempt for audiences. Who can relate to these characters? Who cares in the end? I guess it's a safe investment for a studio. Avoid, unless you want to lose more respect for Hollywood in two hours. And if you're stuck on a plane, ask for a gin and tonic and go to sleep.

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... Start with a good script that includes a twist, and add good acting and as much humor as possible. This movie has these elements. Kate Hudson plays a "How To" columnist for a fluffy women's mag, but she really wants to write about serious subjects. She is trying to impress her boss (Bebe Newirth) enough to earn free reign on her writing. In this process and after her coworker whines incessantly about being dumped, Hudson opts to write a reverse How To on what turns guys off. She must find a guy that will fall for her, then do everything that women do wrong in relationships. Concurrently, Matthew McConaghey plays a sharp-shooting, go-getter ad exec who has thus far worked predominantly in the sports arena. He would like to break into the very lucrative world of jewelry. What stands in his way? Two lovely ladies who believe they can do it better, and have the ear of McConaghey's boss. McConaghey makes a bet that he can make any woman fall in love with him in 10 days, in order to prove his adeptness at knowing and being able to speak to the female mind. His opposition, having overheard Hudson's latest assignment, pick her seemingly randomly as McConaghey's target, thinking he's sure to lose. This is how the couple comes together. The rest of the movie is how they come apart ... and it's funny. Actually, it's almost uncomfortably funny. Your sides will split in laughter in parts of the movie. Plus, you'll wonder how Kate Hudson ever managed to get through the embarrassingly funny things she did in her attempt to scare off unsuspecting McConaghey. Kate's performance is perfect. In the end, as you just have to know, the truth unravels with the unwitting help of McConaghey's sidekicks. All in all, this movie has everything ... a good plot, good acting, lots of laughs, and ample chemistry. This one is a must for the avid romantic comedy collector. (and guys should like it too)

As for the DVD itself ... The deleted scenes aren't bad to watch, but the movie wasn't missing anything for having left them on the cutting room floor. I don't know about you, but I never really get into the lengthy commentaries so I haven't gone there to speak about it.

Safety Last! (Criterion Collection) (1923)

Although he is generally considered the equal of Charlie Chaplin and Buster Keaton, Harold Lloyd's films are much less widely available--with the exception of SAFETY LAST, which turns up with great regularity at film festivals and on cable television. Like most of his films, SAFETY LAST finds Lloyd struggling to make good in order to win the girl of his dreams (in this case his actual wife, actress Mildred Davis)--and when the big boss offers a thousand dollars for a promotional idea that will draw hundreds to the store, Lloyd suggests a human fly act... but at the last minute circumstances go awry, leaving Lloyd to make the climb himself.

While the first half of the film abounds in brilliant, hilarious sight gags, it is Lloyd's climb up the skyscraper that is best remembered: attacked by pigeons, entangled in a net, running afoul of a mouse, and ultimately hanging from the hands of a clock face hundreds of feet above a cheering crowd. Filmed without stunt-doubles or such devices as rear-screen projection, the squirm effect of the sequence is still tremendous--and the film is all the funnier for it. Always wearing his signature straw hat and round-frame glasses, Lloyd's eager optimism personified the go-getter mentality of the 1920s, when the sky seemed the limit and progress hadn't yet gone on too long. If you are a fan of silent film but have not yet encountered Harold Lloyd, SAFETY LAST is the perfect introduction--and an essential for your collection.

Okay, when we think of Harold Lloyd we think of the famous image of him hanging onto the hands of a clock outside a building, right? Well, this is where the shot was taken from. "Safety Last" was one of the few Lloyd comedies I actually saw when I was younger. I mostly saw his short 2 and 3 reelers growing up. But, I happened to see "Safety Last" on tv yesterday. It's been about 15 years since I last saw, and I was still amazed.

"Safety Last" tells the story of a couple in love (Lloyd and Mildred Davis). Lloyd is going to become a big businessman so he can marry the girl of his dreams. As soon as he gets enough money he will send out for her to come. At best Lloyd gets a job as a salesman making $15 a week. In 1923 I'm guessing that was pretty good, but, even by those standards not enough to get married on. So, naturally like any man would do, he lies to his girlfriend pretending that he's doing much better than he actually is. He goes without eating so he can buy her a chain. He writes to her everyday of the week dreaming of the day they can be together.

Feeling she has waited long enough for Lloyd, Davis decides it's time for her to go to him. Thus making things worst for him due to the fact she visits him at work! But, as fate would have it the department store where he is working is looking for a scheme to draw costumers. And Lloyd gets a great idea that will earn him $1,000!

Okay, I feel I have to commet on the building climbing piece. It is one of the most daring scenes I have scene in comedy history. Now, I know that no harm came to Lloyd making shooting that scene. I know he survived the making of that scene and went on to make other movies, but, I became so caught in the moment that my heart was in my throat. I was sitting on the edge of my seat. Everytime it seemed as if Lloyd would fall off the buliding I jumped lol. I kept thinking to myself, "Why did he do this?!" "How did he do this?!" "How did they shoot this scene?!!" You forget that it's only a movie. because most of us know that Lloyd did his own stunts. It really is something everyone has to see.

Would I say this is his "best" movie? No, to be honest I don't think so. Do I think it's one of his funniest? Sure. It's right up there. I also think it's one of the best comedies not only made in it's day, but of all-time. So go out and buy it.

Bottom-line: Probably Lloyd's most famous movie due to the "thrill" scene at the end. One of the best comedies of all time.

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Harold Lloyd is without question the funniest and most daring filmmaker of his day, if not the entire 20th century. SAFETY LAST is a classic example of Lloyd's films: an average, All-American boy, full of optimism and hope, finds himself in a simple mixup that quickly multiplies with hilarious complexity. When SAFETY LAST first debuted in theaters in 1923, audiences literally fainted while watching the stunts Harold performed, and they are no less powerful today, for they were all filmed without the aid of special effects. He made more films than Charlie Chaplin and Buster Keaton combined, but has been all but forgotten by late 20th century film lovers. SAFETY LAST is only one of the multitudes of fantastic movies this genius made, and if you're not impressed when you see it, remember this: due to a stunt accident early in his career, Harold Lloyd lost his thumb and index finger on his right hand. All the stunts you see in SAFETY LAST including the infamous skyscraper climb were done with the use of only ONE complete hand! If you like SAFETY LAST (and I'm sure you will), I also highly recommend GIRL SHY, SPEEDY and HOT WATER, just to name a few.

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The LA Conservancy has a great pdf document on how SAFETY LAST was filmed. It was very clever how perspective tricks were used to make it look like Lloyd was actually dangling over a downtown LA street (you knew he wasn't really...). Google "laconservancy.org/tours/HaroldLloyd" and you'll be rewarded with photos of the locations as they look today, plus fascinating information on the filming of this comedy classic. Pages 7 and 8 show specifically how the clock scene was shot. Makes a terrific addition to this film.

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Anyone who knows anything about cinematic history knows that the payoff in SAFETY LAST is Harold Lloyd's harrowing and comedic exploits hanging from the hands of a clock on the side of a building high above the city streets. As many times as I had seen excerpts from that sequence in various places, I had never seen the movie in its entirety until now.

Harold Lloyd was a comic genius. The story is simple enough--boy goes to the big city; boy lies to girl about how well he is doing; girl comes to the city to surprise boy--but the movie is so rich in site gags that it is truly enjoyable throughout. Because this is a silent film, the comedy is physical and universal and appealing even to the jaded sensibilities of the present day.

Lloyd plays "The Boy," a fresh-faced country lad who bids "The Girl" (Mildred Davis) farewell in order to pursue his dreams of riches in the city. When he arrives, however, he lands a job as a lowly sales clerk, and it is a daily struggle for him to avoid being fired. Bill Strother plays "The Pal," The Boy's roommate and compatriot in misery. The Pal, as a construction worker, has a talent for scaling tall buildings. When The Boy's boss offers $1000 to anyone who can draw shoppers to the department store, The Boy proposes a human fly stunt (by The Pal) to bring in the crowds. Unfortunately, The Boy unintentionally draws the ire of "The Law" (Noah Young) onto The Pal. As the time for the stunt draws near, The Boy needs to start climbing, at least until The Pal is able to shake The Law.

Even after seeing excerpts from this scene hundreds of times, the clock-hanging sequence in SAFETY LAST is utterly breathtaking, more so when you consider that (evidently) no special effects or trick photography was used in the filming. The impact of this scene, therefore, is so much more powerful than any analogous scene in a modern film could ever be.

SAFETY LAST is a classic and important film in the history of cinema, but one that is surprisingly accessible today, considering its age. It should certainly be part of any serious film buff's video library.

Jeremy W. Forstadt

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The Buddy Holly Story

I'm a huge fan of Gary Busey, who may not be a "star" but is nevertheless a great actor. This is by far his best performance, & I feel he deserved the best actor oscar more than Jon Voight (who won for Coming Home). Few people know that Busey was a musician before he was an actor, so in this awesome musical biography of Buddy Holly we get to see just how talented he is. The film is mostly factual, although some screen characters are actually composites of two or more people. The energy in Busey's performance is what makes this a winner. Not only did he sing, he did it while being filmed live! That's what gives this such a realistic look to it & it's why this stands out among the other musical biographies as one of the best. There was also a lot of unscripted dialogue that makes this even more entertaining. The best thing about the dvd is the hilarious & very informative commentary from the director Steve Rash & Gary Busey, which is almost as good as the film itself! This is an excellent tribute to a lengendary rock & roll icon & it won an oscar for best score adaptation. Do yourself a favor, add this great film to your collection!

This is not a huge hollywood production with slick lighting and camera work but rather a small production that almost has the feel of a cross between a home movie and a TV movie (in a good way). What this movie does so well is celebrate life, and simply follows a character with passion and drive. It's inspiring to see someone follow their dreams relentlessly and that is what the filmmakers have tapped into here. We all know how Buddy Holly's life ends (so if you don't know don't read on), but the movie never even shows a shot of the plane because that is not what it's about. Top this movie off with Gary Busy's performance which is even more impressive when one learns he did all the singing in this film live (he did not lip sync any of it!).

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I think this is a fantastic movie. Gary Busey did an excellent job portraying Buddy Holly. Though I am aware that not every detail of this movie is 100% factual, it still makes the audience love and care about Buddy and his music. This movie is truly a must for any music fan.

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I think the most important thing about "The Buddy Holly Story" is it captures the essence of it's subject, the time it is depicting, and the burgeoning rock'n'roll movement. The most glaring innacuracy is the names of the other Crickets, Jerry Allison and Joe Mauldin, being changed. That quibble aside, this film is simultaneously important, yet thrilling, because it celebrates the artistry of rock's premiere pioneer(sorry, Elvis). Gary Busey doesn't merely portray Buddy Holly, he is possessed by the spirit of the man. Though he doesn't necessarily duplicate the vocals of Holly, he has the essence of them down pat. Credit too has to go to Don Stroud and Charles Martin Smith as the other Crickets. This trio actually feels like a working band. I read some of the other reviews that take issue with the film for it's inaccuracies. The truth of the matter is alot of the fabrications in the film were the result of legal wrangling and not a deliberate attempt to falsify the facts. The most important thing here is the film celebrates the man, his creative processes, and the music. If this film moves the uninitiated they can seek out the true story. In conclusion,"Hail! Hail! Rock'n'Roll!"(Oh, that's Chuck Berry.)

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You become accustomed to Hollywood taking too many liberties with the actual stories of the famed and infamous alike; in music, you could ask Glenn Miller, Benny Goodman, and the Dorsey brothers, all of whom had their life stories sentimentalised and bowdlerised to the quick once Hollywood got its mitts on them. Likewise with Buddy Holly. The liberties taken with the Texas rock pioneer's actual story may have made for audience-gripping moviemaking, but history has its claims as well and there was no need whatsoever to gussy up the Holly story, unless someone figured that because he was one of the few early rock stars who could claim a background of reasonable stability and, for the most part, parental support and empathy, Buddy Holly as a film subject would have been as boring as Buddy Holly the musician was exciting.

But there remains one reason to indulge "The Buddy Holly Story" after just over two decades Gary Busey's performance as the long tall Texan with the thick-rimmed glasses, the toothy smile, and the deceptively gripping songs and rippling guitar style remains one of the most unpretentiously electrifying you will ever see given of an actual music star. Busey made a very credible Holly, both when cranking out his versions of Holly's signature music and in portraying the shyly confident young man offstage, and it remains the most earnest and thorough performance of Busey's career; it garnered him an Academy Award nomination as Best Actor and he deserved the nomination. He played every facet of Holly the musical confidence, the unprejudiced amiability, the striking romantic (slightly twisted though the scripting is, it is nevertheless true that Buddy Holly really did ask his girl friend's aunt, who'd raised her, for her hand in marriage), the enthusiastic performer with a surety and a thoroughness he's been hard pressed ever since to equal.

Holly himself might have been spinning in his grave over the telling of the story and it only begins with the point that even the uninitiated knew (and know) that the Crickets were a quarter for most of the time they worked with Holly. But Holly might yet have said of Busey that he'd done him justice in spite of what he had to work with, even if he'd wished Busey could have delivered that justice in a more appropriate presentation.

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United 93 (2006)

In 2006 two major motion pictures about September 11, 2001 were released. One, WORLD TRADE CENTER, was a film from Oliver Stone about two first responders who were saved from the wreckage of the World Trade Center. Though WORLD TRADE CENTER is a good and solid film, it does not reach the achievement that Paul Greengrass was able to do with UNITED 93.

Filmed in a style that seems to be a dreamy cinema verite (though every moment on film was carefully constructed), UNITED 93 tells the story about the one plane that went down on September 11th that didn't hit its target. United 93 was supposed to have crashed either into the White House or the Capitol Building, but because of the bravery and courage displayed by the men and women on board, the plane never reached that area and crashed in a field near Shanksville, Pennsylvania. No one alive can say exactly for sure what happened aboard the plane that day. However, UNITED 93 does an incredible job of recreating what possibly happened.

Paul Greengrass and the filmmakers spent an incredible amount of time talking with the family members of those who died. They listened intently to the tape recordings on board the plane and messages left behind. I'm sure that hundreds of hours of research went into creating the film and it shows on film. No big name actors were cast in the film and many of the smaller roles were played by people who had actually been involved somehow with United 93 on September 11th. It is an ensemble cast of the truest kind.

I was deeply moved while watching UNITED 93. The outcome is already known before even putting the film into the DVD player. Yet, the foreknowledge takes nothing away from the experience. The people on the plane reminded me of some of my own friends and family members and even though I knew they were going to die, their actions as portrayed in the film gave me hope. UNITED 93 is a powerful piece of cinema, testifying to what ordinary people can do when faced against extraordinary circumstances. The Academy might have ignored it, but UNITED 93 is the best picture of 2006 and a fitting tribute to the men and women who died that day.

The DVD includes a commentary with Director Paul Greengrass which I found much more interesting, intriguing, and thought-provoking than many other commentaries I have listened to. There's also a short documentary entitled "United 93: The Families and the Film" that interviews family members of those killed and their reactions to the film. Finally, there is a biography page that includes a small picture and a written biography about the 40 people on board (not including the hijackers) who died because of the hijacking.

September 11th 2001, 4 planes were hijacked, 3 of them reached their targets, UNITED 93 is the story of the forth.

JFK said "We must never forget that art is not a form of propaganda; it is a form of truth." After 9/11, many artists chose to respond to the horror and tragedy of the events in the way they knew best through their craft. They drew their own line offering photographs, sculpture, paintings, poetry, and film that commemorate that day. Their work, good or bad, will forever be a part of those events. So timing and quality is important. At just under 5 years since the destruction of the Twin Towers in NYC, and the crash of United 93 in a Pennsylvania field, is the time right. Maybe, it will never be right. "the Flight of United 93," although approved by the familes of the passagers, might be a story not yet ready to be told, or more accurately it might be a story not ready to be heard and seen. With public opinion of the handling of the War down, maybe the time is right for a film that depicts the courageous actions of passengers on the fourth hijacked plane.

Director Paul Greengrass thoughtfully undertakes the unenviable task of telling this pivotal chapter in the events of that tragic day. Greengrass, director of THE BOURNE SUPREMACY shoots UNITED 93 almost virtually in realtime as all 40 passengers and crew gather the morning of Sept. 11, 2001 to board United's flight from Newark to San Francisco. Along with the 40, are 5 men planning to use the plane as a weapon against the U.S. Capitol. Once it "becomes clear" that a hijacking has occurred passengers begin to sneak mobile calls, saying their goodbyes, but also discovering that 2 planes have already been rammed into the World Trade Center, confirming their worst fears. The passengers see no other choice than to risk confronting the hijackers to gain control of the plane. Greengrass, along with his superb cast and crew, reconstruct the events from factual information gained from cell calls, flight recorders, the memories of families and ground controllers. Casting of mostly unknowns adds weight to the film, intensifying the haunting reality of the situation.

This is no TV movie of the week. It is urgent, edgy, moving and ultimately a fitting memorial for the heroic passengers of flight United 93.

Approved by the families of the passengers, a portion of proceeds goes to the FLIGHT 93 MEMORIAL FUND The film was well received when it premiered at the Tribeca Film festival.

Rated R for language and scenes of terror and violence.

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At first I didn't think I could watch this film (a sneak preview), it was a horrendous day for everyone in the USA . At last, I prepared myself to watch United 93. This is a frightening reenactment of what could have happened on the airplane that didn't make it's intended attack on Washington DC. It has always been easy for me to sit thru a fictional horror film or thriller. Because we know it is make believe and it is for entertainment.This movie strikes a new chord on the human soul. I didn't think I could handle it. But I am glad I did choose to see it.There were people who thought this movie should not be released.

Let me assure you. You will not leave the film depressed. It is uplifting in a way. Because of the heroic actions of the Americans in the film. It makes you proud to be an American. I highly recommend seeing it. Even for the families of the people on the plane. The director turns each passenger into a hero. It won't be easy to watch. But you really shouldn't turn away from this film.

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devastating, deeply emotional experience. difficult to watch but very necessary. every american should see it, because as painful as it is, we must never forget. united 93 is for the most part seen from the point of view of the air traffic controllers, the miltary, and most dramatic of all, inside flight 93. and best of all, there is no political agenda whatsoever. but be forewarned, the final 15 minutes of the film are excruciating and heartbreaking to watch, especially when you hear the words "let's roll", you know what's coming. I realize there is some speculation as to what happened on board the flight, however I think this is an accurate account of what took place. I've been in audiences before at other films and heard a scattering of applause at the end. not so with united 93. most of the audience applauded, and it made my heart swell with pride to be an american, even amongst such tragedy. the spirit and resourcefulness of your average american on that doomed flight came through beautifully. not entertainment in the traditional sense but still a powerful, documentary-like film, 10 stars.

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As we approach the end of 2006, everyone releases their pick for the top films of the year. I do the same thing as I assess the movies that I've had the pleasure of viewing, either on the big screen or on DVD. This, in truth, hasn't been the strongest year--but I've had my share of surprises. While many of the blockbusters actually surpassed my expectations with unusual depth or sheer adrenaline, it is many of the smaller films that lingered in my memory. "United 93" was a moderate hit at the box office and received pretty universal critical acclaim, but there was not much expectation that it would fare well come awards season. It was released very early in the year which is usually problematic. However, to my delight--the film is being remembered and honored as one of the year's top films.

"United 93," for my money, was the best film of 2006. Sparse and powerful, this docudrama took about 90 minutes of real time to unfold one of the most matter-of-factly harrowing and heroic episodes put down on film. Far from being a political diatribe, the film documents a real humanity and the commonality that pulls ordinary people together in a time of crisis. Offering almost no commentary, "United 93" just presents the facts of situation about the ill-fated flight. Reconstructed largely from actual participants and phone records, this is about as close to reality as a narrative film can get.

In an audacious decision, director Paul Greenglass does not ask that we know the passengers or ground crew as individuals. You see them in brief, slice-of-life moments as they ready themselves for the day--but there is no backstory, no manufactured drama. It's just a cross section of regular men and women doing mundane things on what will become a most extraordinary day. You will start to know some of the individuals from their actions and their responses, but the film doesn't offer anything extraneous. This simplicity and lack of ordinary storytelling convention sets "United 93" apart.

By allowing an objective viewpoint, the film achieves a power that is more inherently real than 99% of scripted films. There is an honor and dignity at work here that's quite unexpected. Even though the film plays with a documentary feel, it ends up almost impossible not to envision yourself in the same situation. As such, "United 93" strikes a real and resonant emotional chord. It's easy to only accept this film as a poignant document of that day and a tribute to those involved. And that it is. It's also easy for those who wish to dismiss it as "too soon" or as a cover-up to conspiracy theories to do so. But what I don't want to get lost in any political debate is the fact that this is also great filmmaking.

I was more affected by this film emotionally than any other film of the year. And I have reflected on it more often than any other film this year. For those reasons, whatever happens at the awards, "United 93" is easily my choice for best film of the year. Heartbreaking, Intelligent, Horrifying, Uplifting--It's perfect. KGHarris, 12/06.

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Swingers (2011)

Swingers could be a hip movie, a Guys movie, great-sagacious-advice movie, a warm-amusing movie, this-is-what-friendship-is-about movie, or simply one of the most facetious for-a-lark flicks of the 90s. But whatever tag you wish to stick on it, this honest, low-budget humdinger from Liman is very very "money"!

Top 10 reasons to get your hands on this movie now:

(1) It's fast-paced, well edited (not one wasted scene) and frequently laugh-out-loud funny. If you hear people dismiss this as an inconsequential narrative about a "bunch of losers trying to get laid", I'm afraid they just have not watched the entire movie. I am not into the "Spy who shagged me" genre of humor, but this movie will truly grow on you.

(2) It'll ring a bell with almost anyone, particularly guys. Mike -a crestfallen loverboy (Jon Favreau) is in the throes of a breakup, and his confidence has hit rock bottom. (Sidenote: Favreau is a very ordinary looking guy, which in fact imho is the power of his character.) Under the aegis of his friend Trent (Vince Vaughn, in top form, a lot better than his controlled acting in, gulp, The Psycho) Mike re-learns how to get back up on his feet and take reins of his life/emotions again. While this happens, we are treated to a bunch of every-day faux pas that we all can identify with in a blink. Interested yet?

(3) The boys' camaraderie is infectious. If you watch this movie with friends -and this indeed is the best way to watch it! -you'll know what I mean. This has to be one of the most honest portrayals of relationships between friends -both the lover and the platonic variety.

(4) Call me weird but I loved the sound track, a delectable blend of underground jazz and triphop.

(5) Some of the "get back on your feet" dialogue for Mike is truly marvellous, and makes for better, more down-to-earth, more inspiring advice about life and relationships than Dr. Ruth and Oprah put together.

(6) An interesting look at the Los Angeles we never see in films, the underground life of the struggling actors and writers and less glamorous people, not living in Malibu opulence as seen in other weaker films.

(7) Some great Sega Genesis NHL ice-hockey "footage" (to use a dignified term) and an unusual preview of seeing Gretzky's head knocked.

(8) This is to men what "Sex and the City" is to women. (Ok, SATC has had a lot more time than Swingers to entice us with the workings of the Modern Woman, but you get the idea)

(9) A wide assortment of one-liners for you to conveniently plagiarize from. Not seen in a single movie since Roxanne with Steve Martin.

(10) Oh, and it's so laid back, its horizontal. No spiffy visual FX, no crash boom bang, no cheap frills. But still a high handsome homerun.

Required Viewing.

It's shocking to see, here on Amazon, that this movie only grossed $5 million in the theaters. Swingers has gone on to become an incredibly popular movie. It made Vince Vaughn's career as an actor and defined Jon Favreau's career both as an actor and as a writer.

This is the kind of movie that every man can relate to on at least one level. Most men can probably relate to both of the main characters: each representing one side of us in our dealings with women. On the one hand, the sensitive man who isn't afraid to reveal himself and on the other hand, the player, who doesn't have any pretentions and makes no apologies for his brash behavior. Both are real and both have their pros and cons. They are both well-represented in Swingers.

I first saw this movie when I was about 17 years old. I loved the characters and I loved the flow of the movie, but I find that when I watch it now (in my mid-20s), I appreciate it on a whole different level. For those of us who are shy and reserved, this movie almost makes you want to come out of your shell. It can almost be called "inspirational" in how it will goad you to get the hell out there are let it all hang out. Great lines are delivered throughout the script. Mike and Trent compliment each other very well and they have some great scenes together.

This is an indie-film classic. The kind of movie that you never get tired of.

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"Your Money, your so Money, you don't even know your Money!"

Classic, great everyday, anyday movie. If your in a rainy day mood its "Money", break-up with your girlfriend mood, its "Money", and last but not least ... Showing allllll the "Pretty Babies" you have this movie in your collection ... "MONEY" !!!!!

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One day I saw a glimpse of a scene from the movie Swingers. It was the "is she looking at me now? No. She hasn't looked at you all night..." scene. That was the only scene I saw and I thought, "That looks kinda funny. I should see it one day." When I finally saw it, "That looks kinda funny" was a definite understatement. That movie kept my friends and I in stitches all night. It wasn't for sale on video yet, so I spent a small fortune renting it about three times a month. All my friends and I could see ourselves in that movie. I was the Mikey of my group because my girlfriend had broken up with me six months before I saw this masterpiece and I was still broken up about her. If you can't get over your break up with a girl, and are looking for a replacement, but with no luck, you MUST see this movie. It spoke to me and now I use it as my guide for life. Whenever you feel depressed about beautiful babies not going for you, flip this movie on and check it out. You'll feel better, guaranteed.

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"Swingers" really reminded me of "Good Will Hunting" in that it was written by and stars struggling actors who decided to go out and create their own success. It is a low-budget gabfest type movie, with no real action taking place; but it is a fun, highly entertaining film nonetheless. The plot revolves around five struggling actors in L.A., who go from party to party looking for "beautiful babies" and career opportunities. They are sort of a modern "rat pack", led by the fast-talking and charismatic Trent (Vince Vaughn, who carries the movie with a star-making performance). "Swingers" features hilarious, witty writing and some enjoyable performances from its up-and-coming stars. We are so entertained by their antics that we forget that nothing really signifficant is happening. Credit is due for spawning some great catch phrases too. The DVD doesn't come with any great special features. It comes in widescreen format with a theatrical trailer. The soundtrack is worth owning for lovers of great swing-jazz music. Overall a great movie and a good investment.

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Massage Parlor Murders (Blu-ray + DVD Combo) (1972)

I suppose the best way to describe this movie, would be as some sort of Grindhouse version of `The French Connection'. Not only is there a strong emphasis on the whole cop business and do we get treated to an extended car chase, both movies share the same kind of loose script structure. In typical seventies fashion, instead of a tightly written scenario based on cause and effect, `Massage Parlor Murders' offers almost random vignettes creating a wonderfully sprawling epic that clocks in at just under 80 minutes. In doing so, it has created a wonderful time capsule, which captures that seventies sensibility so well, with those instantly recognizable colors, the great music (which seems a cross between early Funkadelic and the Miles Davis of the period) and of course that truly awful and ubiquitous wallpaper. With a title like `Massage Parlor Murders!' you'd probably expect a straight horror movie, but probably the exclamation mark (which is there on the title card) should give you a clue this is going to be something entirely else. So besides the wonderful sleaziness of it all, the movie is played more for comedy than horror, with some truly hilarious moments though there are some gore sequences as well. In the end, what's most beautiful about this picture is its total refusal to be categorized and its willingness to go anywhere it pleases; what it may lack in coherence, it more than makes up for with poetic logic.

For only their second blu-ray release, Vinegar Syndrome couldn't have picked a better title than `Massage Parlor Murders'. They not only rescued this gem from obscurity, somehow they've managed to make it look like a million bucks too. When I saw the trailer for this release, I was very much surprised at how good it looked, and fortunately this doesn't limit itself to just the trailer. Sure, there is the occasional odd frame and the soundtrack isn't always pitch-perfect, but this is one scrumptious looking blu-ray. Vinegar Syndrome is a new player in town (their Expectations/Confessions double bill is already one of my favorite releases of the year) and everyone who considers himself a exploitation genre nut owes it to himself to check out their releases and this one is a good a place to start as any.

In today's high-tech world, many casual viewers of films and videos have little appreciation for what came before. Clearly, some of this is due to the fact that practically every television set has a billion channels of programming available at any given hour of the day (or night), so there's very little need much less desire to seek out some of the lesser titles of yesteryear, of which I've no doubt something like MASSAGE PARLOR MURDERS (aka MASSAGE PARLOR HOOKERS) is part and parcel of. Instead, folks will pop in some cheaply-produced direct to DVD release starring any number of forgettable performers and featuring any variation of plot they've seen hundreds of times before.

I'm certainly not making the case that MASSAGE PARLOR MURDERS is necessarily a better choice. It is, nonetheless, an apt portrait for storytelling plucked from a different time a different culture with different storytelling expectations and, for that reason alone, I'd argue it's worth at least a single view.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

A serial killer who targets massage parlor prostitutes is on the loose. Unfortunately, the cops can't catch a break much less a legitimate suspect and the trail runs cold before the audience can say `entrapment.' (There's a brief, goofy sidetrack involved with their only possible lead, played by screen veteran George Dzundza who also happens to be the assistant director in what has to be one of his earliest appearances ever.) But when one cop falls for the roommate of a victim, it becomes a race against time to catch the murderer before he might catch her!

MASSAGE PARLOR MURDERS boasts the kind of plot that ignited so much of the early 1970's exploitation scene. It's got hot women. It's got sex. It's got nudity. It's got violence. It's got blood. It's got wicked subcultures. It's got crooked cops. It's got meaty undertones (i.e. religion). It's got car chases. It's got beer and cigarettes. And, unfortunately, it's got a lot of bad acting, but that's all meant in good, gory fun. Quite literally, every possible influence you could ever want in a respectable, B movie (or is that C-movie?) in there and more, so much so that I was a bit surprised it didn't wallow in its excess.

And how is it?

Well, it's about as entertaining as any sub-standard release could've been for its time, and that's why I'd endorse it worth a single view.

As I said in the opening, folks today certainly can't appreciate the blood and bluster that was the underground exploitation scene that populated double-bills at lesser theatres or drive-ins through-out the 1970's and early 80's. None of these were meant to be `great pictures'; rather, they were made on the cheap for no other reason than the love of making it AND the love of watching it. I've no doubt that all of this gusto maybe meant something more to the folks who threw it together because there are solid hints at some admirable ideas so often explored in big budget films (the cop-buddy film, the serial killer, etc.). Films like this don't get made all that often these days, and that's why I found much of MASSAGE to be a terrific portrait of what subversive filmmaking was like. If anything, the film screens like an hour-long police procedural with probably 20 minutes of mild gratuitousness added for the crowd appeal. Watch closely, and you'll see perhaps every lovely victim still breathing after they've been pronounced dead. Watch even closer, and you might see them blink their eyes.

MASSAGE PARLOR MURDERS is produced by Craig Nolan and Bert Cohen. DVD distribution is being handled through Vinegar Syndrome. As for the technical specifications, you might be surprised how well this looks and sounds given its age and history; yes, there's some modest grain and 2.0 channel sound isn't all that grand, but I found this better than most. As for the bonuses? There are theatrical trailers and a host of outtakes (about eight minutes) that may not add up to much more than alternate takes and `filler' cinematography, but there's a terrific essay available in liner notes by Temple of Schlock writer Chris Poggiali that's tops.

RECOMMENDED. Will a film like MASSAGE PARLOR MURDERS shatter expectations? With a title like that, need I give you an honest answer? Will it define the way movies are made in the present day and age? Of course not. Spielberg and Scorsese have nothing to worry about. Will it alter the fabric of time and space? Not very likely. But what it may do is serve as eighty minutes of film history. It's a throwback to a time when special effects were practical considerations needing to be captured in-process and not to be fixed in post. This is a B-movie with A-movie ideas, ones not all that dissimilar to David Fincher's SE7EN thematically. I've seen (obviously) far worse exploitation flicks than this one. Despite some weird pacing problems that plague the latter half, this one ends up being pretty benign by comparison.

In the interests of fairness, I'm pleased to disclose that the fine folks at Vinegar Syndrome provided me with an advance DVD copy of MASSAGE PARLOR MURDERS by request for the expressed purposes of completing this review.

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MASSAGE PARLOR MURDERS has been all but buried since the 1970s, languishing in a vault somewhere. Fortunately, Vinegar Syndrome is the Tomb Raider of video labels. They have painstakingly tweaked and tweezed every molecule of the original camera negative to its original vibrancy. In fact, you may opt to watch the DVD in this combo-pack; the Blu-ray is almost TOO crystal clear.

MASSAGE PARLOR MURDERS has no CGI, explosions, or ex-Disney bimbos. So what do you get? A pursuit featuring half a dozen or more $300 cars crashing into each other. Luscious, REAL 70s honies in their finest eyeshadow. Countless minutes of Sandra (LAST HOUSE ON THE LEFT) Peabody wandering around NYC with her cop boyfriend. Lots of dead massage parlor girls who have trouble not blinking while the camera is rolling. Brother Theodore in freak-out mode. A music editor with ADHD. And above all, an ending that redefines the word "overkill." I had very high expectations for this film. While it did not deliver exactly what I had imagined, it surprised and pleased me well beyond what I dared hope.

Read Best Reviews of Massage Parlor Murders (Blu-ray + DVD Combo) (1972) Here

I applaud Vinegar Syndrome for releasing films that no one else would touch and I also appreciate that most of them are 70's explotation and sexploitation films. It's like I'm reliving my teenage years all over again. They take the utmost care in the films' restorations and always show the films in their actual theatrical ratio. They may be the new kid on the block, but they are a welcome addition to old fogies like me!

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Vinegar Syndrome's release of Massage Parlor Murders will remain one of the more respected exploitation releases for years to come. What you have here is a high quality Blu-ray/DVD release of bargain basement 42nd St. fun. Massage Parlor Murders is a movie that lives up to its title; pretty girls, lots of nudity, a killer with creepy motives (think Se7en), bad dialogue, awesome location shots (check out those movie marquees), even more bad dialogue, genuine 60s/70s fashions, a sub-par car chase and of course gruesomely murdered hookers...oh I'm sorry, massage engineers. The gore effects are fairly tame and cheap but the brutality behind them is oddly effective. Many reviewers have been rough on the opening scene presented in the slightly longer "original cut" (found on both discs) but I think it's hilarious. The dialogue and acting is completely absurd. The whole film should be made in to a play.

Great image quality. Very colorful for such a feature. Those of you cranking this feature through a high end system may get irritated with the lackluster and somewhat noisy soundtrack. Its not a problem of the disc just issues inherent in the original tracks. Bonus features include outtakes, trailers, a radio spot and some welcome liner notes by Chris Poggiali (he knows his stuff). The outtakes are worth it just for the the location shots. There appears to be a problem with the radio spot on the Blu-ray disc (I checked two discs and neither had sound) but it plays fine on the DVD. Completing the package and adding an unusual touch of class is Jay Shaw's fantastic poster art, which is exclusive to this release. For a limited time you can get a high quality print of the poster on the Vinegar Syndrome website. Expect to pay a lot more for it when they sell out.

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Scott Pilgrim vs. The World (Blu-ray + Digital Copy + UltraViolet) (2010)

First things first, it was Not a cut and paste of the books.

It was as funny, as innovative, as lovable, as heartfelt, and as humble as the books.

My favorite part of the books though, was that they were just really fun. I felt a smile on my face while I read it.

The movie version doesn't lose that.

Some characters are far gayer (weird, I expected to see a red line under that word), and some characters are far less.

Some lost face time and others gained, but I can't think of a single Book-to-Movie edit that was a bad call. (considering they had to cut about 75% of all character development/back stories)

It feels inappropriate to use the same old words and phrases to praise a movie that was slathered with completely new things I've never seen in a movie or script. I owe Edgar Wright and Brian Lee O'Malley an attempt though...

-Any one scene from this movie could be viral on YouTube on its own.

-My 'Love the Movie' to 'Hate the Wait til DVD' Ratio is equal at ' : '

-If there'd been a 15 ft tall facebook "Like" button at the end of the movie, I would've thrown my full weight against it.

-There were parts were I wanted to ignore the movie just to have something new to watch when I see it again in a few days.

-I'm dude-pregnant with the movie's baby.

This movie easily makes my Top 10.

If you haven't read the books, you'll only understand about 98% of the plot and 96% of the jokes.

I'll save a spolier-laden critique of the movie for at least a week or two after the movie.

What's important now is that you understand how hard this movie does all the undefinable things it does.

Rating: Awesome

(How many reviews will have that in them? Over/Under: 249.5)

[review taken from ]

I'd never heard of this movie or the book that it was apparently based on, but watched it last night. This movies is a weirdly appealing mishmash of twenty-something angst, a comic book plot, videogame fight sequences and hard-driving punk rock. It's also one of the funniest movies I've ever seen with a huge number of laugh out loud sequences and dialog, example:

Scott, picking up a guitar: "I wrote a song about you."

(plays a tender, haunting song mostly repeating the name Ramona)

Ramona, after song ends: "That was nice, let me know when you've finished it."

Shot of Scott looking perplexed.

Ramona: "Back then I was bi-curious."

Female Evil-ex: "Now I'm BI-FURIOUS!"

I'm not going to get into the plot of the movie, which is mostly irrelevant anyway. This film is just an escapist roller coaster. Forget about anything making sense and enjoy the ride. It's a blast.

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Just got my copy on 7/21/11. To let everyone know, the packaging now says NOTHING about there being a DVD inside (no +DVD on the spine, nor DVD below the Bluray square on the lower left of the back packaging. Rest assured, the DVD is inside the packaging.

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It's unlikely that there has been or will be a movie in recent years as ruggedly ambitious as `Scott Pilgrim VS. The World.' This movie is a thrilling, hyperactive spectacle from start to finish, and although some critics couldn't seem to handle the ride, it was in theaters and is now on DVD one of the most joyful movie events in several years. I would almost dare to say that not since `Rocky Horror Picture Show' was watching a movie in theaters this much sheer fun.

It's a premise many over the age of 25 might crinkle their nose at, but it made for a perfectly functional joyride of a film anyhow: Scott Pilgrim, 22 year-old bass guitarist of the self-stylized band Sex Bob-omb, begins dating 17 year-old Knives Chau, much to his friends' dismay. He soon after becomes infatuated with Ramona Flowers, however, a mysterious young woman he continues to encounter in his dreams. He eventually becomes obsessed with her and is doggedly intent on dating her.

When this finally happens to become a reality, Scott is suddenly forewarned that if he wishes to engage in a relationship with Ramona, he must fight to the death with her seven evil exes, a spunky league of men (plus one girl), each with some form of superpower and a major chip on his or her shoulder. And so the battles ensue, each tougher than the last, as Scott fights relentlessly for the prerogative to love Ramona.

`Scott Pilgrim' is chock-full of very of-the-moment pop culture references, many of them relating to video games, comics, anime and manga. The film features music from The Legend of Zelda, sound bites from the likes of Super Mario Bros. and Seinfeld, explosive visual effects clearly inspired from some of the brightest, most exciting anime scenes and manga panels, and so much more; the exes even explode into coins when they're defeated. What's particularly impressive is that none of it feels like blatant product placement or pointlessly gimmicky-every last facet somehow manages to weave itself artistically into the film's themes. Despite how crazy this all sounds, there are several key factors that make it work.

To begin with, the casting is just about completely seamless; Mary Elizabeth Winstead is deeply emotive as the wistful, bewitching Ramona; the audience is sure to become just as smitten with her as Scott is. Ellen Wong is equally irresistible as the adorably awesome Knives, a character everyone will surely empathize with. Kieran Culkin plays Scott's level-headed, quick-witted gay roommate Wallace; with his hilarious one-liners and general likeability factor, his character is truly one of the greatest pleasures the film has to offer. Other notable castmates are Chris Evans as a hellish he-man evil ex and Anna Kendrick as Scott's sassy sister.

Although the casting of Michael Cera as Scott Pilgrim doesn't come as a major surprise, one does have to wonder what could've been if the lead role had been in more capable (and less bland) hands. Michael Cera, a whopping 20 films deep into his career, doesn't seem to be particularly capable of playing anyone other than himself; thankfully, however, his character glides on the movie's momentum and nothing, not even his portrayal of Scott, is ever weighted down. You'll find yourself liking Scott despite his character defects and even his true identity as Michael Cera.

Based on the 6 comic books of the same name, `Scott Pilgrim' has to cram a lot of content into a 112-minute movie, but the general themes of the comics are sustained, and some of the dialogue is in fact direct excerpts. Book-to-movie transitions are never perfect and will always come with naysayers, but the movie stands so strong on its own that few, even devoted fans of the comics, are likely to complain.

This is a movie overflowing with action, excitement, passion, and, shockingly, a great deal of emotion-you'll care about each of these characters, despite the absurdities surrounding them. This is a type of film that strove for a lot of things and achieved all of them-it's very rare that a film can successfully mesh slapstick comedy with action, adventure, drama-and still maintain anything to be taken seriously or sympathize with. `Scott Pilgrim VS. The World' is that film; a surreal fantasy somehow grounded in the real-life hearts and emotions of we human beings. Never before has such a wild, crazy world been so believable.

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I'm sure I wasn't the only person who was disappointed by Scott Pilgrim vs The World's box-office performance. It never quite found an audience outside of gamers, comic book fans, and anyone into that sort of thing but it still managed to be a very fun movie that was also a good adaptation of the Graphic Novel series (with some changes of course). Michael Cera and Mary Elizabeth Winstead have great chemistry together and that is only the cherry on top of a great cast of both known and lesser known actors (Alison Pill stands out to me the most as Kim Pine). So, when the Blu-Ray was announced, I was more than excited to pick it up. But, how did this cult favorite transfer to Blu-Ray.

Scott Pilgrim vs. The World luckily got a pretty darn good Blu-ray release. Not only do you get the movie on Blu-Ray, but you also get a DVD copy and a digital copy. So, if its a movie you'd like to share with friends, its quite easy to do so. Secondly, the Blu-Ray is filled with tons of features from deleted scenes, to multiple commentary tracks. You also get lots of documentaries about the making of the film, a blooper reel, and even a short animation taking place before the events of the film. So you'll be getting your moneys worth.

The movie also sounds very good too. I didn't find any problems with the audio of the film. The video quality is good too, but I do recall it not being as nice as the theater. That isn't to say that it doesn't look good, because it truly does...but I feel like it could have looked much better.

Overall, I was happy with this purchase. If you were a fan of the movie or the graphic novel series, you can't go wrong with this purchase. Also, if you pick it up, let your friends borrow the DVD, and spread the word of this good movie. If you haven't seen this movie, I would still check it out, even if you're not of the above demographic. Its a great movie and it should get a chance to shine.

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Demetrius and the Gladiators (1954) (1954)

"Demetrius and the Gladiators", is often relegated to the shadows of its illustrious and far better known parent "The Robe",which was the first lavish effort in Cinemascope. This sequel takes up where the original story ends and uses some of the same cast and many of the original films sets in it's continuation of the saga dealing with the search for Christ's robe. In many ways however is a much more enjoyable and lively effort and focusing on life at the Roman Court features some of the most stunning gladiator scenes ever included in a film. Based on characters drawn from the biblical novel "The Robe", by Llyod C. Douglas this effort focuses on the freed Greek slave Demetrius (Victor Mature), and his ongoing battle between his Christian beliefs and the lure of a decadent Rome under the mad emperor Caligula (Jay Robinson). While the original movie was a very respectful effort centred around Christ's crucifixion "Demetrius and the Gladiators", focuses more on the viciousness of Imperial Rome and the bloody sport of Gladiator combat where innocent men fought to the death for the Roman mob's amusement. For its amazingly accurate depiction of the "sport", of gladiator combat it far surpasses more recent efforts in showing the training, equipment, and life of Gladiators in Imperial Rome. Blessed with some memorable performances, in particular Jay Robinson's amazingly wild performance as the deranged Caligula this film captures beautifully all that was unique about this period in Rome's history while still including the conventional love story element.

After the executions of the earlier heroes Marcellus and Diana at the hands of Caligula Demetrius is entrusted with Christ's sacred robe which the Romans believe works miracles. The insane Caligula meanwhile has had himself declared a living God and strikes terror into everyone including his uncle Claudius (Barry Jones), and his much younger seductive wife Messalina (Susan Hayward). Caligula orders an immediate search for the robe which is still in Rome and when the house where Demetrius is staying is searched the simple peasant girl Lucia (Debra Paget), is attacked by the soldiers trying to conceal the robes whereabouts. When Demetrius comes to her aid he is arrested and sentenced to train as a gladiator in one of the Imperial schools run by Claudius. Refusing to fight because of his christian beliefs Demetrius becomes an unwelcome focus of interest for the dangerous and deadly Messalina who uses people fo rhe rown amusement. When Lucia attempts to visit Demetrius at the school prior to his debut in the arena she is molested by another gladiator Dardanius (Richard Egan)and suffers a crippling shock. Disillusioned by the cruelty of the men and the lack of a sign that his christian beliefs tell him will come to those who are decent Demetrius forsakes his religion and becomes the most successful fighter in Rome. Breaking with the christians Demetrius becomes the lover of Messalina. Sent by Caligula to retrieve the robe Demetrius comes into conflict with Peter (Michael Rennie)who reminds him of how he has abandoned Jesus's teaching and given himself over to the immoral values of Caligula's court. He nevertheless gives Christ's Robe to Demetrius who passes it onto Caligula who in a deranged moment kills a prisoner and tries to raise him from the dead. When he fails Demetrius is sent back to the arena as a gladiator again. Caligula now sets out to deliberately destroy Demetrius in the arena however he doesn't take into account his own changing popularity with the all powerful Praetorian Guard who fed up with his threats against them oppose his plan to remove Demetrius and murder Caligula in the arena. The placid Claudius is nominated as the new Emperor and in his first speech gives christians the right to worship as they see fit. The conclusion sees Demetrius reunited with Peter who leave together to begin a new life as practising christians spreading the word of the teachings of Jesus free of Caesar's tyranny.

"Demetrius and the Gladiators", exemplifies all that is typical of these lavish 1950's epics. Beautiful colour photography, a rousing musical score courtesy of Franz Waxman, lavish sets and opulent eye filling costumes and extensive historical research into all matters related to gladiators all combine to make this film a sumptous viewing experience. The talent on display here is perhaps even more extensive than that in "The Robe". Victor Mature as the questioning and very human Demetrius had one of his best roles here and once again displays his ideal suitability for these epic type of productions. Susan Hayward, an extremely talented dramatic actress perhaps at times appears too modern for the role of the seductive Messalina but she very capably makes the most of her scenes in playing one of Ancient Rome's most infamous ladies. Jay Robinson of course towers over this whole production with his larger than life portrayal of the insane Caligula and captures very well the deadly and depraved mind that the emperor according to historical sources possessed. The supporting players are first rate with Michael Rennie repeating his pivotal role of the calm and assured Peter from "The Robe", Barry Jones making good work of what could have been the potentially uninteresting character of Claudius, and especially William Marshall who really excels in his part as Glycon, the African gladiator who is converted to christianity and provides Demetrius with a focus and a conscience. The recreation of the deadly Roman sports in the arena in "Demetrius and the Gladiators", are first rate and really keep the action moving. So well staged are they that at times it really looks like Victor Mature is actually fighting with real tigers during the famous scene here he confronts a group of them in the arena.

Being a real fan of the biblical epics of the 50's I feel that this film gets over its sincere message while still providing first class rousing entertainemnt of the old school of filmmaking. Often dismissed as "hokey", or "camp" mainly because of the performance of Jay Robinson, "Demetrius and the Gladiators", perhaps has those elements present but it also offers far more and is one of the most elaborate of these types of films. Intrigue, romance, tragedy, and danger are all combined in an eye filling package that is sure to win over all lovers of Roman history and of epic biblical productions in particular. Enjoy!

Demetrius and the Gladiators is an enjoyable film (see other reviewers for details) but the film quality on the DVD sucks! No effort was made to restore the film and it shows in it's very fuzzy quality. What a shame, and a ripoff to the consumer. No extras either.

Buy Demetrius and the Gladiators (1954) (1954) Now

I love this corny old movie(and it rates 4 stars). I love it for being a sequel to "The Robe", I love it for Victor Mature's hammy Demetrius (and he was so restrained in the same role in "The Robe"), I love it for Susan Hayward's traditional portrayal of an amoral temptress (something she did wonderfully well), I love it for Jay Robinson's way over-the-top(-and-over-the-rainbow) Caligula, I love it for its use of CinemaScope and I love it for Franz Waxman's music score.

This DVD looks great, but the first time I viewed it, years ago, I couldn't watch it all the way through because I wanted to HEAR it. I wrote on these pages that to hear this film presentation I had to crank the volume way, way up....to the point where I had to endure hiss along with dialogue and special effects.

The fact of the matter is, I was taking the word of the folks who sold me my receiver, DVD player and surround speakers that the optical hookups converted audio signals for both DTS and 5.1CH. And the 5.1, for years, was a very undesirable sound for me -and I couldn't understand why folks liked it.

Now I know why. My receiver does not convert to 5.1 via the optical cables. (And that's why both the receiver and DVD have separate input panels for 5.1CH hookups).

Now that the hookups are completed, I have to say the sound on this DVD is A-W-E-S-O-M-E for a 1954 4-track stereo film.

I apologize to Fox Video for criticizing the sound quality. I'd have loved for there to have been more bonus features on this, but the film is splendid on its own.

The packaging remains lacking, IMO. The film is vivid and colorful and the DVD cover is drab.

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The sequel "Demetrius and the Gladiators" was put into production before the first-ever Cinemascope spectacular, "The Robe," was even released. At 100 minutes, the film is about a half-hour shorter than its statelier and more "reverent" predecessor, finding Victor Mature's Demetrius sparring with the crazed Emperor Caligula (an over the top, and highly amusing, Jay Robinson) who's still trying to track down the elusive robe, and the temptations of the sensuous, Isis-worshipping Messalina (top-billed Susan Hayward), wife of Caligula's decidedly less flamboyant uncle Cladius (Barry Jones). Soon Demetrius finds himself falling back on his pre-Christian lifestyle, telling Messalina that they don't need any God and going against his non-violent stance by battling in the gladiator's arena after a young Christian woman (Debra Paget) is attacked in front of him.

With Cinemascope splendor, action, sex, a wide range of performances (including early turns from Ernest Borgnine, future "Blacula" William Marshall and Anne Bancroft), and a regal Franz Waxman score (incorporating some of Alfred Newman's themes from "The Robe"), "Demetrius and the Gladiators" reworks the more satisfying elements of its predecessor while being, if anything, livelier. Michael Rennie was one of several "Robe" veterans including writer Philip Dunne who returned to reprise their roles in "Demetrius," yet this picture also owes a debt to director Delmer Davies, whose pacing results in an exciting widescreen epic from Fox's Golden Age that's ultimately more fun than the film that preceded it.

Twilight Time's Blu-Ray houses a 1080p AVC encoded transfer from the best-available elements that exist in the Fox vaults. Certain online pundits have complained about the movie's appearance, yet there are no faults to be found in the transfer. The obviously-aged elements, however, are nowhere near the pristine condition that "The Robe" was in, so viewers anticipating that kind of HD clarity will be disappointed. That being said, the film is still an appreciable upgrade in every way over its DVD counterpart, and Blu-Ray owners with larger screens will see an immediate, and obvious, enhancement in the presentation. The movie's four-channel stereo sound, meanwhile, is in more robust condition thanks to a DTS MA track (also isolated) that does wonders for Waxman's scoring. The original trailer and Julie Kirgo's insightful notes, which chronicle the film's unusual production, complete a package that any fan of the picture is urged to pick up.

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Victor Mature makes a better gladiator than Russell Crowe in this sequal to "the Robe."

Join Demetrius in his journey as he battles gladiators, tigers, Caligula, and most dangerous his feelings for the wiley and seductive Susan Haywood. What makes this movie so entertaining is the moral dilemma he faces, and his fall and redemption. This is a real man facing real temptations in an immoral world, much like we are in today.

Jay Robinson makes a welcome return as the emperor Caligula, chewing up the scenary with his wonderful performance.

This is like gladiator with heart.

The Secret World of Arrietty (Two-Disc Blu-ray/DVD Combo) (2012)

This film is a must see for anyone who loves hand drawn animation. This is an experience filmgoers just don't get at the theater anymore and I praise studio Ghibli (and in tandem Disney as far as North America is concerned) for continuing this tradition. I also implore anyone who feels interested in seeing this film at any level go do so and support the studio, I would like to see them around for years to come and I don't think many will be disappointed with the experience.

First of all, no, Miyazaki didn't actually direct this time around. He only penned and planned the story along with other production guidance. So I'm okay with saying this arguably isn't Spirited Away, Princess Mononoke, or Howl's Moving Castle, but this is that studio Ghibli magic you love. I feel it closely kindred to Kiki's Delivery Service or My Neighbor Totoro. I personally fail to see how any Studio Ghibli fan could walk away from this film unhappy. For that matter I fail to see how any child at heart could walk away from this film without a smile on their face. Films like this evoke a feeling of childhood and a sense of wonder.

The animation is gorgeous and possibly even more stimulating since we see virtually no hand drawn animation on the silver screen in North America (though so far this year I've been blessed with the Beauty and the Beast re-release and a Fullmetal Alchemist film at my small town theater). As far as Arrietty is concerned the background designers paid great attention to detail while the characters have that streamlined Miyazaki look but move with fluidity and such realism. It's very captivating to see the familiar concept of creatures living between floorboards in such a new inventive way. Seeing what they borrow from the humans and how they use it is part of the charm of the film. I also have to say that this film, like all Ghibli films, does such an excellent job of capturing the majesty of nature. The outdoor scenes here make one long to go for a hike in such an area.

Characterization is also well done. While the characters may not seem as standout or unique as previous Ghibli releases they are all distinct and have formed personalities that are revealed in such refreshingly subtle ways, you don't get a bunch of exposition explaining characters you just see who they are through how they move and act. In this light it was also nice to see traits from the original borrowers material carried over into this representation (the mother being very worrisome, etc.). Arrietty is rightfully the most compelling character, a girl venturing into the larger world for the first time with fear but also curiosity and courage. One note, I would have liked to see more of the other characters, especially Sho/Shawn, but I was very pleased with what I did get to see.

Voice acting is something I really have to give Disney credit for. Dubs are very hard to get right and I've found that they've put good effort into the casting and voice directing of their Ghibli dubs. The voices all sound like they are coming from the characters (with perhaps the debatable exception of David Henrie as Sho/Shawn, who does a great job but sounds a bit deep voiced for the young character), and 99% match the lip flaps. Bridgit Mendler as Arriety does a standout job, Amy Poehler and Will Arnett are charmingly cast as her parents and Carol Burnett is humorous as the house cleaner, Hara. The performances, like the film itself, are understated but very engrossing (for fans of this genre at least). I look forward to being able to listen to the original Japanese dialogue for comparison purposes but I think even those who don't enjoy dubs should give this one a try if it's the only option at your local theater.

Lastly there is the sound. A key component of establishing the reality in any animated film. In Arrietty the sound has been well selected to evoke the feeling of an idyllic summer, especially in outdoor scenes. Sound was also extremely well used to establish Arrietty's unique perspective of the human world. For example, in one scene where Arrietty enters a human kitchen for the first time, the familiar sounds of appliances humming and an empty room at night are used to create a sense of unfamiliarity and vastness. In addition to the excellent sound design I must compliment the score of the film, the music fits well and has a Celtic influence that captures Arrietty's lively spirit.

If there is a fault to be found it is the running time. At 94 minutes this film is one of Ghibli's shortest (only Totoro comes to mind as being shorter). With such an immersing experience at the beginning of the film I would have loved to spend more time in Arrietty's world exploring the day to day of their unique lifestyle. Further, once the story got going I would've loved more twists and turns that a longer running time might have allotted. A positive regarding the length is that the film will be an excellent experience for most children. One more note regarding children, parents should know that there is a discussion about death in the film. It depends on your children and their age but the characters discuss the fact that we all die someday in a brief scene, it is handled much like the circle of life discussion in Lion King so judge for yourselves, I can't see it being a problem.

In conclusion, I suggest everyone take their children to see this film, it's a wonderful re-imagining of a wonderful tale and I dare say this is my favorite adaptation of The Borrowers story yet, and having grown up in Canada with BBC I've seen quite a few. I highly recommend fans of animation see this film and I hope Disney releases this Blu-ray quickly, I eagerly anticipate watching this beautiful animation in HD on my home theater. It's nice to experience a film that puts magic back into the movies.

**I also eagerly anticipate the rest of Ghibli's catalog titles being released on Blu-ray, hopefully sooner than later.

I was lucky to have won tickets to this movie's preview and took my family to see it in NYC this past weekend what a treat! To be specific, we are a family of three with a teenager in high school, and everybody just loved this beautiful new animated movie that's perfect for all groups. As with all the movies Ghibli Studio produces, this is a rich visual masterpiece that you will really get lost in, with very life-like vegetation and insect life serving as a background for a seemingly simple, but very heartfelt story.

Mr. Miyazaki does not disappoint, retelling the original children's story "Borrowers" by Mary Norton and placing it in the present, with the main characters being Shawn, a sickly boy who is sent to live with his great aunt and her maid Hara, where he discovers a secret family of tiny people that includes husband and wife Pod and Homily and Arrietty, their 13-year-old daughter who is just learning to "borrow," something her kind does to survive. As the story unravels, Arrietty's adventures are highlighted by wonderful scenes of the world from a point of view of a 4-inch tall person.

The ending of this movie does not disappoint, and I am definitely planning to see this movie several more times with my nephews, and to buy the DVD when it comes out to add to my Miyazaki collection. I would definitely recommend this movie, especially to a family with young children!

Buy The Secret World of Arrietty (Two-Disc Blu-ray/DVD Combo) (2012) Now

Studio Ghibli needs no introduction. They took us to the heavens in "Castle in the Sky", sent us into a realm of demons with "Spirited Away", and plunged us into a desperate struggle for protecting the forest in "Princess Mononoke." Arguably, no other anime studio knows how to nail complete immersion into a world, except for places such as Kyoto Animation and Madhouse. When it comes to making us believe every second of a story, Ghibli knows how to hit the sweet spot. With it's only misfire, the absolutely dreadful "Tales of Earthsea", etched into North American audience's memories more recently than 2009's excellent "Ponyo", there was some speculation at whether or not this would be the venerable studio's chance at redemption. Simply put: it is.

"The Secret of Arriety" is a wonderful film, up there with classics such as "Kiki's Delivery Service" and "Spirited Away." Based on the timeless children's story, "The Borrowers", it follows Arriety and her family, who are all Borrowers living inside the house of a disgruntled old woman. A Borrower is a sort of pocket human, a tiny person who goes around and takes things from humans that they wouldn't miss. Examples include a cube of sugar, or a single snack cracker. To the Borrowers, these things are massive hauls that will last them weeks. But their existence is threatened once the old woman who lives the house, Haru, discovers their presence and begins the first of many attempts to entrap them. It's only with the aid of kindly Sho, the woman's sick nephew who lives in the house, do they stand a chance at surviving.

It's instantly clear that, compared to much larger struggles seen in other Ghibli films, this conflict is relatively small-scale. Instead of focusing on an epic struggle between the Borrowers and Haru, "Arriety" simply comes across as a lighthearted cat-and-mouse game between the two parties, with Shaun serving as the mediator between the whole affair. Which isn't to say that's necessarily a bad thing. The last time Ghibli went big, we got "Earthsea", and I applaud them for being able to rein in this film into a tighter, more focused narrative. While there are deeper moments that shine through, such as Arriety's fear for the survival of her race, it's a very light affair compared to their other films, but it works overall.

There are a few components of the film, however, that feel particularly weak. My primary issue is with the character of Spiller, an uncivilized Borrower who lives off of the land and carries a bow and arrow. His role is very scant, and seems to only be there to give Arriety a love interest. Which doesn't really work, considering that he's probably only in the film for a combined time of five minutes. He comes across as forced, as if Miyazaki (who wrote, but not directed, this film) said, "Oh, darn, there needs to be a Borrower boy for Arriety to crush on!", and inserted him into the film. While he does serve as an interesting key into the larger world of surviving Borrowers, his purpose as even that feels a bit unnecessary.

It's hard to fault a single character for a problem that is prevalent throughout the screenplay, however, and thus this brings me to my only gripe about the movie: it's not fleshed out enough. Every aspect of the world, whether it be Sho's sickness, Arriety's history, or Haru's seemingly conniving nature, is never fully explained. Why did Sho's parents divorce? Why would his mother not be with him in his time of need? Why does Arriety's family have to leave once they're seen? Who came up with the established code that all Borrower's apparently live by? These and other questions are never really answered, nor is a key moment of the film where Sho conveniently knows where Haru has entrapped Arriety's mother, despite never finding any clue whatsoever to her place of captivity. This is not Ghibli's deepest work, by any means, nor is it trying to be. However, I do feel an extra 20 minutes of running time might have benefited this film to provide more back story.

This is more of a snapshot type of movie, one that captures a certain moment in time and fills every detail of that moment with rich and fulfilling description. In place of this description is top-notch animation from Ghibli, on par with their fantastic work in "Ponyo." The true scale of the real world through the eyes of the Borrowers is one of the strongest suits of "Arriety." Kitchens become mountains, and meadows become forests. In order to fill their tiny cups with a beverage, they drip in a single drop, which fills them to the brim. They mash crackers into wheat, and use postage stamps as ornamental paintings. Every aspect of this film's artistic vision is fully realized, and that alone makes up for the somewhat lacking plot. It's rare that a film possesses a convincing enough world that will let you drift away in it for a while, but "Arriety" has it down.

Another aid to making this world believable is the voice acting, which is some of the best I've ever seen in a Disney localization of a Ghibli film. Bridgit Mendler, who hails from the Disney Channel stable of young actors, is completely convincing as Arriety, giving her a childish sense of whimsy coupled with believable pathos and fears for her own kind's existence. Amy Poehler and Will Arnett, respectively playing Arriety's mother and father, are splendid as well. Poehler plays the role of Homily with the panicked urgency of the one of the worse worriers imaginable, while Arnett turns Pod into a gruff man with a dull voice and a consistent sense of seriousness. Both of these approaches are fantastic, making them two of the film's most memorable characters. However, my personal favorite voice had to be Haru's, who is voiced by the legendary Carol Burnett. She seems to be having the most fun out of all the actors, milking the aunt's every little tick and vocal outburst to create a character who is one nudge away from going truly and utterly insane. Even her smaller moments are hysterical, and you'd be hard-pressed to find a current celebrity who puts this much effort into making voice work come across as zany and enjoyable. However, other characters such as Sho and Spiller are a bit bland, especially the former, whose performance sounds chronically tired and bored. Disney should have reached outside of it's Disney Channel stable for these two roles, because they're certainly the weakest in the film.

Every complaint I have about Arriety, though, is far outweighed by the sheer elation I felt while watching it. It certainly doesn't reach the level of my personal favorite Ghibli work, "Castle in the Sky", but it's not necessarily trying to outdo any previous films. Instead, it take the simpler route of storytelling, focusing on a fully realized world and the bond between Sho and Arriety which is built throughout the movie. It's Miyazaki at his most accessible, and also at his most sincere and heartfelt. There's an air of sweetness and innocence that permeates through the whole experience, one that anybody watching it immediately catches wind of. By the ending credits, you will care about Arriety and Sho, even if they aren't the deepest characters in the world. You will feel something tugging at your heartstrings, a feeling of warmth that no other movie could give of. It is because of this feeling, coupled with the excellent scenery, music and voice acting, that I say that "The Secret World of Arriety" is more than worth seeing. Rarely does a movie leave you feeling completely fulfilled and happy, but this is one of those movies. Don't pass up the chance to be happy.

Plot: B

Animation: A+

Voice Acting (EN): A-

Music: A+

Overall: B+

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I have to admit, we skipped Arrietty when it came to a local theater because I hadn't seen much promotion for it, and based on the poster, it seemed like it might be a movie that was supposed to be for video but released in a smaller scale (or something). I was SO completely wrong.

I really, really regret not taking my family to see this in the theater. This is a lush, beautiful filmthe entire time I watched it, I was breathless from it's beauty and just the sheer simple pleasure of watching it.

The story is simpleArrietty is a "borrower"she and her mom and dad live in the floorboards of a country house, and in order to sustain their life, they "borrow" things from the humans who live above them. They only take what they need and what won't be missed, and do so in complete secret because once they are seen by human eyes, they are in extreme danger and must immediately find a new place to live. And since a few feet to a human is miles for a "borrower", it's of the utmost importance that their existence and activities NOT be discovered.

As you can guess, Arrietty is discovered, by young Shawn. Shawn is the nephew of the human woman who owns the country house, and is there to prepare and rest up for dangerous heart surgery. He's unusually kind and sensitive, and his gentle nature convinces a reluctant Arrietty to trust him.

Of course, nothing is simpleShawn isn't the only one who knows about Arrietty and her family.

Regardless, this is a QUIET film. It's just beautifully compelling. The animation is SO beautiful and impressionistic. I felt a deep sense of peace and awe as we watched, but the plot was still exciting enough that I was stuck in my seat, watching every bit of action.

I can't recommend this film enough, whether you have kids or not. I have reluctantly become a fan of kids movies since we have a six year old daughter and we LOVE going to the movies, and Arrietty makes me *so* grateful that I have been introduced to this whole new world of cinema. I can't imagine having missed this beautiful, awe-inspiring little film, kids or not.

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The story told in "The Secret World of Arietty" is a familiar one, an adaptation of Mary Norton's "The Borrowers." A young boy, Sho, travels to the countryside to stay in the house his mother grew up in while he attempts to recoup from a severe illness.

From the first frame we are greeted with the classic, unchanged animation of Studio Ghibli. Character designs are reused and landscapes sometimes look vaguely familiar, but even the most seasoned Ghibli fan cannot help but be excited to enter a new world.

As always, "Arietty" is a film grown on gorgeous, minute details that will hold a child's attention when the plot gets slow, and will reward the diligent adult eye. Not only do these little gems shine on their own, but they evoke an overall sense of commitment from filmmakers--the same way films like "The Expendables 2" or "The Bourne Legacy" amount to little more than retreads of their own previous installments.

An early scene featuring Arietty racing under a porch alongside crickets twice her size and ascending the massive steps of an old brick pile is wonderfully drawn, a smile-inducing scene if there ever was one.

Like "My Neighbor Totoro" (sadly more than a few comparisons can be made between these two!), "Arietty" has a calming pace, untroubled by mainstream plot conventions...shots linger for several frames longer than audiences are used to, allowing a character to blink a couple times or sip from a cup of coffee as a conversation ends. The effect is gorgeous and meditative every time.

The concepts of movement and stillness are much more prevalent in a hand drawn film when compared to its ornate, Pixar/Dream Works cousins; a particular scene shows wind rushing through tree leaves in the middle-ground, clouds slowly sailing through the background, and Arietty nearly motionless in the foreground. Perhaps there's no better way to describe Ghibli's magic than with such a sequence--it is normal, old hat, commonplace for Ghibli, and yet it is magic curiously missing from nearly all other films and studios.

Alas, the magic of "The Secret World of Arietty" mostly ends here. The plotline of little people fearing big people is tiresome. While humans have plenty of history to be ashamed of, there is a huge capacity in us for good, and I'd like to think we could learn from another sentient species, especially one that speaks our language. I realize that thought might be lost on children, but I couldn't find myself to engaged in Arietty and her family's fear of the humans, especially in such a peaceful Ghibli setting.

The lack of conflict between characters does further disservice to the film; Arietty's father (serviceably voiced by Will Arnett) is exceedingly wary of humans, while his daughter maintains a growing interest--and still the two never find themselves at odds (a trite conflict perhaps, but conflict nonetheless).

Likewise, there is little growth. Arietty and Sho's relationship is shallow, uncomfortable and untraceable. SPOILER SPOILER In one scene Sho destroys much of the borrower's home in attempts to install a new kitchen, nearly scaring Arietty's mother half to death; the scene is hardly mentioned again by any character, despite the mass-destruction caused and hysteria induced END OF SPOILER

While not enough can be said about the beautiful animation, which will likely seem genius compared to the 3D cash-ins that pass as animation these days (with several exceptions of course), most of Ghibli's previous works surpass it in every category.

Despite the lack of plot and originality, at just over ninety minutes, "Arietty" is definitely worth watching. In one scene the animator's masterfully render an ordinary kitchen enormous and threatening. Before that, we see an extended sequence of Arietty and her father traversing the insides of an ordinary home's walls. As Arietty says to her father, "Borrowing is so much fun."

BEST: Animation, pacing, attention to detail

WORST: Soundtrack, character movement, original plot

SCORE: 7/10

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