Alfred Hitchcock: The Classic Collection (2013)

Many of the reviews are for a different Hitchcock package. This set has only 3 films: Rebecca, Notorious, Spellbound. And these 3 blu-rays are already just out individually at Sams Club. They are identical, have the same extras, and are only $9.98 each: why is Amazon charging so much when you can get them for about #30 at Sams Club, and get them NOW?

I flipped out when I saw this recently in a store, and knew immediately that it would be going home with me. NINE old and hard to find Hitchcock movies for TEN bucks?? HELL YEAH!

I just got it so I can't say anything yet about the quality of the discs except that my first peek at "The Lady Vanishes" proved that the sound and overall picture quality could have been a lot better. But come on, for ten bucks, you get what you pay for, am I right? And as someone in no position to pay for the lovely but very pricey Hitchcock collections in all the fancy packaging, I was more than pleased to shell out ten dollars for this hidden jewel.

Did I mention that it costs ten dollars???

There are three discs total, each with three movies on it and a special feature. I will come back and edit this review with details as I take my time enjoying the product!

DISC ONE:

"Blackmail" (1929) -Hitch's first sound film, but still "silent" as in there are title cards in place of spoken dialogue. The "sound" is music and effects. It's about a young engaged woman who is blackmailed by an artist.

"The Lady Vanishes" (1938) -One of Hitch's best, hands down. Far superior to Jodie Foster's recent pretender "Flightplan". It's about a young woman who befriends an older woman on a European train, only to fall asleep and wake up to find the woman replaced by someone else, and everyone around her insisting that nothing has changed. She must prove that her friend is missing and hidden somewhere on the train. The film starts a bit slow but winds up becoming a fast-paced, very suspenseful ride that still retains a clever dash of comedy.

"Rich and Strange" (1932) -I've actually never seen or even heard of this one! I can't wait to see it. Here's the description from the back of the packaging: "Fredy and Emily, a young married couple, decide to take a cruise around the world after they come into a sizeable inheritance. While on the cruise both Emily and Fredy become romantically involved with the wrong people, and end up broke. Forced to journey home on a cargo boat, the couple sadly realizes that the worst is yet to come."

EXTRAS: Three original trailers for Hitchcock classics "Dial M for Murder", "Rear Window" and "To Catch a Thief". Whoever compiled these obviously has a thing for Grace Kelly. These are nice, but I just wish they had included trailers for movies that actually appear in this set. Oh well. Did I mention that it costs ten dollars?

DISC TWO:

"Sabotage" (1936) -"Karl Verlok leads a secret life as a paid terrorist, which has lead [SIC] undercover agent Ted Spencer to move in next door to Verlok and his wife Sylvia. Feeling that something's up, Verlok sends Sylvia's younger brother to deliver something for him, only the young man doesn't know he's delivering a time-bomb. Based on Joseph Conrad's novel 'The Secret Agent.'" I've never seen this one either, but it sure sounds good!

"Secret Agent" (1936) -"An ever-windeing tale of deception: Secret Agent revolves around British novelist Edgar Brodie and secret agent Elsa Carrington. Their search for a ruthless murderer takes them to Switzerland, through the Alps and a train to Greece. Will a surprise air attack bring an end to their search and their lives? Based on a novel by W. Somerset Maugham."

"The 39 Steps" (1938) -Classic Hitchcock. One of many films he did that center around an unwitting person being drawn into a web of terror and suspense, and being the only one who can save the day. This is also based upon a novel, and it was one of Hitchcock's biggest early hits.

LATER EDIT: **The audio and picture quality on this movie are HORRIBLE. You will not be able to understand the dialogue in several sections, no matter how much you rewind, and the print is full of scratches. If this movie is one of the main reasons you buy the collection, just know that you WILL want to invest in a remastered copy, eventually.**

BONUS FEATURE: Rare radio appearance by Alfred Hitchcock! This feature is a radio broadcast that plays over a wonderful poster gallery of Hitchcock's film releases -including some international posters in German and French. If you're like me, you'll have to experience this extra at least twice! I spent the first time so enthralled by the posters that I forgot to listen to the broadcast! :-)

DISC THREE:

"Number 17" (1932) -I have another copy of this that my mom picked up in a dollar store, but I still haven't seen it! It's basically about a gang of jewel thieves pursued by Detective Gilbert, and involves a train sequence that preludes his future as a quinessential director of movies with pivotal scenes in trains. ;-)

"The Man Who Knew Too Much" (1934) -Hitch later remade this in the 50s with Doris Day and Jimmy Stewart. I didn't think the remake was one of his better films. But this is the original, and I can't wait to see it! One of the couple's friends is murdered, and before he dies, he whispers a vital clue to them that they must then solve, before it's too late!

"The Lodger" (1926) -"Quiet and secretive Jonathan Drew has just rented a room in a London boarding house. Coincidentally, his arrival overlaps with the brutal murders orchestrated by Jack the Ripper. The Lodger is the first movie to be designated as a true 'Hitchcock picture'. A gem for collectors."

**This was recently remade with Alfred Molina, Simon Baker and Hope Davis. Judging by the trailer, it's going to BLOW!**

BONUS FEATURE: "About Hitchcock"

One *major* drawback is that NONE of these discs have subtitles of any kind, not even English for the hearing impaired. So don't buy this present for a deaf friend, and if you have a deaf friend who is upset that they can't enjoy the movies with you, just write them a note explaining that it only cost you ten dollars.

Overall, however, this ENTIRE PACKAGE is "A gem for collectors"!! The big expensive Hitchcock collections have his better known and later films, which are all available individually as well. This one has early stuff only, most of which I personally have never seen anywhere else. If you're as die-hard a fan as I am, you'll want this in your collection even if you CAN afford the higher-end stuff. The only thing that would make it better would have been more trailers, more extras, and a booklet of some kind. Instead, all you get is the discs themselves. But the crazy thing is that I would have gladly paid $30 for this set, as is. And instead I got it for ten.

TEN!!!

Don't let this bargain pass you by!!

Buy Alfred Hitchcock: The Classic Collection (2013) Now

For VHS nostalgists, and those intimidated by the pricey Criterion boxed set that has replaced this (adding "The Lady Vanishes" and "The Thirty-Nine Steps" and subtracting "The Paradine Case"), this set is a prize to be sought out. Anchor Bay put out a good number of clamshell-cased classics in the suspense and horror genres (including letterboxed Argento titles and "Halloween") and they also did right by these Forties Hitchcock thrillers. Of course, these are the films Hitchcock made under the prying eyes of Selznick, and the relationship was sufficiently difficult that Hitch occasionally drifted away from the post-production, allowing Selznick to lave on extra dollops of music and occasionally even reshoot a smidgeon here and there. "Notorious" is the only one here free of Selznick's taint, but that is in large part because it is the only one of these projects to so completely fire Hithcock's imagination that he considered it absolutely vital to maintain his full vision. Regarded as a highwater mark by everyone from Truffaut to Ebert (and Hitchcock himself), its greatness is so pure and consuming as to reduce even these other terrific films almost to the status of filler. But let us not write them off. Though they are not the same Minerva-born products of Hitchcock's genius as "Notorious" and the Fifties-era masterworks, Selznick was not without his visionary qualities and the Gothic richness of their confections (Hitchcock's ingredients certainly preponderant) make for superb, intoxicating entertainment. Truffaut rightly hailed the 'very modern' qualities of "Rebecca" (the intercutting feels completely contemporary, the forward momentum of the camera through the enormous interiors clearly influenced Kubrick's "The Shining", and the opening sequence is as luminously fluid as any feverish dream of Cuaron). Joan Fontaine is far sexier here than in "Suspicion" (the original "New York Times" review memorably noted "Miss Fontaine has the most expressive spine--and shoulders!--we've bothered to notice this season"), and George Barnes' camerawork is similarly sinuous and expressive. The film's obsessional perversities, like those in "The Paradine Case", come through quite nicely. Alida Valli is the subject of some prime iconic shots in "The Paradine Case" (though the screenplay from Selznick's own hand is a bit disjointed, the camera-choreography clearly kept Hitchcock awake). "Spellbound", the one Hitchcock considered least successful of this bunch, was an enormous hit, and though Miklos Rozsa's sensational score may have been too much for what Hitch regarded as the requirements of the piece, it remains a landmark movie score and will certainly seduce the viewer. Bergman's Dr. Constance Peterson is one-dimensional compared to Alicia in "Notorious" but beguiling nonetheless, and watching the somewhat wan Gregory Peck fume at her mothering attentions provides comic counterpoint to its delirious bouts of pop-Freudian obsession and nightmare. This boxed set comprises a glorious waking dream in luminous black & white, a gorgeous riot of eroticism, fixation, ambiguity, terror, menace and romance rich and seductive enough to keep your nights filled through a long holiday week, and as soon as I have enough nights free I'll be "renting" my brother's set off him and subjecting my girlfriend to the whole lot. Grab it up if you can.

Read Best Reviews of Alfred Hitchcock: The Classic Collection (2013) Here

Surfing through Amazon, repetively and quite tediously, I see the awe-inspiring Alfred Hitchcock Masterpiece Collection. Now as a cheap college student who loves movies, I don't exactly have the cash for that kind of dedication. Perhaps later.

However, I came across this treasure. A nice collection of various early Hitchcock movies, along with some radio appearances.

I received the DVD collection for about $6. Wow! I've never gotten 3 discs for $6. In any caes, when I played some of the movies just to check, the quality isn't exactly top-knotch. But what do you expect from 6 bucks? At least it feels like I'm in the 1940s again, right? Overall, a great buy.

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This collection was a major disappointment. These three wonderful movies are the old digital images created for DVD. If you already have the DVDs, there is no point in buying this collection. The Blu-Ray transfer was not done new. The images are grainy and the contrast is flat.

My expectation for a Blu-Ray transfer of a classic film is that it will be state of the art, with clear, clean images and contrast that pops. None of these three films meet that criteria. Save your money. Perhaps Criterion will offer them in Blu-Ray later.

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Velvet Revolver - Live In Houston / Let It Roll - Live In Germany (2012)

Will work on US blu ray players...excellent concert.. 2 concerts for the price of 1 Highly recommended. Love Slash!! amazing guitar player.. Concert Rocks

I'm a big VR/STP fan, so I had to have this. It has all of your favorites, but it has several that you will probably want to skip past. Best line in the show "We were all working really hard on getting sober, but we had to take a break from sobriety to do a tour." Scott Weiland

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Disgrace (2008)

After having read J.M. Coetzee's complex, disturbing, shocking and controversial novel, one could not directly see how this story could be transformed into an appealing screenplay and still less into a convincing movie.

It's heavily charged with all kind of sexual contacts, unforced and forced ones (by someone who is in a dominating position) and even with pure rape. It deals also with the eventual outcome of those contacts, like pregnancy and parental love.

Moreover, the story unfolds against the violent background of open racism in a country known for its apartheid.

Steve Jacobs did a formidable job in turning the harsh and sometimes bitter and terrible realities into a moving, emotional and ultimately sublime movie, which matches the book.

The director was impressively helped by his cast and in the first place by John Malkovich, whose (physical! and mental) interpretation of the very uninviting character of a sexually driven university professor is certainly one of his most memorable. He was superbly seconded by Jessica Haines as his fiercely independent daughter as well as by the rest of the cast.

A must see for all movie lovers and for all admirers J. M. Coetzee's work.

An Academy Award Quality film that generates an exquisite level of emotional impact rarely seen outide of such modern classics as, "American Beauty" and "House of Sand and Fog." Without a doubt, Malkovich is convincing in his nuanced and powerful role as a scoundrel and Lothario--but with none of the histrionics or over-the-top acting for which he is perhaps best known. This is a painfully insightful and politically charged movie that will be much appreciated by discerning viewers.

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Let me begin by saying this film may be one of the best of the past year. The performance by John Malkovich gives us another reason to extend to him a title of superb actor. And, probably no one else could fill his shoes in the film.

The film is taken from the book by Nobel laureate J.M. Coetzee. He won the Booker Prize for this novel. I have not read it and find I must. Coetzee is one of those authors you remember, and as far as I am concerned has not won the acclaim he deserves. The film takes place a few years after Apartheid. There is no longer the legal stigma of socializing or dating among the races. Malkovich is a professor of Romantic Poetry at the U of South Africa. He is arrogant, pig headed even, and thinks of no other except himself and his needs. He has an affair with a young student, and while it is not rape, she obviously does not enjoy it. He is found out and is asked to leave the university. He shows no regret except that he was found out.

Malkovich goes to visit his young daughter, Lucy, in the country. Here, things are simple, she raises dogs, and has a farm of flowers and veggies that Lucy tends. Lucy is a Lesbian and had a sig other who seems to have left. She also has a black man who lives on the farm and helps her out. Malkovich cannot understand this arrangement, the man walks in and watches television whenever he wants. Certainly things have changed. Lucy is very independent, and has her own way and manner of living. A horrible incident occurs and things will never be the same. However, life does go on, and the times and situations change and Malkovich has a new understanding of life such as it is. He asks for forgiveness from the family of the student of whom he had an affair. But, not all has changed and as we see, Malkovich, the Professor, retains his own way. Throughout this film questions keep rising, is this the right thing for Lucy to do. What would I do. What is happening to the Prof, Malkovich. How can things remain the same but be so different?

The acting is superb. Lucy is played by Jessica Haines with such a fine, free base of understanding. Her farm manager is an African named Petrus, played by Eriq Ebouaney. His acting shows us a man who is sure of his place. Other characters are sure footed and superb. In one instance Malkovich, whose job it is to help a vet attendant care for and put down animals that have no home, helps to put down a dog that he has shown great affection. I could not help but shed tears at this scene. Was Malkovich looking for some sort of atonement. The entire film has a feel of moral ambiguity. How do we place ourselves in surroundings and cultures new to us and find a place that is real and OK.

The final scene is perfect, this is just the way things are. Superb, superb, one of the year's best films.

Highly Recommended. prisrob 05-08-10

Being John Malkovich [HD DVD]

Dangerous Liaisons [VHS]

Read Best Reviews of Disgrace (2008) Here

John Malkovich nails the role of a pompous Cape Town literature professor, David Lurie, who glibly spouts Byron and Wordsworth. And he certainly loves the ladies. He uses his status to initiate an affair with an attractive student, who becomes the reluctant recipient of Lurie's affections. She is a young coed; he's fifty-two. When the scandal breaks, Lurie gets booted out of his cushy faculty post and seeks refuge in his daughter Lucy's home.

Lucy lives in a remote region in the East Cape on a small plot of land. She raises dogs and sells flowers to scrape together a modest living. It seems Lurie and his daughter had long been separated; they scarcely know each other when the "disgraced" professor comes knocking. A big part of the film is how their relationship develops.

Turns out Lucy lives in an area that lacks law and order. Hooligans roam without check. This is post-apartheid South Africa at its worst. Horrible things happen in this film. It seems that people must protect themselves in this region; Lurie and his daughter are not good at self protection.

The film is also about how Lucy is trapped by forces beyond her control. She must accept bitter realities in order to survive. She also feels that she has carved out a life and is determined to stay. Perhaps a lot of money would help, but money is scarce, although the ex-professor can afford a trip to Cape Town where he pays a prostitute. So the arrogant Lurie must take a crash course in Life 101, South African style. He must get his hands dirty, in both a literal and figurative sense. He also finds romance in the arms of a woman who is quite a contrast to the aforementioned coed.

Jessica Haines most convincingly portrays Lucy. She acts in a completely natural manner; it's as if she is playing herself. She strikes no poses.

It's a great film, perhaps a bit overlong. The cinematography is stunning, capturing the pretty urban life of the comfortable in Cape Town, the grinding poverty of many South Africans, and the stark beauty of the remote rural area where Lucy lives.

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Based on the novel Disgrace: A Novel by J.M. Coetzee, this movie does a fairly good job of portraying the book. John Malkovich stars as the professor, David, who has serial affairs with women, the latest one being an imprudent one with one of his students. When she reports him to the Capetown university's administration, David pleads guilty and resigns from his position. He travels to a rural area in South Africa to stay with his daughter who is a lesbian and has just broken up with her partner. The movie very deftly shows the palpable awkwardness of the new apartheid and the painful aspects of a woman living alone.

The book more clearly discusses apartheid and its role in events that occur, while in the movie a lot is left up to the viewer's summation or prior knowledge of South African history. Though I think that John Malkovich is an excellent actor, I had a very hard time picturing him in this particular role. He just didn't seem to fit with the character that he portrayed. The woman who played his daughter does an excellent job.

It is difficult to give much of the plot details because of spoilers. However, I found the movie riveting. I recommend reading the novel first so as to have a better understanding of what is happening, and also for background information.

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Replicant (2001)

First of all, this movie should have been released theatrically instead of going straight to Video. But since the DVD is here, Van Damme's fans (and action fans) should check it out. It is far better than his last 4 or 5 films (which are very bad: Desert heat, Universal soldiers: The return, Double Team, Knock off).

The story about cloning but director Ringo Lam made this movie highly entertaining. Van Damme plays double role, one is the serial killer, the other role as his clone which created so the police can catch the serial killer. Interestingly, Michael Rooker co-stars, he also appears in other cloning movie starring Arnold (The sixth day).

The DVD is OK. Bright and clear and the sound is fine. Van Damme provided commentary tracks along with ROoker, which are quite amusing. REcommended.

Jean-Claude Van Damme has reunited with Director Ringo Lam (Maximum Risk) for the movie "Replicant." To my surprise, this movie delivers a powerful punch and why it did not get a theatrical release in the United States is unknown. However, it deserved one. This is not the average straight to video/DVD type of movie. The production values are high and the acting by Rooker and Van Damme is very good. Actually, it is Van Damme's best performance ever and is the caliber of any action star in the "A" market today.

Van Damme plays a convincing serial Killer and Clone who is directed to track him down. Both characters are well acted. He, for once, does not over act in two roles which could have been very easy to do. Rooker plays a street cop who is obessed with catching the killer. His character is developed well for an action flick and the two pull if off nicely.

The fight scenes are terrific and the stunts are great. For action fans-this film is a must. For others, it may not be worth the purchase, but is well worth the showing. You will be entertained.

Buy Replicant (2001) Now

While Jean-Claude Van Damme may be a direct to video action star now, Replicant is a surprisingly good film that should have seen time in theaters instead of other Van Damme flops like Knock Off and Double Team. The storyline, which has Van Damme doing double duty as a serial killer called The Torch and a clone of the killer, is instantly ignored as we see how surprisingly creepy and effective Van Damme is as the killer, and how naive and innocent he is as the developing clone. Michael Rooker is great as well (he always is though) as the ex-cop on the killer's trail. The action scenes are very well put together, and as I said before, the acting from Van Damme is so unbelieveably good in his dual roles that you might forgive him for films like Street Fighter and The Quest (well, maybe not), but all in all, Replicant is one of Van Damme's best, and it is a shame it has gone direct to video.

Read Best Reviews of Replicant (2001) Here

I never thought I'd ever give a Van Damme movie 4 stars. I also never thought I'd see the day that Van Damme would perform as a "real" actor. Well, folks. This is the day, and this is the film. While this may only be a fluke (like Segal's UNDER SEIGE), one can always hope.

Granted, the storyline isn't much to talk about (what is it that makes Van Damme want to play two rolls?), and the premise itself is absolutely unbelievable ... still, it is not without interest, but one must keep eyes tightly closed to a few plot holes and contrivances. But believe it or not, what helped make this film interesting was Van Damme's performance (that and Ringo Lam's fast, hard-hitting direction -he also directed Van Damme's MAXIMUM RISK).

If you're not much of a Van Damme fan, I doubt this film will change your mind. But for those of us who enjoy mindless action every now and again, this film turned into a real surprise. Between 1 and 10, REPLICANT gets a marginal 7. Happily, I got much more than I bargained for.

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We all know that not everyone is a Van Damme fan, and that Martial arts actors have no brains just brawn... well not any more. This movie is uncomparible to any other of the magnificiant movies this muscles from Brussels has ever produced before. Its a cross between "Rain Man" and the "Matrix" with Van Damme playing the role of both a B.O.S.E and a Killer, in the same movie! It hasn't gotten this hot since Double Impact my friends. I would suggest you'd be sitting down for this one, because this will have you crying, and cheering all within the amazing acting ability of the man, VAN DAMME!! Get Ready For the SILENT POWER.......

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The Italian Job (2006)

Well done! Now THIS is what I call a popcorn movie. No big drama, no great life issues; just a fun plot, great action, and good looking people packing the screen. "The Italian Job", a remake of the 1969 Michael Caine flick, is cinema escapism at its best and a great bet for a Friday night date.

Mark Wahlberg stars as Charlie, acting head of a gang of high-tech, high class thieves. He's taking over for his mentor (played by the always welcome Donald Sutherland) as his team sets up a brilliant scheme for $35,000,000 in gold bars (the "Italian Job" of the title).

But things don't go quite as planned, and one year later Charlie reassembles his mates, plus his mentor's daughter (Charlize Theron) to take revenge on the man who betrayed them and set things right once and for all.

The action here is splendid, imaginative and well filmed. The script is tight, with plenty of snappy lines to go around (including a great running gag about just who invented Napster) and the musical score is surprisingly nice. All the actors have fun with their roles, especially Seth Green as a computer geek and Edward Norton as the slimy bad guy. And of course there's Wahlberg.

I like Mark Wahlberg. I can't help it. I like him more with every movie he makes. I like his quiet, confident walk, his little boy smile, and the way his forehead crinkles whenever somebody yells at him. He seems to actually get better looking as the movie goes along, and his chemistry with Theron is low-key but sexy.

I give "The Italian Job" five stars not because it was a masterpiece, but because I had a great time and know the film will hold up well with future viewings (it was a lot like "Ocean's Eleven" in this regard). Go on and see it; you'll like it. And probably want a Mini when you get out.

GRADE: A-

(By the way, I LOVED the way our heroes never carried guns or shot anybody. Old school baby!)

There are few genres as enduring in the movie biz as the heist and they don't come any more entertaining than this one. Michael Caine is at his best as a fresh-out-of-jail, small-time crook who decides to pull the job of the century. To achieve this, he sets about finding someone to bankroll the enterprise, in the person of Noel Coward. Coward, a big time syndicate boss is still running his business from jail and after some persuasion, agrees.

Caine then sets about assembling a cast of idiosyncratic no-hopers to carry out his bold plan, among them Benny Hill, an electronics wizard with a fondness for fat women. After much practicing, three teams in Mini Coopers (driven by "chinless wonders") set off for Italy with a bus-full or two of supporters all dressed as soccer fans. The arrival on the scene of the Mafia does little to dampen their enthusiasm and the fun really starts.

The climax of this action/farce is the car chase through the streets, sewers and even the skyline of Turin. Plenty of action, plenty of laughs and all very well paced. If anything, it's probably too short (though I don't mean the ending...) but I guess that just makes you appreciate it that much more. An old favorite which is hard to beat. Know wot I mean, Guv?

Buy The Italian Job (2006) Now

"The Italian Job" is your classic summer movie: one villain, one hero, one beautiful intelligent woman, one computer geek, one ladies' man, one explosive expert, shake, stir, add a bunch of car chases, a few last-minute surprises, voila. The story is about a group of master thieves led by Donald Sutherland cleverly steal $35 million in gold bars from a safe in Venice, only to have it stolen again. The group must pursue the villain to get the gold back, using Mission-Impossible style technology and an enormous amount of wit.

Two things raise this far above its genre: absolute super settings: a boat chase through, under, and around Venice; a set of tricked-out Mini-Cooper cars vrooming through the sewer pipes of LA like kids through a water slide. Really fine performances: Donald Sutherland as the patriarch of the thieves, Seth Green (Scott Evil from the Austin Powers movies) as the funny computer geek, and the supremely creepy Edward Norton as the villain. Only Mark Wahlberg fails to project much of a personality.

The thing I appreciated most is that none of the action was faked by computer: it's just good old-fashioned stunt-driving. It's really pretty impressive (it's 'actually happening'); as much as you might have liked this summer's Matrix movie, this one is at least as thrilling because it's 'real.'

Read Best Reviews of The Italian Job (2006) Here

Strange that they called this one the Italian Job, since it has little in common with the caper classic it was named after. All the two movies really have in common is stolen gold and Austin Minis. The plot of this movie is really about the oldest trick in the book. The double cross.

In an attempt to put a new spin on that old plot, the creators of this movie decided to have the double cross very early in the film. After a somewhat interesting heist, the gang responsible for it is betrayed by one of their own and their gold stolen. This basically makes the rest of the movie our lovable band of thieves (and very well cast for the most part I might add) getting back the loot that they rightfully stole. This early plot twist might have made for a more interesting movie had the best actor in the film (Donald Sutherland) not been killed off in the process. Don't you just hate it when that happens?

You're a Good Man Charlie Brown

Our main character Charlie is played by Mark Wahlberg. Now don't get me wrong, he's a likable enough fellow. And he seems to do best playing the nice guy in films. But he really doesn't do much in the way of acting in any of the films I've seen him in. If there was one actor who could be replaced by a cardboard cut-out without anyone noticing, it would be him. I seriously cannot remember him saying one memorable line in the entire film. Perhaps it's because he said them all the same...

The Cast's the Thing

Well even though our main character isn't exactly Hamlet, does that make our film derail completely? No, no, no. For he is supported by a fine cast in the grand old tradition of caper films. Seth Green (the REAL Napster), is totally hilarious in this film. Sure, we've all seen a supposedly brillaint hacker in films before, but somehow he just rises above into new levels of geek parody. And then there's my man Jason "The Transporter" Statham. This guy has just got "the Driver" and "Action Star" written all over him. He's like the new Steve McQueen of Caper and driving movies. He's too darn cool. In fact, my favorite scene in the movie is one where he steps out of the car to sweet talk a girl into giving him exactly what he needs, and Seth Green (the often stereotyped super-nerd hacker genius) starts imitating both the voice of the girl and Statham's voice. Now that's funny! And then of course we have our love-interest safe-cracker (and the daughter of the guy who got iced), and the required demolition expert. Everyone does a pretty good job in their roles, but no one else really stands out in my mind.

Get Some Action

For all the hype and popcorn popping, you'd think the minis were going to be flying down the streets of L.A. in long, extended, over-the-top driving sequences. Sorry guys, but the driving action simply ain't all that. The Bourne Identity has got a way better chase scene than this movie. So does The Transporter. Heck, so does Gone in 60 Seconds. If that's all you're interested in, by all means, rent one of those.

All in All

I'd say this movie is worth seeing once, especially if you particularly like any of the cast members or love caper-flicks. It's also suprisingly low in violence, sex, and foul-language, something of a rarity in popcorn flicks these days.

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This is a truly terrific caper movie, one that works well by both showcasing the emerging star power of both Donnie Wahlberg and Charlize Theron and also having a terrific storyline. It is also a smart and well-photographed movie that proves the old adage of depending on the use of a great story and then embellishing on it with all the bells and whistles. The plot is as believable as anything can be that posits the existence of people so smart, so devious, and so daring as to be able to do some of the things that are done here. Yet the qualms about believability quickly fade with each nosiy and exciting revving up of the action, which is well choreographed, full of pyrotechnics, and absolutely fresh and new, adding to the charm of the movie.

The cast adds immeasurably to the charm of the movie, with Donald Sutherland, Ed Norton, and several notable others lending both credence and a certain gritty feel to this tale about life on the margins, on the far side of the law. I also got the impression that given the box office success of this film; much of the crew may be back to thrill us again in an inevitable sequel. I am up for it. After all, given the aplomb and cool they displayed in driving a trio of Metros through the streets, sewers, and tunnels of Los Angeles at rush hour, and added into this mix was a certain level of style and intelligence often missing in such caper flicks, it would be fun to consider a series of such films. Compared to other recent offerings at the theater, which have by an dlarge been disappointing affairs indeed, it would be a relief to consider more caper flicks like this. Enjoy!

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The Devil Wears Prada (2006)

My wife and I, huge fans of `America's Next Top Model' and `Project Runway', were very excited about seeing this film. Why it took us this long still baffles me, but as of Friday night we had the pleasure of seeing `The Devil Wears Prada' and let me just say that it was quite the pleasure. Now, most if not all the praise has been heaped on the shoulders of Meryl Streep, and while she was outstanding, this film is more than just a Meryl painted canvas. There are four brilliant performances in this film and they all are deserving of praise.

First is Anne Hathaway who plays Andrea Sachs, a young aspiring journalist who takes a job working as Miranda Priestly assistant at `Runway Magazine'. Anne Hathaway proves with her performance that she's all grown up. No, that's not to take away from her more adult roles in more adult films like `Havoc' and the masterpiece `Brokeback Mountain', but here Anne proves that she can do adult comedy, not falling back into her teen goofiness that made her famous in `The Princess Diaries' but keeping everything smart and mature. She has enough poise and grace to match wits with Miranda, and she does so elegantly.

Next up is Emily Blunt who plays Emily, Miranda's first assistant (there are two, Andrea being the second). Emily has worked her butt off to get to where she is, slaving for the unruly Priestly and it's all about to pay off with a trip alongside Miranda to Paris. The only thing standing in her way is Andrea, for if Andrea fails miserably then it reflects poorly on Emily. Emily Blunt turns out I think the best performance of the bunch for she has enough sass, enough attitude and enough wit to make her pop out from the screen and stand out no matter who is sharing the screen with her.

Stanley Tucci also does wonderfully here as Nigel, Miranda's second in command. He is there to make sure everything is perfect, and also help Andrea adjust. Stanley always has done great backup work, playing second hand man to just about everyone, but here he really makes his performance his own and owns it. He delivers some of the funniest lines in the film but he never feels like the `token gay guy'...he's needed in this film, not filler, and he commands his scenes and really stands out amidst the crowd.

And then, of course, we have Meryl Streep who plays the ruthless tyrant known as Miranda Priestly. What I was most impressed about was the way Meryl underplays every word, every emotion, every scene, which is not what I expected. I really expected her to go all Glen Close and reincarnate Cruella but she didn't (thankfully) and instead turned out one of the most inspired performances of the year. She must have had fun playing the snooty self absorbed and above all selfish editor-in-chief of `Runway'. She lets us see inside her character briefly (when crying over another failed marriage) but her character is more about shutting off feeling in order to succeed and so we don't get to see the real Miranda because we're not supposed to.

Carried by these four brilliant performances `The Devil Wears Prada' is a fabulous film that will make you laugh and make you smile and will impress almost anyone. The script is brilliantly adapted from Lauren Weisberger's novel, and while it's not an exact replica (are any adaptations these days?) it carries the same wit but smoothes things out to make it more approachable and, in my eyes, more enjoyable. Bravo!

Meryl Streep is absolutely hilarious playing Miranda Priestly, the editor of the world famous fashion magazine "Runway". Along comes Andrea (Andi) Sachs for a job interview. She recently graduated from Northwestern University as a journalism major. Emily, the first assistant to Miranda, nearly snickers in Andrea's face as she looks her up and down and makes snobbish critical remarks about her unfashionable ordinairy clothes. Everyone in the office is calm, casual, and laid back until they learn Miranda Priestly is returning to the office when they go into "high alert".

The grand entrance by Miranda is superb, her haughty but elegant manner is perfect, with one breath and in one single sentence she rattles off six or seven commands to her assisant. Everyone jumps to attention and gets into action ... Andrea's interview is nearly cut short when Miranda notes she lacks the fashion background Miranda is looking for. However Miranda is won over by Andi's sincere work ethic and despite misgivings hires her. As second assistant, Andi manages to pull off miracle after miracle to make things happen for Miranda. It is when she does the impossible: obtains a publisher's copy of the latest Harry Potter book for Miranda's twin daughters that Andi's star at Runway begins to rise but at a huge cost to her personal life. Through a series of most auspicious but unexpected events, it is Andi who goes to the spring Paris fashion show with Miranda and a very select group of Runway staff. In Paris Andi comes to terms with her own values and resolves some personal struggles about her job and what she wants from life ...

The film is a parody about the serious competition which exists in the fashion and magazine publishing industries. The tensions, dramas, and back-stabbing are clearly evident. Dealing with the stresses and strains associated with trying to separate one's personal and professional life is very difficult. It becomes clear, the price of success means favoring work over family and friends . As Miranda Priestly said to Andi after returning from the spring Paris fashion show and as she stepped out from the limo amidst photographers and reporters: "They all want to be us" ... This film is most highly recommended a sparkling gem of a film. Erika Borsos (pepper flower)

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While this film highlights how a college student makes the leap from school to professional life, I also believe that it highlights Meryl Streep's enormous talent although she is not the lead character. She gives such a commanding performance as the dominant impossible boss. In fact there are several outstanding supporting characters such as Stanley Tucci. He is priceless as the guy you love to hate. A really good script, plus great actors equal a great movie!

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Well, I'm all over the map about this movie, I really am, finding something to agree with in almost every review here, including the least positive.

The positives are these: I adore the look and pace of the film, the to-die-for clothes of course, and the performances (first and foremost) of the great Streep as the towering, terrifying Miranda, the winning Hathaway as the perpetually harassed Andrea, the dependable Tucci as Miranda's long-suffering, witty-wise second-in-command Nigel, and the wonderful Emily Blunt as the bitchy, put-upon first assistant...uh, Emily. All of them--especially Streep, Tucci and Blunt--bring both bite and (mostly hidden) heart to what could have been a collective phone-in of annoying caricatures. And though we really only get glimpses of him here and there, I also enjoyed Rich Sommers's endearing turn as the sweetest of Andy's circle, Doug.

I am seriously ambivalent however, about what the message of this movie is supposed to be, especially to women, and the alarm bells really go off when--SPOILER ALERT--Andy reconciles with her sulky boyfriend, Nate, telling him he was "right about everything."

What? What exactly was he so "right" about??

I don't know about you, but I found Nate, the boyfriend character, absolutely insufferable through almost the whole of the movie. I'm pretty sure he was supposed to be the voice of reason that tries hard to keep Andy grounded and remind her what's truly important, but he came off instead as a sulky brat who could not accept his girlfriend's growing pains as she labored to cope with an impossibly demanding, first ever grown-up job that nothing in her easy-going schoolgirl existence had prepared her for. Were there no demands being placed on him in HIS choice of career? Was his job supposed to be the more important one?

Ditto Andy's best friend, Lily, who seemed to me increasingly more jealous of Andy rather than supportive of her; Lily too was pursuing Bright Lights-Big City dreams that demanded a lot from a young newcomer, after all, so how is it that she had such a hard time with Andrea's chaotic ups and downs? Where did Lily get off being so judgmental and disapproving? This is friendship? I watch these performances and can't decide whether actors Adrian Grenier and Tracie Thoms made poor choices in their playing of difficult characters, or if the characters as written were simply impossible to like. Either way, both were a whiny pain, especially Nate, and Andy's mea culpas to him near the film's conclusion were tough to take.

No one disputes that Miranda Priestley was a Boss From Hell who routinely wiped her feet on her young assistants, particularly Andrea, but we also see that ultimately Miranda was as human as anyone else, a glamorous workhorse whose alley-fighter smarts hid real pain, and it should be said that Andy--who was in the beginning quite smug in her disdain of all the fashionista "shallowness" that surrounded her--had a knocking down or two coming. (I loved the way Nigel simultaneously comforted and took Andy to task after an especially bad morning.) If Miranda put Andy through the wringer--and she did--well, she also taught her some important things (sometimes unwittingly) about hard work, hanging tough, and the choices we make in life to get to where we want to go (or need to stay). Andy could have quit at the end of her first week (I think I would have), but no matter how bad or insanely silly things got, she didn't, at least not immediately. On some level she became aware that she was getting an education she wouldn't get anywhere else from anyone else, and there was value in that. I think she knew that; I hope she knew that. I hope the audience does, too.

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This could easily be dismissed as another "little-fish-in-a-big-pond" story, but the wonderful script and fine acting by all sets it high above the rest. Meryl Streep was terrific, though she was allowed to show a soft side a few times, which took away from the "bite" that may have been implied by the title. (I had a boss like that, but mine was meaner and showed less sensitivity). Streep is not the main character, however, and Anne Hathaway shows command in the central role. There's excellent support from Adrian Grenier, Stanley Tucci and Emily Blunt. The shots of New York City (and of Paris) are grand and impressive, and, as one would expect, the costume designs are stunning, though few are original for this film. David Frankel's direction kept things moving at a swift pace, and the DVD extras are entertaining and informative. I enjoyed "The Devil Wears Prada" very much.

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Memento (2001)

--Quick plot synopsis: A psychological thriller about a man with short-term memory loss trying to track down his wife's killer. It does an excellent view of putting the viewer on the same level as the main character by showing the movie in reverse. ie. The first scene you see is the last one in the story.

--The folks at Columbia/Tristar really went all-out to bring the viewer into this movie. The menus alone give you a perspective on the story and main character not possible in the theater. This two-disc set gives you everything you'd expect from a special edition: director's commentary; trailers; production photos; mini documentary; 5.1 surround sound, etc. But wait, there's more... It's just hidden within the maze of questions in the psychological exam that makes up the menus on both discs. If you keep searching on disc two, you'll be able to watch the movie in chronological order, which is my reason for buying this special edition. (If they don't edit this out as a spoiler, just select the Clock form the main menu, choose answer "c" five times on the questions, then put the pictures of the woman fixing the flat tire in the order of 3,4,1,2.)

Brilliantly directed by Christopher Nolan, who also wrote the screenplay based on a short story by his brother, Jonathan Nolan, this film had to be a huge challenge for all. The word "memento" means "remember" in Latin, and the story is about Leonard, so traumatized by a blow to the head after his wife's rape and murder, that he has lost his short-term memory. He's out for revenge and is looking for the killer, but, although he remembers his life with his wife and who he is, he cannot remember anything that has happened since. He therefore takes Polaroid shots of everyone he meets and writes notes on them. And he also tattoos things he wants to remember all over his body. The role calls out for an exceptional actor and Guy Pearce certainly does rise to the occasion. I found myself drawn to him, identifying with his condition, and joining him in his struggle to relate to the world.

The story unfolds backwards, an unusual narrative technique that is tricky to use. We see a scene and think we understand. And then there is another scene that has happened prior to it, and it totally changes our perception of what is going on. Purposely, it is confusing. And purposely, there are moments of clarity where it all fits together only to become even more confusing in the next scene. Carrie Ann Moss plays a femme fatal and, as we get to know her, we are not quite sure what her motives are. Joe Pantolino is cast as in the role of Leonard's buddy, and we are constantly confused as to whether he is friend or foe.

I sat there fascinated as this complicated plot unfolded, enjoying the mastery in which the director led me down different avenues of thought and also introduced questions about the moral issues involved. By the end, I was absolutely sure of nothing at all, except that I had been traveling on a roller coaster of an experience that didn't have any easy answers. While I tend to want films to have a beginning, middle and end, and a story line that is easy to follow, this an exception to the rule. I definitely recommend to those who are willing to explore this unique film, which is certainly one of a kind.

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The only film that I can think of that comes even close to the ingenuity of Memento is The Usual Suspects. Like that way underappreciated classic, Memento gives you the ending immediately, and then spends the rest of its time showing you how it got there. Each scene offers clues and various revelations--Leonard's tattoos, why he writes what he does on Natalie's and Teddy's pictures, what happened to his wife, Leonard's job before "the incident"--each of which are thrilling mini-narratives in themselves.

The acting is first rate. Guy Pearce, best known as "the one who wasn't Russell Crowe in L.A. Confidential", is Leonard, a character who will intrigue you, engage your sympathy, and might even scare you by the end. Joe Pantoliano's Teddy will have you debating his intentions towards Leonard for days afterwards. The real acting coup, however, is fellow Matrix alum Carrie Anne Moss--her performace as Natalie will make you love her, hate her, and make you fiercely protective of her.

The movie can only be watched on DVD. Keep the remote handy as you'll want to pause every now and then, if only to read Leonard's tattoos for various clues. After watching the movie, be sure to check out Otnemem in the Special Features section for newspaper articles, pictures, journal entries, and psychiatric reports on Mementos intriguing characters. They will help confirm what you think happened in the movie. DVD also offers the playful option of choosing to watch the movie backwards (or would it be watching the movie forward?). You will definitely consider the option after watching the movie. I haven't done it yet, but I can't wait to see the effect that it has on the movie.

This movie is worth the critical hype. If you enjoyed movies like The Sixth Sense, The Matrix, The Usual Suspects, Seven, Fight Club, and Dark City (some of my personal faves), then Memento will be the crown of your DVD collection!

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This review will only deal with the features found on the "Memento Limited Edition 2 Disc Set", and not the merits of the movie proper.

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My only qualm with this DVD edition is the packaging. Wrapped in a tight-fitting but flimsy cardboard box, designed to look like Leonard Shelby's case file, it's almost impossible to get the discs out on first try. I find that I have to open the back to push out the innards, which tends to warp the shape of the box. Found inside are several loose sheets of paper, which look like psychological tests, notes from the case history, and, as you will soon see, the DVD's on-screen menus. The whole thing is ostensibly held together by a little plastic paper clip, whose only real purpose, I've deduced, is to get lost behind my TV set.

The first thing one notices once Disc 1 of the DVD loads is a psychological test, asking the viewer to commit to memory a list of words that will go flashing by on the screen. Don't be alarmed. Although Chris Nolan and Co. have set up the DVD to look like a series of tests, you really don't have to read through or pay much attention to everything on the screen. However, because sometimes they can be quite entertaining, I suggest you do. "Why are these people laughing at you?" asks one question. "We know you did it," ominously states another. This edition can get trippy if you let it.

After the memory flash, you are then asked to select from a list of words the ones you didn't see. Like I said, this isn't really a test, but an ingenious way to present the disc's main menu.

Selecting WATCH plays the movie. Selecting READ allows you to choose between English or Spanish subtitles, while LISTEN allows you to hear the movie in either English or French, 5.1 Dolby Digital or DTS 5.1 Surround Sound. CHAPTER sends you right to the scene selection option. And COMMENTS turns on Christopher Nolan's Director's Commentary track.

In my review of the commentary track for "Following", Nolan's first movie, I called his delivery "monotone... somnolent at times" but that he's "so smart and precise about what he's saying you can easily overlook that and become engrossed in the content." I can say pretty much the same thing here. Except that, in some ways, it's a less effective track. Nolan spends a lot of time analyzing the story, deconstructing the main character, his motivations, the structure, etc. They are the kind of out-loud thoughts a screenwriter might use when figuring out his screenplay, but serve little purpose for a viewer watching the film (okay, I suppose prospective screenwriters will get some value out of it). It is thrilling to see how Nolan's big brain works, how he's thought through every situation, and has a reason for including everything in the movie. But it's just one note played over and over for an hour and a half. If Nolan had mixed things up a bit, included more anecdotal information, or behind the scenes goodies, it would have been a stellar track. As it is, it's got a very narrow appeal.

Disc 2 begins much the same way that Disc 1 did, except this time you are asked to view a series of pictures, and then are asked to select which picture from a list wasn't shown. This is, as I'm sure you have guessed, the menu for the additional material features.

Selecting the COMPASS shows you a behind-the-scenes photo gallery, as well as pages from Leonard's Journal. The BOOK allows you to read Nolan's script while listening to the audio track of the movie. You are even privy to the notes he made in the margins of the script, offering further thoughts on how scenes might be filmed. The GLOBE brings forth a whole mess of international promotional material, while the BINOCULARS give the option of viewing the international and North American theatrical trailers.

Selecting the SKULL starts a featurette, produced by the Sundance Channel, called "Anatomy of a Scene". Nolan, his editor, composer, producer, cinematographer, and one actor (Joey Pantoliano) discuss the whys and hows of the production. Particular emphasis is given to the opening few scenes, detailing how they were set up to gently bring the audience into the aesthetic of the film. Overall, the 25-minute segment further cements the notion that Nolan is an intelligent filmmaker, in full control of his cinematic palette.

Although not listed in the features on the DVD box, the much-ballyhooed 'Chronological Version' -playing the scenes in the order in which they happen rather than back to front -is here. Trust me. I just watched it. I'm not going to tell you how to find this version, for I think that would be a spoiler on par with giving away the end (beginning?) of the movie. But I will say that this information is available in several places online, so those of you who get frustrated with the puzzle should easily be able to obtain the answers (if not, drop me an e-mail). And I must say, "Memento" is still quite a gripping tale when told this way. But it does make Nolan's reason for telling the story his "gimmicky" way quite clear. The problem with this feature, however, is that it doesn't offer you the option of fast forwarding or jumping from scene to scene. So unless you can watch the whole movie in one sitting, you better not press 'stop'.

If you enjoyed "Memento" because it was a complex puzzle of a film, than I suspect you will enjoy this equally complex and even more puzzling DVD version. I'm almost positive that there is more to this edition than the features I've listed above. And I look forward to hunting for them in the future... or is that the past?

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Alfred Hitchcock was the master of Cinema's Rule One: 'Do not tell. SHOW.' Director/screenwriter Christopher Nolan takes that philosophy a step further in this film noir masterpiece by controlling not only the viewer's visual sense but their perception of time as well, reconstructing the protagonist's attempts to make sense of his world by reading the clues he leaves for himself (and us) and deciding who to trust in order to understand not only what occurs, but why. In effect, Nolan has rewritten the rule: 'Do not show. EXPERIENCE.'

The cast is exceptional, Guy Pearce in particular, and traditional film noir elements are executed very well, with haunting music, taut cinematography, smart dialogue, effective voiceover, and a constant search for motive. Humor is used sparingly and effectively. This is really an editor's film, and Dody Dorn deserves an Oscar nomination for editing this gem.

As for the DVD edition, it is a mixed bag. Though operationally a bit buggy, cinematically and artistically the special features are creative and fun. For instance, interesting scenes run behind the menus, and many film clips appear framed as Polaroid camera shots, both fun to watch and relevant to the film's concept. The original idea for the film was supplied by the director's brother Jonathan, who wrote a short story based on the same idea and designed the film's web site; information rendered from outside the time frame of the film, viewable on the DVD as newspaper clippings and notes by Guy Pearce's Leonard, are adapted from that web site. Also included are Jonathan Nolan's short story, an Independent Film Channel interview with Christopher Nolan, trailers from Memento and an earlier Nolan film, cast and director biographies, subtitles in English or Spanish, and a tattoo gallery (which looked interesting, but I couldn't get it to work on my Power Mac G4). I wish more DVDs would incorporate this kind of material.

I was disappointed because I'd heard that on the DVD you could watch the film as if it was shot running forward but that is not here, unless you count running the chapters in reverse from the Chapter Selection feature. I would also have liked to have seen behind-the-scenes footage, especially storyboards.

This is a great film to watch with a group (as long as they don't talk during the film) so you can talk about it afterward. Nolan and crew can be proud of this fine film. The DVD extras could have been better, but they are still fun to play with.

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Extremely Loud & Incredibly Close (Movie Only Edition Blu-ray + Ultraviolet Digital Copy) (2012)

Extremely Loud and Incredibly Close is the fourth feature film by British director Stephen Daldry. Daldry emerged in 2000 with his beautifully written drama Billy Elliot. He followed with progressively less impressive efforts (The Hours and The Reader) but still gave a decent effort with every new try. This film is written by Eric Roth (the writer of Forrest Gump and The Curious Case of Benjamin Button) and produced by mega-producer Scott Rudin (No Country for Old Men). The film is based on the book of the same name (Extremely Loud and Incredibly Close (Movie Tie-In): A Novel) by Jonathan Safran Foer and stars Thomas Horn, Tom Hanks, Sandra Bullock, Max von Sydow, Viola Davis, John Goodman and Jeffrey Wright. The film centers around a young boy who lost his enigmatic father during the tragic events of 9/11 and his meticulous search for the lock a key found in a vase belonging to his father opens.

The film opens with a jumper off the twin towers referencing the tragic leaps to death made by people as they grasped a hopeless situation. Oskar Schell, the son of a jeweler (played by Tom Hanks), remarks throughout the film, his experience of "The Worst Day." Thomas Horn, the young actor who plays Oskar, does a more than admirable job with his performance. He gives emotional bursts of energy with each new scene, giving off the shattered hope and sky-rocketing guilt of his fruitless searches to become closer with the memory of his lost father. Sandra Bullock gives one of the most honest performances of her career as a wayward mother searching for her composure of an out of control situation. Max von Sydow, a seeming vestige of hope, breathes new life into the film halfway in with his muted dialogue disseminated by pen and pad. Tom Hanks, great as always, plays a dynamic and involved father.

The emotional depth of the film is immense with every heartache truly felt especially with just one image of the towers collapsing. Stephen Daldry weaves together his most compelling drama since 2000's Billy Elliot and in much more morose surroundings. Very few, if any, document that tragic day with such intensity and shows what it means to be affected by the day that will truly live in infamy. The criticism of the film demonstrates that some people may not be receptive to the material because it's too difficult to revisit or possibly too melodramatic to tolerate. Understanding that every filmgoer's experience is fundamentally different, I couldn't help but be affected by the film possibly in a way that the people next to me or the people who have watched the film had not been. At first I didn't not understand it especially as the elephant of the room seemed to be based on an unfair estimation.

The elephant in the room with this melodramatic rendition is that question of exploitation. Some critics and Amazon reviewers have voiced the opinion that the film exploits the events of 9/11 for financial gain and cheap dramatic effect. The problem with such logic is that several films have been made over the years depicting real life tragic events such as Titanic, Pearl Harbor and Black Hawk Down, and many of these films were not viewed as exploitive. Did depicting the tragedy of Pearl Harbor or the Titanic soil the memory of those who died? Were the sacrifices made by the servicemen in World Trade Center and members of flight United 93 trivialized by depicting them in World Trade Center and United 93 respectively? Absolutely not. What those films did as Extremely Loud and Incredibly Close does, is to put the viewer in the shoes of those experiencing the tragedy and giving a greater understanding of what that event was like not to mention what it meant to those involved.

Criticize the film if it's too melodramatic or if the young actor is too annoying. Maybe the tone is uneven or the premise is emotionally manipulative. However, calling the film exploitive applies a double standard not applied to films of the same nature making the whole argument flimsy at the least. If unable to understand that, realize that the film sets out to present 9/11 through the eyes of a young child and demonstrates the psychological, sociological and emotional confliction not to mention the guilt involved with the main character who is a de facto representative, emblem or figurative reference of surviving family members of 9/11 victims. It gives those who didn't truly experience the event for what it was a chance to understand it in both the short and long-term sense. And sometimes, cinema is a medium for emotion and can be as this film proves, as powerful as the human heart allows it to be. My understanding of the criticism of this film is that there are some hard hearts and closed minds on the issue of 9/11 and ability to express it in a cinematic setting, which is unfair.

I'm a born and bred New Yorker. I was five months past my 13th birthday on September 11, 2001 and the event went completely over my head. I was too young to understand the magnitude of the event and what it meant for the country or even the world for that matter. It was something I was unaffected by. I knew no one who was in the tragedy, affected by the tragedy or killed in the tragedy. I even knew of no one who knew of someone who was remotely related to the tragedy. In many ways, I did not feel it because I was a kid who could not relate to death as a concept or tragedy as a reality. Ten years later, Extremely Loud and Incredibly Close brought me to the tragedy and allowed me to the first time relive the event and process it emotionally, something I couldn't do ten years ago. Despite the unpleasantness of it, I truly appreciate the film for allowing me to relate to the tragedy in a way I never could have under any other circumstance. If this film can do that for one person, then it's less exploitive than you think.

A Boy's Quest in EXTREMELY LOUD & INCREDIBLY CLOSE

Ambitious in concept, Extremely Loud & Incredibly Close is the love story of a troubled boy whose bond with his father transcends death and events beyond his understanding. Director Stephen Daldry (Billy Elliott, The Hours) has put together an interesting study in post trauma and rediscovery. It doesn't always work, but it still registers on an emotional level.

A funeral signals the death of a family member and a boy's alienation to the world. In flashbacks, Oskar (Thomas Horn), who has trouble communicating and may have Asperger Syndrome, adores his father (Tom Hanks) who challenges him with riddles and treasure hunts to meet people outside his apartment. Both father and mother (Sandra Bullock) are loving parents, and the world becomes an interesting laboratory for exploration and discovery. Life is idyllic until 9/11 when everything changes and Oskar is witness to his father's last moments trapped in one of the Twin Towers. A year later, looking in his father's closet, he discovers a key in an envelope with the letters `black'. Who or what does the key belong to? Oskar sets out to find out by systematically tracking down every `Black' in the phone book and visiting each person for a clue. This big scavenger hunt is at best a daunting task.

His grandmother who lives across the street has a mysterious renter (Max Von Sydow) who does not speak and can only communicate by jotting on a note pad or displaying `yes' and `no' written on each hand. The renter takes a liking to Oskar and accompanies him on his quest. This is a search that proves overwhelming as each person they find has a story too. When all hope seems lost, the road leads back to that fateful September morning and opens Oskar to the truth about his parents and himself.

At first you wonder if this hunt will be meaningful and be rewarded or if it is a waste of time. Oskar's obsession keeps him connected to his father; to fail is to lose whatever he has left of that relationship. In a way, it is about trying to make sense of his father's death and coming to terms with it. It is also about the forgiveness of guilt that nearly consumes Oskar.

You kind of think that at some point a miracle may occur or that something profound may happen, but what does reveal itself does not quite answer all the questions, and maybe that's just the point to the film, that life is part mystery and we never truly understand its riddle.

When you take stock of all the people that Oskar encounters, you realize that every one of them can sympathize or has suffered some kind of loss, and how they react to that in relation to Oskar shows how the trauma of loss can be a common bond. You wish you could learn more about some of these people.

Von Sydow gives a memorable performance without uttering a word as the renter who has a personal, family secret. Why does he remain mute? Was he a survivor of something so traumatic like the concentration camps of Europe that he does not speak? In a supporting role, Viola Davis is effective playing a character who figures prominently at the beginning and the end.

In the end, Oskar has learned something about himself and his family, and through his journeys, he has matured in a new post-9/11 world. Ultimately, the revelation at the end is bittersweet and that without the power of forgiveness, closure is incomplete. It also speaks to a part of humanity that we all share.

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Oskar Schell (Thomas Horn) shares an incredibly close relationship with his father, Thomas Schell (Tom Hanks). Oskar is an extraordinary child who has some very particular social quirks. His list is rather extensive and it's revealed that he was once tested for Asperger's Syndrome. However, Thomas Schell spends a great amount of time with his son and does everything he can to help him overcome his fears. However, on September 11, 2001 as the world changes forever, tragically so does the life of Oskar and his mother, Linda (Sandra Bullock), as Thomas was in the second tower of the World Trade Center when it fell. Linda attempts to move on with life, but Oskar refuses to move forward. A year later, he accidently destroys a blue vase while rummaging through his father's closet and discovers a key in an envelope simply marked "Black". Thomas constantly played games with Oskar and led him on journeys around the city, hiding clues and prizes in the most unexpected places. Oskar is convinced the key is a gift left behind by his father to send him on one last adventure. Determined to find the door the key unlocks, Oskar begins a systematic search of the city, trying to locate the person with the last name "Black" who will be able to help him solve the mystery. Along the way, Oskar becomes acquainted with a man his grandmother has been renting a room to. The man seems to have no name and is simply known as "The Renter" (Max Von Sydow). The Renter is a survivor of WWII and reminds Oskar of his father. The two become unlikely companions and friends as they search the city to unravel the mystery of the key.

EXTREMELY LOUD AND INCREDIBLY CLOSE is based upon a 2005 novel by Jonathan Foer. I've not read the novel, so I can't compare the movie to the book.

The movie is an extremely moving piece of cinema. It goes to places that the audience might not suspect. The movie has a satisfying ending, but it's not necessarily a happy one. Like life, Oskar's journey doesn't turn out exactly as he had hoped. However, like all journeys, it changes his life forever.

The acting in EXTREMELY LOUD AND INCREDIBLY CLOSE is amazing. Tom Hanks plays a small, but important role. Newcomer Thomas Horn is so powerful that it's difficult to believe this is the first time he's ever acted on film before. Sandra Bullock has a strong supporting role that is worthy of a Best Supporting Actress nomination. Max Von Sydow speaks no lines, but his eyes speak more and convey more emotion than the most well trained politician. John Goodman has what is basically a cameo as Stan the Doorman, but it's always a joy to watch Goodman perform, even in a role such as this. There are numerous smaller roles in the various Blacks that Oskar meets. Most of these characters are only on screen for a few brief moments but each of them ground their scenes in realism. EXTREMELY LOUD AND INCREDIBLY CLOSE is a good movie that is made great by the acting performances. If for no other reason, it's worth watching for the acting alone.

EXTREMELY LOUD AND INCREDIBLY CLOSE is a very emotional movie. For Americans, particularly those who lived and worked in New York on September 11, 2001, it will probably have a different kind of reaction. However, though the story is told through the lens of September 11th, the film is really a story about a young man coming to grips with the unexpected death of his father. It's a film that will probably resonate with anyone who has lost a parent they were close to. I cried several times and the film really made me think about my own Dad and his untimely death. I left the theatre thinking about many of the memories I have of my Dad. It made me a little sad, but very grateful. In the future, I'm sure that EXTREMELY LOUD AND INCREDIBLY CLOSE is a movie I'll watch whenever I'm sad and thinking about my Dad because I know that though it might cause a few tears, it'll cheer me up in the end and, like Thomas Schell and my own father, encourage me to not stop looking for whatever adventure life holds.

Read Best Reviews of Extremely Loud & Incredibly Close (Movie Only Edition Blu-ray + Ultraviolet Digital Copy) (2012) Here

Most of us in this country, indeed most of those in the civilized world, has a memory of where they were and how they felt on September 11, 2001. Many, of course, have painful and permanent losses to deal with. For myself, we were far from home on that day, and I truly felt that something of our world had ended. Which, in fact it had. So when it was announced that there would be a movie, Extremely Loud and Incredibly Close, which would touch on those tragic events, our first response was, "No, we don't think so." Then we learned who was to be in this movie, and the cast included so many of our favorite actors: Tom Hanks, Sandra Bullock, Viola Davis, Jeffrey Wright, Max von Sydow, John Goodman, people we felt we could trust to do such a subject justice, and we said, "Well...." Then we learned more about the story of the film (and story is everything, to us) and we asked ourselves, "How could we not see it?"

And I'm so very glad we did. Everyone is predictably excellent. The story is beautifully done, and at the same time simple and deeply layered. The child actor makes you believe he is dealing with the personal problems of the child character. These problems would be unique and difficult enough, if they did not also include the loss of an incredible father under horrific circumstances, and you share the pain of this family of grandmother, mother and son, while the story is told from so many different directions. Being one of those who cry at Hallmark commercials, I am always loathe to see any movie or play or read any book that wants to make me cry. But this movie is not like that. I did just fine throughout the entire story, experiencing it intensely but dry-eyed. Until the end. Until I got to the point where I could fully appreciate the efforts this family made to move forward, the grace with which they and the families they represented dealt with what they were given. Until I could see the wonder of the story.

It was terrible in the parts that invoked the events that we already knew had happened; it became wonderful beyond my power of description because of a boy on a swing. And then I wept.

Want Extremely Loud & Incredibly Close (Movie Only Edition Blu-ray + Ultraviolet Digital Copy) (2012) Discount?

I rented this movie with some trepidation. I read the book several years ago and it was one of my all-time favorites. I was afraid (especially with the negative reviews here on Amazon) that it would not only fall below my expectations but it would ruin the beautiful story I remember from the book. I was so wrong. This was a great movie!

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Rare Exports: A Christmas Tale (Blu-Ray + DVD) (2010)

Looking for something off the beaten path this Christmas season? The Finnish oddity "Rare Exports: A Christmas Tale" might just be the cure for your holiday blues. Part fantasy, part horror, part black humor--this delightful film manages to adhere to traditional Christmas movie conventions while upending them at the same time. It's an unusually deft balance that makes this both hard edged and heartfelt. While not a perfect movie--once the main action begins, things fall rather too conveniently into place--it is distinguished by its brilliantly bold concept. And despite minor reservations, I have to award "Rare Exports" my respect for its unorthodox story line and wickedly acerbic sense of humor. Destined for cult movie status, I have no doubt that this film will perplex some viewers. But for adventurous movie lovers, I can't think of a better antidote to typical holiday fare.

Set in north Finland, the reindeer population is found dead by local herders . Maybe it has something to do with an American work crew excavating a nearby mountain. There is a disturbing legend about Santa in these parts. It seems that the jolly old fellow wasn't so jovial, but instead was quite evil. He was killed and buried in these hills according to lore and it seems that the Americans might be looking for the genuine Santa Claus. As with any good Christmas story, the protagonist is a spirited boy with a hard scrabble life. Spying on the dig, he can't believe what is discovered. But when strange and scary happenings start to consume the town, will he be able to make anyone understand the evil that has been unleashed? It's such a terrific premise, done with slow burn precision. As opposed to an all out assault on your senses, this sly film methodically ratchets up the creepiness and the macabre humor.

This is a bizarre and highly original winner. The plot twists and turns and the climax is refreshingly satisfying. The wintry locales, the propulsive soundtrack, and the good effects add weight to the narrative. But perhaps the film's greatest asset is in its lead performance. So self assured and polished, it's easy to envision this alternate world through his eyes. His relationship with his father is sweet and realistic despite the surreal feel of the picture. I loved this movie, truly, and have no doubt that it will continue to captivate more adventurous audiences as word spreads through the DVD release. For those looking for family entertainment, I would not recommend this to small children (hopefully that is already clear). But for anyone looking for a new holiday viewing tradition, check this out. This will join A Christmas Story and It's a Wonderful Life as our yearly favorites. It's not perfect--but its sheer inventiveness makes up for any shortcomings. KGHarris, 8/11.

We saw this film at our local cinema, not knowing anything about it. From the opening moments we were gripped and engaged by a wonderful combination I have never experienced in a movie before: interplays of mythology, environment, politics. We left the film with our jaws still dropped. It's beautifully produced, amazingly authentic acting, and like nothing else you will see. The story line is very human and ultimately inspiring. I'm sorry that many people missed it at the cinema, so do get the DVD!

Buy Rare Exports: A Christmas Tale (Blu-Ray + DVD) (2010) Now

First I saw the trailer. Then, I saw the movie in the theater. Then, I joyfully bought the Blue Ray/DVD, which comes with both Blue Ray and a regular DVD, which I gave to a good friend of mine from Finland.

Rare Exports is a rather tense thriller/black comedy. I wouldn't recommend for children even though the movie has brilliant child actors in it. The cool thing about this film is that it wipes away the gloss and pizzazz of today's Coca-Cola Santa, and brings back the true meaning of "..you better watch out, you better not cry...". At first I was apprehensive about watching a foreign film, but after a few minutes I found reading the subtitles easy because there wasn't that much to read. A lot of action takes place with suggestion at every corner. I hate to give away any spoilers, except that you will love this cult classic and beware of shopping mall Santa's.

Thank you Amazon for shipping it quickly!

Read Best Reviews of Rare Exports: A Christmas Tale (Blu-Ray + DVD) (2010) Here

Looking for something off the beaten path this Christmas season? The Finnish oddity "Rare Exports: A Christmas Tale" might just be the cure for your holiday blues. Part fantasy, part horror, part black humor--this delightful film manages to adhere to traditional Christmas movie conventions while upending them at the same time. It's an unusually deft balance that makes this both hard edged and heartfelt. While not a perfect movie--once the main action begins, things fall rather too conveniently into place--it is distinguished by its brilliantly bold concept. And despite minor reservations, I have to award "Rare Exports" my respect for its unorthodox story line and wickedly acerbic sense of humor. Destined for cult movie status, I have no doubt that this film will perplex some viewers. But for adventurous movie lovers, I can't think of a better antidote to typical holiday fare.

Set in north Finland, the reindeer population is found dead by local herders . Maybe it has something to do with an American work crew excavating a nearby mountain. There is a disturbing legend about Santa in these parts. It seems that the jolly old fellow wasn't so jovial, but instead was quite evil. He was killed and buried in these hills according to lore and it seems that the Americans might be looking for the genuine Santa Claus. As with any good Christmas story, the protagonist is a spirited boy with a hard scrabble life. Spying on the dig, he can't believe what is discovered. But when strange and scary happenings start to consume the town, will he be able to make anyone understand the evil that has been unleashed? It's such a terrific premise, done with slow burn precision. As opposed to an all out assault on your senses, this sly film methodically ratchets up the creepiness and the macabre humor.

This is a bizarre and highly original winner. The plot twists and turns and the climax is refreshingly satisfying. The wintry locales, the propulsive soundtrack, and the good effects add weight to the narrative. But perhaps the film's greatest asset is in its lead performance. So self assured and polished, it's easy to envision this alternate world through his eyes. His relationship with his father is sweet and realistic despite the surreal feel of the picture. I loved this movie, truly, and have no doubt that it will continue to captivate more adventurous audiences as word spreads through the DVD release. For those looking for family entertainment, I would not recommend this to small children (hopefully that is already clear). But for anyone looking for a new holiday viewing tradition, check this out. This will join A Christmas Story and It's a Wonderful Life as our yearly favorites. It's not perfect--but its sheer inventiveness makes up for any shortcomings. KGHarris, 8/11.

Want Rare Exports: A Christmas Tale (Blu-Ray + DVD) (2010) Discount?

Well made fantasy/dark comedy in true finnish style. The 2003 and 2005 shorts made to obtain the funding for this movie are true comedic gems and really need to be seen in order to appreciate the Finns sense of humor. Little blood and no horror. You are buying for the beautiful scenery and a taste of nordic humor.

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X-Men Origins: Wolverine (Blu-ray/DVD Combo + Digital Copy) (2009)

With the X-Men films becoming too expensive to feature all its stars, it has become more logical to focus on the storyline of each of the main characters. And what best than to feature one of the more popular characters in the Marvel and X-Men universe, Wolverine.

Taking the helm as director is actor, Gavin Hood ("Thug", "The Storekeeper" and "Stas and Nel Adventures"), with a screenplay by David Bennioff ("The Kite Runner", "Troy") and Skip Woods ("Hitman" and "Swordfish"). Joining the men is composer Harry Gregson-Williams ("Deja Vu", "Shrek the Third" and "Gone Baby Gone") and cinematographer Donald McAlpine ("The Chronicles of Narnia: The Lion, the Witch and the Wardrobe", "Peter Pan", "Anger Management" and "Moulin Rouge!").

"X-Men Origins: Wolverine", the Blu-ray Ultimate 2-Disc Edition comes with two discs. The main disc is the Blu-ray, while the second disc is a digital copy.

VIDEO & AUDIO:

"X-Men Origins: Wolverine" is presented in 1080p High Definition with an AVC @ 22MBPS. The picture quality is quite solid with the skin pores of both Hugh Jackman and Liev Schrieber coming quite nicely on the HD transfer. The grittiness, the sweat, the grime, the vibrancy is also well-captured in the film. Blacks are nice and deep and with the film being shot outdoors, the areas that Logan visit are quite detailed. I didn't see any compression artifacts or major scratches or dust on the video transfer.

The audio is presented in English 5.1 DTS-HD Master Audio (also English, Spanish and Portuguese 5.1 Dolby Digital and French 5.1 DTS). The lossless audio track is absolutely awesome. From Zero's gunfire, Logan's adamantium claws making the "snickt" sound, Wade's swords as it deflects the bullets and Victor's attacks and his growls, it's all captured and sounds incredible. Also, there are plenty of action-scenes that really showcase the surround channels and a good amount of LFE is utilized. From the explosions to the gunfire, home theater owners should be happy with the Blu-ray lossless soundtrack as some scenes sound quite immersive.

As expected, Twentieth Century Fox has done a great job with the video and audio transfer for "X-Men Origins: Wolverine". Subtitles are presented in English SDH, Spanish, Cantonese, Mandarin and Portuguese.

SPECIAL FEATURES

"X-Men Origins: Wolverine" comes with the following special features:

* Commentary by Gavin Hood Audio Commentary by the director Gavin Hood. For the most part, Hood does a great job in providing the details to the film. A very informative audio commentary.

* Commentary by Producers Laura Schuler Donner and Ralph Winter There are some interesting details about certain scenes and what went on to create those scenes via the producers perspective. The only problem is that Donner and Winter have too many silent moments in where they are not talking. So, it can be a bit distracting.

* The Roots of Wolverine: A Conversation with Stan Lee and Len Wien (16:16) Both Stan Lee and Len Wien discuss the X-Men, Wolverine as a character, Hugh Jackman as Wolverine and the history of the character. An informative featurette in regards to the comic books. For some reason, I felt that Stan Lee was not his jovial self.

* Wolverine Unleashed: The Complete Origins (12:02) Interviews with the director, producers, Hugh Jackman in regards to shooting the film, origins of Wolverine, training, making his claws and the set.

* Weapon X Files This segment features each talent in character talking about themselves and then we hear from the director/producer about what they wanted to accomplish with their character and special effects that went into the making of that character. Probably my favorite was the featurette on Kevin Durand's Blob and what went into making the fat suit.

Victor Creed/Sabretooth (7:25)

William Stryker (4:25)

John Wraith (4:15)

Kayla Silverfox (3:26)

Fred Dukes/Blob (7:18)

Bradley (3:18)

Remy Lebeau/Gambit (9:08)

Agent Zero (3:45)

Wade Wilson/Deadpool (7:10)

Emma (Kayla's Sister) (3:25)

* The Thrill of the Chase: The Helicopter Sequence (5:53) The making of the helicopter sequence.

* Ultimate X-Mode While watching the film, viewers can watch the director, producers and cast talking about the film via picture-in-picture.

* Deleted & Alternate Scenes (9:30) With optional commentary by director Gavin Hood, Hood introduces four deleted and alternate scenes which include: Young Storm, Victor at the boxing ring, Alternate Memory Erase Sequence and a Japanese Bar Scene.

* Fox Movie Channel Presents: World Premiere (6:20) The "X-Men Origins: Wolverine" debut in Tempe, Arizona (The contest winners of where the red carpet premiere took place).

* X-Men on Blu-ray: Trailers for X-Men Trilogy and "Night at the Museum: Battle of the Smithsonian".

* BD-Live Lookup With a BD-Live enabled Blu-ray player, viewers can access up-to-date information on actor filmographies, information related to "X-Men Origins: Wolverine" on imdb (The Internet Movie Database).

JUDGMENT CALL:

I literally grew up with the "X-Men" and "Wolverine" comic books when I was younger. During the 80's, you had your American superheroes but Wolverine represented a character that was just exciting, deadly and literally kickass.

Since the release of the three X-Men films, I have no doubt in my mind that Hugh Jackman was the best casting decision made for the character. He embodies the character completely and the amount of discipline he puts in working out and being Logan is just incredible and it shows in "X-Men Origins: Wolverine".

For the most part, the film is full of action and full of characters. The excitement is there, the killer instinct of both Logan and Victor are there and of course, we have pre-Deadpool Wade Wilson in the film as well, along with many other characters that makes this film fun and exciting. And to feature a storyline that revolves around Logan's origin is not easy. After all, having followed the comic books for so long, I think even writers had their challenge of how the Weapon X program would be and even today, just seeing how things have evolved with the program is just staggering. So, before watching the film, I did have my reservations of how muddled the plot could be.

Fortunately, the filmmakers took a different approach and created their own storyline with some aspects of the comic book still part of the storyline. Keeping things simple and for the most part, for those who are not familiar with the comic books, at least exciting enough to understand where Logan came from and why he and Victor have had this dysfunctional relationship.

For the most part, Jackman is just great as Logan/Wolverine and Liev Schreiber can always play the definitive bad ass. Danny Huston as Stryker was quite effective and Lynn Collins as Kayla Silverfox did a great job as well. As for Taylor Kitsch ("Friday Night Lights") as Remy Lebeau/Gambit, that was quite interesting but for the most part, I felt that Kitsch did a good job albeit the thick French accent that Gambit exhibits in the comic books and people are so used to hearing from the X-Men animated series. The others have small roles such as "LOST" and "Lord of the Rings" actor Dominic Monaghan as Bradley and Black Eyed Peas member Will.i.am also ventures to the acting world, appearing onscreen (instead of voice as he did in "Madagascar 2'). But one of the exciting parts of this film was seeing the Blob (Kevin Durand) and of course, Wade Wilson (Ryan Reynolds). It was great to see on the Blu-ray of how they came up with the Blob's outfit and of course, having Wade Wilson in the film. It's important to note that if you are a fan of Wade Wilson, make sure you watch through the ending credits.

With all my gushing about how much I enjoy this film, one must wonder if I have any negatives. Well, what I didn't like about the film was the overuse of CG, in which some scenes looked a bit too unrealistic. Also, the tweaking of the Wade Wilson character was a bit too much for my taste. I can understand some hardcore fans who may have a problem with the comic book continuity and how the film has quite a few differences but personally, many super hero films has its differences from its comic book counterpart that its not surprising anymore. As long as the soul of the characters are intact and the storyline is well-presented, it's good enough for me.

As for the Blu-ray release, the film definitely gets a wonderful HD transfer as picture and audio quality is solid. A good number of special features are included, as well as a slipcase and a digital copy of the film.

With that being said, "X-Men Origins: Wolverine" is a good superhero film with a lot of action. Was it as deep and entertaining like "The Dark Knight Returns", my answer is no. But I definitely enjoyed it more than the third X-Men film and even the "Hulk" related films. I felt that the storyline focused on Logan/Wolverine, his rivalry with Victor Creed quite well. If anything, it's the CG that tends to be overdone at times that bothered me a bit but for the most part, I did enjoy watching the film.

But after watching the awesome Blu-ray version and seeing the film in High Definition and watching the special features, that actually enhanced my perspective towards the film. A lot went into the making of this film and to see that Hugh Jackman did most of his own stunts, that is incredible.

Overall, if you are a fan of Wolverine and the previous X-Men films, definitely give "X-Men Origins: Wolverine" a try. Definitely worth recommending!

I had read many negative and mediocre reviews of this movie, but finally decided to get it anyway. I was pleasantly surprised. It was actually a very good movie, though my son commented that the scene with Wolverine walking away from an explosion was a bit contrived.

Like the other X-Men movies, it doesn't always follow the comic storyline, and some characters are different from the way they were in the comics. However, taken on its own, this movie tells an interesting story of Wolverine's background, and successfully captures his basically good, decent character, without ignoring some of the things he has had to do in his life (and including the action scenes that are part of why people watch Wolverine). It also gave a good look at Gambit, which finally made me able to see the charm of this character.

There is some timeline continuity problem between this movie and X-Men First Class, and a little with the later movies. At the end of First Class, Xavier is around 30 and still has his hair when he is paralyzed. Near the end of this movie, there is a short scene of a bald Xavier walking. Also, Scott Summers is a minimum of 14 in 1962 in this movie, and seems no older than 30 in X-Men 1, set somewhere in the 1990s (when he should have been at least 44 for continuity to work).

Overlooking these details (after all, the comics contradict each other periodically, too), this is an enjoyable movie and worth getting. I actually liked it better than First Class (which I also enjoyed), though that one has better reviews.

Buy X-Men Origins: Wolverine (Blu-ray/DVD Combo + Digital Copy) (2009) Now

I want to get this out first, I love the comics. I think none of these movies are anywhere close to represent the X-men as they are in the comics. That said, I think these movies exist in a different world that has nothing to do with the 616, except for the characters names and most their powers. I have no problems with these movies; X-men 1 and 2 were very entertaining action movies. But even those movies should have been called, "Wolverine 'N Pals", because they didn't focus on the X-men, but on Wolverine's interaction with the other characters. My expectations of this movie were not based on the comics themselves, but on the previous movie storylines. I knew in my heart that Hollywood would somehow find a way to rape the image of one of my favorite characters in the Marvel Universe, Deadpool. So when "Weapool 11" popped up at the end I wasn't even surprised they would do something that silly. I read an interview a long time ago that about X-men 1 that the producers had to fight to have Cyclops wear the visor because the director didn't like it. So, I am not surprised nor bothered by the fact that these Hollywood interpretations don't have a clue about how these characters should be handled. I did like the previous movies (except 3), and understand that this is merely a diferent interpretation of these characters.

Wolverine Origins or, "Wolverine 'N Pals 4; how this mess began", is a very entertaining movie. But it fails to deliver a comprehensible story line. A lot of the story doesn't make any sense. The movie,( as you might be have been clued to know), is about Wolverines origins, its shows you where he came from and how his powers manifested, leading to spending a long part of his life with his half brother Sabertooth, whom we were introduced to in the 1st X-men. After many adventures and wars, the pair ends up joining a military group of people with superpowers led by Stryker. On one of the missions, Wolverine angered by Sabertooth's actions leaves the group to pursue a nicer lifestyle. This is when he falls in love with Silverfox and the pair lives happily for a while. Many years later Sabertooth comes back in a killing rampage taking out some old members of Stryker's group, and Wolverine's love is killed during this. To get his revenge, Wolverine agrees to have done on him an experimental procedure that with give him metal plated bones.

Not bad right? Love, family, betrayal and revenge. All the stuff to make a great story. This is where it doesn't add up. For those of you that don't want "Spoilers" please don't read, as I might give away some plot details.

-After wolverine finds Silverfox dead, Wolverine a veteran of many wars, doesn't check to make sure she is in fact dead? Why did he leave her body there in the field? Couldnt't his enhanced smell detect the fake blood? Was it her manipulation power that convinced him to just move on instead of taking her to a medic.

-If she can manipulate people by touch, how the hell didn't she manipulate Stryker in letting her sister or any of the other kids go? She spends 7 years of her life with Wolvie and doesn't manipulate him, and indestructible man, to kill Stryker? Was she having to much fun maybe?

-After Wolverine has adamantium put on his bones and escapes to visit the "Kents", why on earth would Stryker send Maverick with a rifle to shoot a man that can't die with metal bones? Was he going to shoot through an eyeball from a helicopter? He missed pretty badly by the way, twice. Superman gonna be angry when he goes home to visit.

-Its revealed that Silverfox wasn't killed by Sabertooth yet after Sabertooth saves Wolverine from falling off the cooling tower, Wolverine tells him "this doesn't change anything". Why? She's not dead. She fooled you. He saves you from falling and having your butt kicked but Weapon 11, why the hell are you still mad at him?

-Stryker failed to wipe Wolverine's memories so the solution is to shoot a guy with metal on his skull on his head? How the hell does that work? How did he know it would work?

-Why did the most powerful telepath (Professor X) not control someone inside the 3 mile island release the kids? Why wait 7 years and then help. Why didn't he do that stop time thing from the previous movies so he can save the kids? Where was Magneto? Doesnt he care about abused mutant kids? (One of the restrained kids looked like Quicksilver, who is Magnetos son in the comics)

-How come those kids couldn't get away on their own? What was that chain link fence cage they were in made of? Adamantium?

-Why was Gambit hanging out in a casino, when he knew he was being looked for by Stryker? How was it that Stryker can't find him in a long time and yet Wolverine finds him in a day? Maybe Stryker didn't want him anymore. Maybe they couldn't persuade the Blob to talk?

-Why add the scene in the end where Stryker is going to be arrested for his crimes, when we well know that he was a high ranking military official in X-men 2?

Well these are most of the plot points from the movie that just don't make any sense. It's ok for an action movie to be extremely silly and self referential in that way. For example in Transformers when they have the teen kid take the cube and the alien so they can hide in the populated city, one of the characters mentions how dumb that idea is. They make no excuses in this movie, and just because it's "supposed" to be a dumb action movie, there is no justification for the producers of this movie to assume their viewers are idiots, and won't care about a story plot that doesn't make any sense. Which, apparently they are correct because this movie made a boatload of cash. I will not act like there is nothing wrong with this movie just because it's flashy and has lost of explosions.

In my arrogant opinion, it's a onetime watcher. This is not a boring movie by far, yes, it's a lot of fun and tons of action and the movie's cast was really great. But the story is convoluted and nonsensical, it seems to take the audience for granted. So, if you want to enjoy this mess, just ignore the entire story and watch the shiny stuff happening on screen.

Read Best Reviews of X-Men Origins: Wolverine (Blu-ray/DVD Combo + Digital Copy) (2009) Here

I received my Blu-ray copies of the X-Men Trilogy and X-Men Origins: Wolverine yesterday and was immediately disappointed and frustrated by two things.

1.) I cannot get X-Men Origins: Wolverine to play beyond the "If you are having trouble..." screen without turning off the BD-Live functionality on my player (Oppo BD-83). I thought to do this because the other movies in this series all asked if I wanted to download a BD-Live update at that exact point. Maybe it's because the servers are being overwhelmed by a new release, but that shouldn't be the case if proper planning and testing had taken place.

2.) The picture quality of these movies is very poor. Even during the first few scenes of the trilogy movies, there is very noticeable video noise in darker portions of the picture, resembling what you get on a cheap digital still camera with the ISO cranked way up. I know this isn't my player or TV's problem because watching 17 Again, Bolt and S.W.A.T. on the exact same setup yielded SPECTACULAR picture quality. It's almost as if the producers took one of their DVDs and did some cheesey upconversion to create these Blu-ray copies.

I am very tempted to return the whole purchase and just buy them on DVD, saving the extra money I spent to get them on Blu-ray.

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We didn't realize this movie existed. I caught it on some TV channel so I went to Amazon and bought it. We absolutely loved it. Hugh Jackman is a great actor and not hard on the eyes either!

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