The English Patient (1996)

This rare and beautiful film, based on a book that is felt as much as read, transcends the medium to become art. Painted on a vast desert canvas with deep rich oils, its beauty is felt as much as seen. This film will find your heart and remain there forever. If love had a face, it would look like this.

Director Anthony Minghella's screenplay shifts the center of Michael Ondaatje's story slightly in order to capture on film the essence of his beautiful prose. Ondaatje's novel is one of poetic beauty, a potrait of a rose beneath the water's surface. The film brings that beautiful rose out of the water and into the sunlight. The book and the film are so deeply intertwined you can not watch this film without wanting to read the book, nor can you read the book without wanting to see the film. The story itself centers around three people either in love with, or haunted by ghosts they have loved and lost to war.

Juliette Binoche gives an Oscar winning performance as Hana, a kind nurse with a gentle spirit but a damaged heart. She latches onto the burned and charred body of a man known only as the English patient, and ends up caring for him in a shell ravaged Italian villa in Tuscany where she feeds him plums and reads to him. When a man named Caravaggio with scars of his own arrives, the mystery of who the English patient really is begins to unfold via flashbacks. In the present, Hana begins to let her heart heal when she falls in love with a Sikh who disarms bombs left by the Germans.

It is the memories of the English patient, however, which are at the heart of this film. Ralph Fiennes gives a subtle performance as the introspective Almasy, part of an international expedition mapping an unending desert with both the romance, and the danger of the sea. Kristin Scott Thomas is wonderful as Katherine Clifton, the stunningly beautiful and enigmatic wife of a fellow mapper. An instant but unspoken attraction between she and Almasy finally becomes too unbearable to ignore and the affair that holds the key to the mystery surrounding the English patient begins.

This is one of the most romantic films ever made and is filled with the joy and anguish of love and war. It shows that while war may create logistical lines that can not be crossed, the heart has no boundaries. Anyone who has ever experienced a love of such emotional intensity and physical longing that love and need became one will understand the love affair of Katherine and Almasy.

Cinematographer John Seale has given this film a grace and beauty seldom seen on film. A haunting score full of mystery and romance from Gabriel Yard accompany scenes never to be forgotten, and will not be described here in case you have not yet seen them. Director Anthony Minghella explores the mystery of the desert, and the heart, which according to the "The Histories" by Herodotus, a book the English patient clings to, is an organ of fire.

If there is but one ounce of romance in your soul, you will love "The English Patient." It is a well charted and romantic map of the human heart, as wide and treacherous as the unending desert. This will be one of your favorite films once you see it. I promise.

After the publication of Michael Ondaatje's Booker-Prize-winning "English Patient," conventional wisdom soon held that the novel, while a masterpiece of fiction, was entirely untransferable to any other medium: too intricately layered seemed its narrative structure; too significant its protagonists' inner life; too rich its symbolism. Then along came Anthony Minghella, who reportedly read it in a single sitting and was so disoriented afterwards that he didn't even remember where he was but who called producer Paul Zaentz the very next morning and talked him into bringing the novel to the screen. Two major studios and several fights over the casting of key roles later, the result were an astonishing nine Oscars (Best Picture, Director Anthony Minghella -, Supporting Actress Juliette Binoche -, Cinematography, Editing, Art Direction, Costume Design, Original Score and Sound), as well as scores of other awards.

"The English Patient" is an epic tale of love and loss; of ownership, belonging and the bars erected thereto. It unites the stories of five people: Hungarian count Laszlo de Almasy (Ralph Fiennes), mistaken as English by a British Army medical unit in Italy after professing to have forgotten his identity; Hana (Juliette Binoche), Almasy's Canadian nurse; Katherine Clifton (Kristin Scott Thomas), his erstwhile lover; Kip (Naveen Andrews), a Sikh sapper and Caravaggio (Willem Dafoe), an ex-spy and thief. All outsiders, they are struggling to come to terms with their lives: Almasy, on his deathbed, reflects back to his life as a North African explorer and his affair with Katherine; Hana believes herself cursed because everybody she cares for dies (in the movie her fiance and her best friend; in the novel her fiance, her father and her unborn baby), Katherine is taken to an all-male company of explorers in Cairo by her husband Geoffrey (Colin Firth), Kip, like Hana, is far away from home (the only Indian in an otherwise British and Italian environment) and Caravaggio lost his livelihood after his thumbs were cut off in captivity by the Germans, on a sadistic officer (Juergen Prochnow)'s orders.

Like the novel, the movie's story largely unfolds in flashbacks: After Hana convinces her superiors to let her stay and nurse Almasy in an abandoned Tuscan villa, she and new arrival Caravaggio, who holds Almasy responsible for his fate, extract the details of his life in Africa and the truth about Katherine, Geoffrey and the events uniting him with the Cliftons and Caravaggio from Almasy in a series of conversations. But at the same time, the story is anchored in the present by Hana's growing attachment to Kip, which shines a different light on the themes also driving Almasy and his relationship with Katherine. The film's outstanding cast, which in key roles also includes Julian Wadham as Almasy's friend Madox and Kevin Whately as Kip's sergeant Hardy carries the story marvelously: Probably their biggest award loss(besides Fiennes's and Scott Thomas's Oscar and other "best lead" nominations and Minghella's screenplay Oscar nomination) was the 1997 SAG ensemble award, which instead went to "The Birdcage."

In his screenplay Minghella made several changes vis-a-vis the novel; the biggest of these doubtlessly a shift in focus from Hana, Caravaggio and Kip to Almasy and Katherine, and the fact that the film is much more explicit about Almasy's identity than the novel. Both were wise choices: Hana's inner demons in the novel are largely exactly that *inner* demons, moreover, substantially grounded in the past and thus even more difficult to portray than Almasy's and Katherine's. Similarly, once the focus had moved to the latter couple, Kip's back story would have extended the movie without significantly advancing it; and the same is true for the intersections between Caravaggio's path and that of Hana's father. Secondly, mistaken *national* identity is overall more central to Almasy's character than identity as such; so the novel's intricate mystery about his persona might well have proven unnecessarily distracting in the movie's context. Indeed, once Almasy had become the story's greatest focus, much of its symbolism virtually even required that there be no real doubt about his identity.

But in all core respects, Minghella remained faithful to Ondaatje's novel; particularly regarding its profoundly impressionistic imagery, as shown, for example, in the curves formed by the Northern African desert's endless sand dunes, which in John Seale's magnificent and justly awardwinning cinematography resemble those of a woman's body as much as they do in Ondaatje's language, thus uniting Almasy's two greatest loves in a single symbol.

Doubtlessly the most important image is that of maps: Guides to unknown places like those drawn by Almasy and his friends during their explorations, but also tools of ownership like the cartography of Northern Africa made possible by Geoffrey Clifton's photos, and ultimately symbols of betrayal, as Almasy surrenders his maps to the Germans in exchange for a plane after he feels deserted by the British. And while Kip, who spends all day searching for bombs but wants to be found at night, guides Hana to himself by a series of tiny signposts in the form of oil lamps but still never tries to expect her, in order not to get too much attached to her Almasy, the perpetual loner who declares that he hates ownership more than anything else, gets so attached to Katherine that he claims her suprasternal notch as his exclusive property and later refers to her as his wife, which due to her marriage to Geoffrey she couldn't truly be in life and could only symbolically become in death. The final word on maps, belonging and ownership, however, is part of Katherine's legacy to Almasy (and I still prefer the novel's language here):

"I believe in such cartography to be marked by nature, not just label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. ... All I desired was to walk upon such an earth that had no maps."

Also recommended:

The English Patient

Secret Life of Laszlo Almasy

Wind, Sand and Stars

Night Flight

Anil's Ghost: A Novel

The End of the Affair

Up at the Villa

Chocolat (Miramax Collector's Series)

The Histories (Penguin Classics)

Buy The English Patient (1996) Now

I love this movie. In fact, it was the first movie I ever purchased (VHS) many moons ago. I first saw it in a theater with a hard-bitten financial-analyst friend of mine (male, straight). I'm an engineer (male, straight). We are not weepy types. We were both moved very much by this movie. I don't agree at all that this is a chick-flick.

This is a movie aimed at adults. If you want: constant action, simplistic plot, black-and-white relationships, car crashes, shoot outs (OK, it does have some crashes and shooting), then you probably want to look elsewhere. Casablanca, to which this movie has been contrasted, (though a good movie) could fall into the category of propaganda: produced during WWII, everyone conformed to the main line. Real people had real lives going on during WWII.

I find that the negative reviews of this movie fall into two categories: 1) those who are (terribly) morally offended by extra-marital affairs, and 2) those that can't follow a complex plot and set of characters. If you can see beyond those issues, and you like a good, complex tragedy, you should enjoy this movie.

This is a wonderful movie. The cinematography is gorgeous, music is fantastic, story is complex and compelling, the characters diverse and engaging. Everyone I know liked this movie a lot. Two love stories, plenty of tragedy and twists. Great actors and acting. The story is revealed slowly through flashbacks, it's a great dramatic device and works very well. I am a voracious reader and I have read the book as well: I prefer the movie (I can only say this about one other novel/movie: Dr. Zhivago). Like I said, everyone I know liked it very much. Enjoy.

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The movie is definitely one of the best movies ever made, I'd give 5 stars to it but what I'm rating here is the actual BluRay Disc.

I expected all BluRay Discs to come in the best available format to date which is 1080p/24fps, but this one comes in a lower quality format which is 1080i. Hence, I wonder, what's the purpose of buying this in BluRay Disc format? It really looks grainy, and it's unfair to a movie which won best cinematography.

The DTS sound is definitely very good.

The thing that annoys me most; is that it comes without any subtitles or any extra features at all, feels like playing a VHS.

Movies like "Coming to America" from 1988 (That's 8 years before The English Patient)has been restored in a much better glory than this one, which means it is possible to sell a better product they just didn't care to.

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I'm one of the people who was completely taken with THE ENGLISH PATIENT when I saw it in theatres, but was also amused when Elaine Benis on "Seinfeld" goofed on it later. Or, should I say, goofed on everyone who loved it.

The non-linear story structure, the superb acting, the gorgeous photography, the unfolding mystery of what happened to the doomed couple--all of it hit me just right. While other people complained at the film's slow pace, I was soaking up the period details and authentic locations. I played the soundtrack CD for months afterward (and still do sometimes), finding myself lost in the distant and sometimes-haunting music.

There were so many terrible movies in the 1990s, just mere product crafted by committee and focus groups, that the intimate--though tragic--feel of this story felt very personal and real.

You know the couple played by Ralph Fiennes and Kristin Scott Thomas are in BIG trouble from the moment they meet. Just watch their eyes and expressions. Allowing a passion to spread like that has major implications on everyone around them and, in this case, also has major implicactions on a world on the brink of war.

(One footnote: the church I attend put out a list of Top Ten Reasons to Boycott Disney shortly after the film came out. Perhaps scraping for a reason to fill out the list, number 10 was "Boycott Disney because it funds Miramax, which produced THE ENGLISH PATIENT, a film that glorifies adultery." Huh? How anyone can watch this film and believe that these characters, tormented by guilt and confusion, indulging in a passion that not only kills them all but also contributes to Nazi victories in Africa, completely escapes me.)

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Steel Magnolias

There is a scene in Sleepless in Seattle when Sam (Tom Hanks), Suzy (Rita Wilson), and Greg (Victor Garber) are discussing what are frequently referred to as "chick flicks." Whatever the criteria for selection, there are many candidates for this category which usually include Steel Magnolias. After seeing it again recently, I decided that calling it a "chick flick" demeans what director Herbert Ross and his cast and crew achieved. This film really does have wide and deep appeal to both and men and women of all ages. Of greater significance, it seems even better each time it is seen again. The reverse is true of almost all other films which touch our hearts. As in Robert Harling's play on which it is based, all of the main characters are women: Clairee Belcher (Olympia Dukakis), M'Lynn Eatenton (Sally Field), Truvy Jones (Dolly Parton), Annelle Depuy Desoto (Daryl Hannah), Ouiser Boudreaux (Shirley MacLaine), and Shelby Eatenton Latcherie (Julia Roberts).

MacLaine and Roberts were later nominated for an Academy Award as best actress in a supporting role; a split vote probably cost both an Oscar. My own opinion is that Field, Dukakis, and Hannah were equally deserving of that nomination. In terms of plot, not a great deal happens. The film's energy is established and then sustained by the interactions between and among the five older women. Keep in mind that this was originally a play whose plot focused almost entirely on the shared experiences of those women. Some of the scenes are hilarious, with MacLaine and Dukakis primarily responsible. However, the film also includes one extended situation which has a genuinely sad conclusion. (It would be a disservice to those who have not as yet seen the film to say any more about that.) I think the acting is first-rate throughout. Most of this film is highly entertaining but whenever necessary and appropriate, Ross examines serious issues with great skill. Two points need to be reiterated: Steel Magnolias can and will appeal to men as well as to women, and, it is more enjoyable each time it is seen again. Those who share my high regard for it are urged to check out Fried Green Tomatoes (1991).

With all the attention Julia Roberts is getting these days, it's an excellent time to buy and watch the film that contains her best performance, Steel Magnolias.

As the doomed but optimistic daughter of Sally Field and Tom Skerrit, she holds her own in a cast of movie divas, including Shirley MacLaine, Olympia Dukakis, Dolly Parton, and (in her best film work, as well), Darryl Hannah.

The film is basically a warm, upbeat character study of a group of women friends, played out in a beautiful Louisiana bayou town. The story begins with Roberts' wedding, then carries on through the ups and downs of the friends' lives. The male characters in the story are barely seen, and occasionally come across as insensitive (Roberts' husband), or buffoons (Hannah's boyfriend), yet one of the joys of this movie is that you come to love the women so much, you don't mind the men's shortcomings, and start liking them, too!

The standout performances of the film are from Roberts, and MacLaine, as a spinster with a sarcastic tongue, and, ultimately, a heart of gold. Her scenes with Dukakis are hilarious, yet full of the warmth that makes this film so special!

A couple of things usually overlooked, but worth mentioning; the enchanting film score (I wish the soundtrack would be rereleased!), and a bit part by Janine Turner, before 'Northern Exposure' made her a star.

This is a very special film, for both Roberts' fans, and anyone who wants to believe in the healing powers of friendship. Yes, this film can be defined as a 'chick flick', but guys, you'll end up enjoying it, too!

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In 1989, audiences were treated to an all-star cast in the film "Steel Magnolias", which follows the lives of several women who are all friends in a small Louisiana town. The film was directed by Herbert Ross (1927-2001), who directed "The Goodbye Girl" (1977) and "The Turning Point" (1977, for which he received an Oscar nomination for Best Director). It was written by Robert Harding, who had originally written "Steel Magnolias" as a play and also adapted Olivia Goldsmith's novel into the screenplay for "The First Wives Club" (1996).

The story begins with a young woman, Annelle Dupuy (Daryl Hannah), who is new to the Lousiana town and planning to work as a beautician for Truvy Jones (Dolly Parton), whose husband Spud Jones (Sam Shepard) is an often out-of-work contractor. Impressed with her abilities, Truvy hires Annelle and they receive their first customers of the day: the wealthy widow Clairee Belcher (Olympia Dukakis), the responsible mother M'Lynn Eatenton (Sally Field), her engaged daughter Shelby (Julia Roberts) and the eccentric/antisocial divorcee Ouiser Boudreaux (Shirley MacLaine). Since one of the activities that most of the ladies enjoy doing is gossiping, when Ouiser begins to interrogate Annelle about her life, everyone is all ears as Annelle explains her troubled marriage and vanished husband. Shelby then invites Annelle to come to her wedding, which Annelle does and meets a man who becomes very interested in her: Sammy Desoto (Kevin J. O'Connor). Shelby's new husband is Jackson Latcherie (Dylan McDermott), and her outspoken father, Drum Eatenton (Tom Skerritt), often enjoys teasing Ouiser about her aging dog. Shelby suffers from diabetes, but is determined to live as much of a normal life as possible, even when it comes into conflict with M'Lynn's concerns for her health.

With its witty script, wonderful story and engaging characters, "Steel Magnolias" is a very entertaining and emotional film. Julia Roberts received an Oscar nomination for Best Supporting Actress, but disappointingly, Sally Field was not nominated for Best Actress for her exceptional performance, especially during the very emotional funeral scene. Olympia Dukakis, Shirley MacLaine and Daryl Hannah performed superbly in their roles, and Dolly Parton was very well casted for her role as Truvy and did an excellent job. Memorable scenes in the film include the opening scenes at Truvy's beauty salon, Shelby's wedding, the Christmas fair, Shelby revealing her pregnancy, other scenes at Truvy's, Annelle's wedding shower, M'Lynn at the hospital, the funeral scene and the closing Easter scenes. Overall, I rate "Steel Magnolias" with 5 out of 5 stars and highly recommend it on widescreen DVD.

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This is the story of five women who basically socialize at Truvy's Beauty shop. The actresses are Dolly Parton (Truvy) Sally Field (M'Linn -if that's how you spell it) Olympia Dukakis (Clairee) Shirley MacLaine (Ouizer) and Daryl Hannah (Anelle)and of course, the one and only Julia Roberts as Shelby.

Basically, the story revolves around Shelby who is an active person but who also has a serious case of diabetes. Shelby marries in the movie and wants very much to have a baby which, of course, would not be good for her health. Around this bittersweet main theme are a lot of other sub-themes, many of which are funny, some of them very touching, and all of them adding to the overall good quality of this movie.

What I appreciated was the realism in the depiction of women's friendships. At a time when the sneakiness and manipulativeness of girls' (and sometimes women's) friendships is being discussed, cussed, and dissected, this movie shows what friendship between basically good hearted women is really like. To be sure, the gals get on each other's nerves and not all is sweetness and light, but for the most part they care a lot about each other's welfare, and at the toughest times, they band together and support each other big time.

I would recommend this movie to anyone -including men -in fact, I have been pleasantly surprised to find out that a lot of men enjoy the movie.

But yes -you do need to have an ample supply of tissues handy! I cry every time I see certain parts of the movie, and I've lost track of how many times I've watched it.

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As already mentioned here a number of times, yes, it reeks of a chick flick. But on the simple metric of number of one-liners per minute, I simply cannot think of a better comical powerhouse! The script to this movie is an example for screenwriters.

The hilarious star-studden ensemble is set in southern US, a small Louisiana town. The camaraderie is contagious and nostalgic, and the life of the characters so identifiable you'll be involved with the film immediately. There's almost several subthemes, each character has a peccadillo to share.

But the main focus of the film is the relationship between Sally Field and Julia Roberts, a domineering mother and her strong-willed but physically weak daughter respectively, the latter also plagued with diabetes. And there is a lot of time spent on Daryl Hannah's strange character development as well as the film covers a year or two via holidays.

To me, that is what most undermines the film -I would much rather have seen more time spent on Parton and MacLaine, and even Dukakis, whose lives, in the brief glimpses we are given, seem much more interesting, and whose characters are by far much more alive and vibrant. Their barbs and quips are a compelling reason alone to watch this movie again and again!

At any rate, this is a movie you should definitely watch if you haven't already, and if you have, watch it again. What a wonderful slice of life, drama and delectable humor!

The Taking of Pelham One Two Three (1974)

Of all the gritty, realistic police dramas of the 1970's, "The Taking of Pelham 1-2-3" stands out as the best of a very good lot. Released during the low-point year of NYC history in 1974, "Pelham" is argueably the most real-life look at New York and New Yorkers one can get without actually visiting the big town. The plot concerns the hijacking of an IRT subway train by a gang of four men, led by the coolheaded Robert Shaw (Jaws, Black Sunday). The late Walter Matthau shines as Lt. Zach Garber of the NY Transit Police who, over a two-way radio, has to deal with the terrorists unbelievable demands. The writing in this movie crackles with smart-mouthed NY urgency. The acting, photography, editing, and music MUST have all been created by native NYers. Even the 18 passengers who are taken hostage in the lead car of the #6 train look like they stepped off the street and into the IRT without missing a beat. You wanna hijack me just before rush hour? Go ahead, but I'm not ganna make it easy for you, punk! Many other NY movies (Serpico, Dog Day Afternoon, French Connection) have overshadowed this gem, but do yourself a favor and buy it, especially in the DVD version, which gives the viewer a panorama of a NYC that has faded into history.

The subway...lifeblood of New York. The largest mass transit system in the world, currently operating over 8,000 rail and subway cars, traveling on over two thousand miles of track, serving nearly eight million passengers daily. Seems like a logistical nightmare, keeping tabs on it all, but MTA (Metro Transit Authority) does, anticipating many problems before they arise. One thing they couldn't anticipate, what no one could have, is someone hijacking one of the trains. But it did happen, once (in movie world, at least).

The Taking of Pelham One Two Three (1974), directed by Joseph Sargent (Colossus: The Forbin Project, Jaws: The Revenge), presents a wonderfully talented cast including Walter Matthau, Robert Shaw, Martin Balsam, and Hector Elizondo. Also making appearances are Jerry Stiller (Seinfeld), Dick O'Neill (Gamera), Kenneth McMillian (Dune), and Doris Roberts (Everybody Loves Raymond). The film involves the hijacking of a New York subway train by a group of men armed with semi-automatic weapons for the purpose of extorting one million dollars from the city, otherwise they begin executing passengers, one by one. `What the hell they expect for their lousy 35 cents? To live forever?!"

This is really an entertaining, tense and witty film that kept me interested up until the very end. Matthau really owns this film, appearing as harried yet cool-headed Lt. Zachary Garber, an officer working for the Metro Authority, and main negotiator with the hijackers, lead by the ruthless Mr. Blue, played by Robert Shaw (it's said Quentin Tarantino got the idea of using colors for the names of his characters in Reservoir Dogs (1992) from this film). Garber really has to play a juggling act, trying to keep the hostages alive, placating the hijackers, and keeping the trigger-happy cops from starting World War III down in the subway tunnels. Robert Shaw does an excellent job playing tactical minded Mr. Blue, basically Garber's counterpart, leader of the hijackers, meticulously planning the entire operation as if it were a military action (we later find out he's a British mercenary `between wars'). He must keep not only the hostages calm and in line, but also his men, especially the psychotic Mr. Gray, played by Hector Elizondo, who seems to suffer from an extremely itchy trigger finger. He's also kinda sleazy...(doesn't it seem like there's always one psychotic in the group? I guess criminals are a highly unstable bunch). As I said, Matthau owns this film, but it certainly doesn't hurt that he had so many talented and highly professional actors supporting him throughout the movie. If The Taking of Pelham One Two Three has the feel of a superior made-for-TV movie about it, that's because one look at Joseph Sargent's credits will show a vast amount of TV work, including shows like Bonanza, Gunsmoke, The Man from U.N.C.L.E., and a ton of made-for-TV movies. He did venture into films a few times, most notably the 70's sci-fi film Colossus: The Forbin Project (1970) and White Lighting (1973), to name a few, but always seemed to return to TV. He's also responsible for one of the worst movies ever made (in my opinion) in Jaws: The Revenge (1987), which probably put a serious hurting on any future film directing offers. As I said, Pelham does play like a TV movie (except for the brief but realistic use of profanity), but a really, really good one. Even the musical score for the film has a TV theme quality about it, but that of a top-notch theme, one that serves to enhance the overall product. The plot is tight, and moves along pretty quickly. The movie also has a real authentic flavor, especially all the smart alecky comments made throughout, the kind one would expect from New Yorkers. I loved the initial reactions to the news of the subway train being hijack, the incredulity accompanied by complete annoyance that someone would have the nerve to screw around with the New York Subway system, much less hijack it (the scene where the one of the men in charge with keeping the trains moving decides he's going to walk down the tracks and see what's going on for himself is priceless, at least until he finds out it's for real). The plot covers a lot of ground, focusing on not only the passengers and hijackers, but also the transit authority cop, the regular cops, right up to the politicians, forced to weigh the decision and consequences of paying the ransom money or not (they do, and the scenes involving the authorities racing to meet the hijacker's deadline is gripping, with slight dashes of humor...the police racing in their car, sirens blaring, Officer O'Keefe: "I always wanted to do this. Look, we're scaring the sh#t out of everybody.", Officer Miskowsky: "Yeah, including me.") The big question posed, and one that's focused on throughout is, even if the hijackers get the money, how are they going to get away with it? They're in a train, underground, surrounded by police, with no visible escape routes. Seems like a tricky proposition, but given Mr. Blue's talent for meticulously covering all the details, I'm sure he's got a plan (don't ask me, just watch the film).

The quality of the wide screen non-anamorphic print on this DVD is pretty good, but not as good as I would have liked to have seen. There's a lack of sharpness in the picture, and the colors a kind of dull. The audio is also pretty good, and the dialog is clear. MGM stints on the special features, as usual, providing a theatrical trailer and an informative 4-page booklet insert. Basically what you have here is an exceptional crime film set in New York, one that rises above most others and doesn't disappoint. Oh, and that warning you always hear about not touching the third rail, as it's full of juice (electricity), and will fry you like a side of bacon? You would do well to heed it, as it's not an urban legend, my friend...

Cookieman108

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If you're feeling nostalgic for gritty, rude, 1970's New York, then you should watch this movie. Every detail seems absolutely spot-on, from the location shots and flourescent-lit interiors, to the dialog and characters (check out the sniffley, vote-counting mayor and pragmatic deputy mayor.) Walter Matthau and Robert Shaw give terrific performances in the main roles (not to mention the redoubtable Martin Balsam) but it's the gallery of character actors and walk-on roles that give this film it's hyper-watchable texture and charm. Jerry Stiller and Tony Roberts are great, but there's a trainload (if you'll pardon the expression) that I can't even name, all of whom seem like they stepped right off the Manhattan sidewalk, circa 1974. The guy who monitors the subway display board and keeps asking "What the Hell's going on here?"----he was also in The Hot Rock, as the bank employee who get hypnotized. The time-limit of one hour that the train-jackers give before thay start shooting hostages provides much of the suspense---think of a mid-70's Speed with brains and nuance. The absurdly pulse-pounding score will leave you feeling manipulated and loving it. There's narry a wasted moment in this very economical yet densely detailed film, right down to the perfect, meaningful look Matthau gives at the end. The many humorous touches don't ever threaten to turn it into an outright comedy, since many of them center on how the city works. Call it a light-hearted suspense-thriller; it must have seemed like a shameless piece of urban exploitation when it came out, but now it looks like a masterful, pleasurable time capsule.

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THE TAKING OF PELHAM ONE TWO THREE is a gritty heist and hijack caper. Set in year it was made (1974), TAKING is also a `perfect crime' movie. How do you hijack a subway train, demand a $1 million ransom, and get away safely with the loot? Robert Shaw, as the cool and efficient `Mr. Blue', seems capable enough. He certainly seems to have planned it out well. Opposing him, and sharing a number of radio-to-radio scenes, is subway security officer Lt. Zachary Garber (Walter Matthau).

Mr. Blue's demands are complicated and Garber is given an hour to meet them. The Mayor's approval is needed, and the viewer is dragged into a couple of unfunny comic relief scenes with a sick Mayor (Lee Wallace) agonizing whiningly over whether or not to meet the hijackers' demands.

British actor Robert Shaw is great as the ultra-smooth and unflappable hijacker. Matthau, more often in comedies, is a good match as the cop in the middle. Matthau's comedy talents are put to better use, as well, in an opening scene where he grudgingly leads a group of Tokyo transit officials on a tour of the facilities. Director Joseph Sargent, when not forcing the comedy, shows a sure editing hand when he contrasts the calm of the hijackers with the chaos surrounding the would-be hostage rescuers.

PELHAM is an enjoyable little crime thriller that goes relatively light on the gore and gunplay and relatively heavy on character and the tension imposed by a deadly deadline. Strongly recommended.

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P>It's the oldest videotape I have in my collection. .

The film has been released on DVD, and I am absolutely overjoyed, as it is one of my all-time favorites.

Theatrically released in 1974, The Taking Of Pelham 123 is about a group of four armed men (three of them played by the great actors-the late Robert Shaw, the late Martin Balsman and Hector Elizondo) whom hijack a New York City subway train on an otherwise uneventful afternoon, and hold 18 of its passengers hostage. The ransom: One Meeeeeeeellion dollars.

Ooops...that's another movie.

The ransom IS indeed one million dollars (Hey, it was shot in 1974) to be paid by the City Of New York. There are two catches.

Catch #1: The city has only one hour to pay up. For very minute that the city is late, the hijackers will execute one hostage. It is up to Lieutenant Zachary Garber (the late, legendary Walter Matthau) to stop, or at least outsmart them before they kill one. High drama, considering it takes the city FOREVER to do ANYTHING. I know...I live in New York.

Catch #2: The hijackers are underground. IF they get their money...how do they plan on getting away?

Great performances all around from a great mix of big name actors, and fine character actors. People such as Jerry Stiller, Kenneth McMillan, Dick O'Neill, Julius Harris and Tony Roberts, who plays the Deputy Mayor. But the film belongs to Walter Matthau and Robert Shaw. Matthau, in a departure from his usual comedic roles, displays a tough, yet somewhat humorous demeanor as he "matches wits" with Robert Shaw (whom one year later would play his most celebrated role as Quint in "Jaws"). Shaw's performance is properly understated...which serves his character well, as he is supposed to be cold and calculating.

It's a simple story, and simple to follow...yet The Taking Of Pelham 123 is a totally engrossing thriller. And unlike "Money Train" (Woody Harrelson and Wesley Snipes), Pelham is fairly accurate with details about the subway and how it works (including the dead man's feature-absolutely accurate). Money Train had me scratching my head in amazement with all the inaccuracies presented in the technical details about a subway train and how it works. Don't even get me started with that movie-but I digress. Pelham crackles with excitement and humor. And the ending is %$*&@ great! The musical score by David Shire will only enhance the drama on the screen. The main title theme alone is an overlooked crime drama classic. Urgent, yet kind of funky. Yes, this film is outdated...but don't let that stop you. This would definetly be one of my "desert island" movies. In a review here on Amazon.com, I read where someone said that this film "plays like an old friend".

I concur wholeheartedly.

By the way. There was an updated TV version of this movie starring Edward James Olmos and Lorraine Bracco. STAY AWAY FROM AT ALL COSTS!!!

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Sweeney Todd: The Demon Barber of Fleet Street (2007)

Although critics have been almost unanimous in their praise of this film, many fans of the show are quite harsh in their appraisal, chiefly for two reasons one, that the principals are not great singers, and two, the deletion of roughly 50% of the score. I surprised myself in that, having purchased the soundtrack and seen the movie, I am in neither camp, as either of these factors might heretofore have caused me to pronounce most film adaptations of almost any Broadway musical a failure. Instead, I am thrilled far beyond my expectations with this production.

It might not have been so, had I not had so much respect for Stephen Sondheim. As part of the pre-release publicity, he has granted an unusual (for him) number of interviews, and says that he is unequivocally satisfied with Tim Burton's vision. As anyone who appreciates his high level of artistic integrity will agree, Mr. Sondheim would not give praise to this project if he were not satisfied with it. At 77, Stephen Sondheim is considered by many to be the greatest composer in the history of the American theatre, and I have followed him long enough to know that no amount of financial consideration could cause him to declare his endorsement if he were not truly happy with the finished film.

I have listened carefully to what Mr. Sondheim has had to say in those recent interviews, and now understand why so many stage musicals previously transferred to celluloid haven't worked. To begin with, time passes very differently in a theatre than it does on film. That which takes several minutes in a Broadway theatre (i.e. a full-blown production number) is apt to seem like a small eternity on screen. Therefore, the very thing that keeps most audiences clamoring for more in live theatre is apt to make many movie audiences run screaming from the auditorium. Then there is the problem of what Alfred Hitchcock once termed "suspension of disbelief"; that is, in real life, no one ever bursts into song during one of life's dramatic moments, no less accompanied by a full orchestra, and many moviegoers who are accustomed to a certain amount of reality therefore find musical films particularly hard to take. Thanks to some of the theories on musical film voiced by Mr. Sondheim in the past week or so, I finally understand why so many previous attempts to film Broadway musicals fall flat in short, the theatre and film are two entirely different mediums, with two entirely different audiences. Although many theatre lovers, myself included, would be happy to sit through an entire musical transferred to screen exactly as produced on stage, most movie audiences demand something different. And something different is what they surely get with Sweeney Todd.

Then there is the score. Tim Burton has said that he has been a fan of Sweeney Todd since its original run. I believe that, as disappointing as it is for many fans to accept how much of the score has been cut, it was probably even more agonizing for Mr. Burton to decide what pieces to remove. The original ran over three hours, and at least 75% of the story was sung, making Sweeney Todd one of the few genuine operas to ever come out of Broadway. The film runs only 117 minutes and, judging by the length of the soundtrack CD (a mere 72 minutes) easily 40% of the score has been removed, chiefly the ensemble pieces. Mr. Burton apparently judged (probably correctly) that the choral numbers which worked so well on stage, although containing some of the wittiest lyrics, would be clunky and ponderous on film, and he made the prudent (if, I'm sure, difficult) decision to let them go. This is likely to be the sorest point for many fans of the show. And had I not been paying careful attention to Mr. Sondheim's recent interviews, I may not have been able to get past that point myself.

But what has been excised is more than compensated for in Mr. Burton's sumptuous visuals and careful attention to detail. Although Mr. Sondheim has made changes to the lyrics, resolving previously problematic portions of the score and actually improving it, it's amazing how much of what is left of the score is faithful to the original. Though it's a tragic story, Sweeney Todd remains in essence a dark comedy, and many of Mr. Burton's finer touches, especially the staging of the musical numbers, have enhanced the story to the point where I have hardly missed the deletions, and I speak as someone who has loved this piece in almost all of its previous renderings.

And I admit that, although he has never been a particular favorite of mine, Johnny Depp is a revelation. Without detracting from previous interpreters of the role (especially Len Cariou and George Hearn), Mr. Depp's evocation of the character is so fully fleshed out, and so filled with genuine pathos and sympathy, that I was able to immediately excuse the fact that he is not a seasoned vocalist. Besides, to reiterate a point made earlier, this is not Broadway, and there is no need for his voice to reach the back of the house. If anything, the fact that the principal characters are not great singers actually enhances the realistic feel of the film. It is also a pleasure to have both Toby and Anthony (not to mention Joanna) played by actors of the appropriate age, and hear accents that actually invoke pre-Victorian London.

In the end however, the real star (to me, anyway) is the superlative score by Stephen Sondheim. I am not amazed that some feel that there are no "memorable songs" in the score. Good music should be subtle; the absence of "catchy tunes" that one will whistle on the way out of the theatre is only indicative to me of the high quality of the score. Anyone who is previously unfamiliar with Sweeney Todd who doesn't "get it" is urged to purchase the soundtrack (the full version, with the complete libretto included) and follow along with the words and music as the songs are sung. The first thing you will realize is (as with any of Mr. Sondheim's works, whether they be in a film, the theatre, or any other medium) how incredibly witty and sophisticated his lyrics are; on first listen you are apt to miss most of his delicious wit. His use of the English language, his clever rhymes, and above all, his intelligent, deft semantics will amaze anyone who cares to take the time to listen. There are reasons why so many consider Sondheim the foremost composer of the theatre, and so many intelligent theatergoers hang on his every word. But just as important as his words (and I have always admired Sondheim's ability to use words above all else that I treasure in the world of musical theatre), you will find, especially if you listen long and hard enough, that his delicate, subtle music will, in time, work its way into your heart and conscience as some of the most beautiful music ever composed. This is NOT top-forty pop music, the type that is so often mistaken for excellence in theatre these days. In his ballads especially, Sondheim writes genuine, heartfelt gorgeous melodies; that is, real music. Once you open your heart and mind to Sondheim's glorious words and sumptuous airs, you may just become a fan for life.

When it comes to a work of the musical stage it is difficult to imagine a finer one than Stephen Sondheim's SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. For those who saw the original 1979 Hal Prince extravagant production starring Angela Lansbury and Len Cariou/George Hearn, and then the 2005 revival as condensed so creatively by John Doyle and re-orchestrated by Sarah Travis who placed the orchestral instruments in the hands of the 10 actors who tell the story of the strange Todd, the Tim Burton (screenplay reduction by Josh Logan) film will only enhance the pleasures of seeing SWEENEY TODD resurrected in yet another form. Each of these incarnations has its riches and together they establish Sondheim's work as a masterpiece.

Johnny Depp makes a convincing Sweeney Todd, in looks and demeanor as well as in singing voice, and Helena Bonham Carter's Mrs. Lovett fits right into Tim Burton's vision of the dark, squalid and seedy London. Timothy Spall is perfect as the oily Beadle, Alan Rickman makes Judge Turpin an understandable villain, Jamie Campbell Bower and Jayne Wisener are suitably infatuated young lovers, and Sacha Baron Cohen and Ed Sanders give top flight cameos as Signor Pirelli and Toby. The one advantage of seeing this fine film on DVD is the option of turning on the subtitles so as not to miss a word of Sondheim's superb lyrics.

For this viewer, however, the most successful version of this 'opera' is the John Doyle production currently on the boards in Los Angeles with Judy Kaye as the most satisfying Mrs. Lovett on record. This uniquely economical and endlessly creative production goes to the core of the work better than any other version, and if this traveling company comes anywhere near your home, go see it! It is the essential SWEENEY TODD and a fine adjunct to seeing the film version again and again. Grady Harp, April 08

Buy Sweeney Todd: The Demon Barber of Fleet Street (2007) Now

An R rated musical about a vengeful barber who kills his victims only to serve them up as meat pies must've made the studio a little nervous to bankroll a big budget adaptation of Stephen Sondheim's award-winning Sweeney Todd: The Demon Barber of Fleet Street. Although, they must've been reassured that Tim Burton would be helming the project with his long-time collaborator Johnny Depp stepping in to play Todd. Burton, with his affinity for all things dark and gothic (see The Nightmare Before Christmas (Special Edition) and Tim Burton's Corpse Bride (Widescreen Edition)), seems like an obvious choice to take on such dark subject matter and Sondheim agreed, giving the filmmaker his blessing.

The first disc has a featurette entitled, "Burton + Depp + Carter = Todd." Tim Burton had always been a fan of Stephen Sondheim's musical and had contemplated a film version for years. Helena Bonham Carter was also a fan and had always wanted to play Mrs. Lovett. Burton liked the idea of her and Depp as this "weird" couple. The director and his leading man talk about their long-standing relationship in this excellent featurette.

The second disc starts off with the "Sweeney Todd Press Conference, November 2007" which features Burton, producer Richard Zanuck and his main cast answering questions from the press. Not surprisingly, Burton and Depp tend to dominate the bulk of the questions. Both men are very charming and joke good naturedly with each other.

"Musical Mayhem: Sondheim's Sweeney Todd" features Sondheim talking about the origins of his take on Sweeney Todd and what drew him to the story. He also talks about how he adapted it into a musical and speaks eloquently about the story and the predominant theme of revenge.

"Sweeney's London" provides historical background to 18th and 19th century London including the social and economical conditions with historians talking about how harsh life was back then. This is fascinating stuff and excellent insight the world that acts as a backdrop to the story.

"The Making of Sweeney Todd: The Demon Barber of Fleet Street" takes a look at how the film came together. This is a pretty standard promotional featurette that mixes cast and crew soundbites with clips from the film. It covers a lot of ground already depicted in other featurettes.

"Grand Guignol: A Theatrical Tradition" examines the tradition of Grand Guignol or horror theatre that came out of France. Academic types trace its origins, define its characteristics, and illustrate how Sweeney Todd fits into this tradition.

"Designs for a Demon Barber" takes a look at the costumes and set design. Burton wanted the film to look like Frankenstein (75th Anniversary Edition) (Universal Legacy Series) and resemble a kind of fable look. He explains that this is why he used sets on soundstages as opposed to actual locations.

"A Bloody Business" examines how they did the film's bloody deaths. We see Burton and his crew running tests on how to get the right bloody sprays and experiment with how to pull of the throat slashings.

"Moviefone Unscripted with Tim Burton and Johnny Depp" features the two men asking each other questions submitted by fans. They talk about how they met, how Depp prepared for the role, and so on.

"The Razor's Refrain" is a montage of stills and behind-the-scenes photographs from the film with excerpts of songs from the soundtrack.

Also included is a gallery of production sketches, promotional stills, and behind-the-scenes photos.

Finally, there is a theatrical trailer.

Read Best Reviews of Sweeney Todd: The Demon Barber of Fleet Street (2007) Here

(2008 HOLIDAY TEAM) "Sweeney Todd, The Demon Barbour of Fleet Street" will surprise a LOT of movie-goers. It's a musical about a London barbour who is wronged and returns home looking for revenge.

I'm usually skeptical of film remakes of musicals. Being a fan of Tim Burton was enough to get me through the door. I am really glad I saw it. This is a very good movie that will satisfy a very wide audience, including those unfamiliar with the original musical as well as it's loyal fans.

DISCLAIMER: Not for younger kids or squeemish adults. This is one R rating that is well deserved.

First and foremost, this movie is worth seeing in the theatres. I expected this version to be even less "musical" than it was. Surprisingly, it is VERY true to the original musical, with almost all the original Steven Sondheim score re-sung by the modern cast. Musically, the songs and score are all well done and add to the theatre experience.

Visually, Sweeney Todd is STUNNING. This version is MUCH BETTER than any other previous version. Tim Burton has created a dark and dingy London that deserves to be nominated for an Oscar for almost every technical category. The black and white backdrop make the bright colors stand out when they are used. Color is used artistically and powerfully, as you'll see. :)

The actors will also attract some die hard fan groups. Johnny Depp and Helena Bonham Carter have some very different fan bases, but I think both will be satisfied and surprised by the performances. In fact the whole cast does wonderfully, and the director no doubt had something to do with that.

This is also another movie where I will be looking forward to the HD DVD. Hoping for a wealth of deleted / extended scenes and "making of" featurettes. As for the soundtrack, I plan on buying it today.

Go see this movie. You will buy the DVD. And the soundtrack may be on your shopping list soon too. There's a full version, and a "Highlights" version without the background tracks.

Sweeney Todd The Demon Barber Of Fleet Street Deluxe Complete Edition

Sweeney Todd Soundtrack Highlights

Enjoy!!

Want Sweeney Todd: The Demon Barber of Fleet Street (2007) Discount?

Ever since Moulin Rouge re-energized the then malignant musical genre, we have just been assaulted by a slew of hit Broadway Musicals turned big screen show stoppers, from the highs (Chicago) to the lows (The Producers). And while Dreamgirls was very well done, it really just buckled under its own pressure and did not live up to my expectations. But for 2007, musicals hit an all time high when not one, not two, but three well done films were released. In the Summer, we were treated to the feel good Hairspray. In the Fall, we then experienced the fantasy that was Across the Universe. And finally, they toped of the year with an all time high with Sweeney ToddThe Demon Barber of Fleet Street, one of the best musical adaptations in recent years.

For those familiar with the Broadway play, we are shown the story of the vengeful Benjamin Parker, who for fifteen years has been paying for a crime he did not commit, wrongfully accused by the wicked Judge Tulpin. Now, he has returned to London, with a new name and a thirst for vengence. Aided by his former landlady Mrs. Lovett, he cuts a bloody path across 19th century London in his ulitmate quest for revenge against those who have wronged him.

First off, Tim Burton could not have been a better choice to bring this tale to the big screen. Already one of the biggest directors out right now and a sheer genious of quirky, dark films, there really was no other contender that could have done the job he did. Here, he brings his best work since Ed Wood. The atmosphere, the costumes, the settings, everything just not only screams Burton but also keeps the vision of Stephen Sondheim alive and well. And usually i'm not a person who squirms easily but some of the throat slashings really did just make me shiver slightly in my seat, something I do not experience a lot even with some of the goriest or scariest horror films, so bravo to Burton for letting the blood fly (and believe me, there is a lot).

Now, at first I was a bit apprehensive about Johnny Depp playing Sweeney Todd, cause until then I had no idea he could sing. But luckily, my fears were put to rest as soon as he stepped on screen. As Sweeney, he glowers, he sings, he kils, just once again submerging himself into yet another unique character. Helena Bonham Carter also proves her own as Todd's acomplice, delivering comic wit at just the right time and holding her own on the screen next to Depp and as for Alan Rickman, he just completly took me by surprise. To see the guy most people know as Professor Snape just being up there and singing is just a bit of a shock but he definently pulled it off. And for those who groan over the singing, I mean come on! These are not professional Broadway singers people! So its expected they wouldn't be on par with those who originally played the cast.

I was very dissapointed that this film did not get the realy recognition by the Academy as it should have, especially for Best Picture and Director. But then again, this was a pretty tough year, full of a lot of great films, so the fact it sort of got lost in the shuffle to the likes of heavy hitters like No Country For Old Men or There Will Be Blood. But at least Depp got his just reward with a Best Actor nod.

Definently one of the best films of 2007, Sweeney Todd is a must see for moviegoers but if you are not a fan for musicals, this will most likely not be your taste of film. However, if your a fan or loved the Broadway play, the film will surely not dissapoint.

Who Dares Wins

From the deserts of Africa to Iraq, the Special Air Service Regiment of the Brish Army is renowned for their derring-do and never say die attitude. This movie is a dramatization and tribute to the courageous men of the SAS and was probably motivated by the public interest after the real life Iranian Embassy seige in London. Lewis Collins who plays Capt Peter Skellern SAS goes undercover for MI5 the Security Service to infiltrate a violent anti-war "ban the bomb" group planning a big terrorist operation. He becomes intimate with the group's highly sexed but really ugly looking leader. In the final climatic scene, you go into the skin of an SAS Counter Revolutionary Warfare black clad trooper as he takes out the terrorists in the US Ambassador's residence. The action sequences are authentic especially as the technical advisors were serving members of the ultra secretive SAS. The speed of the action sequences are breathtaking especially the "double taps" or 2 shots to the brain technique used by the SAS CRW troopers. Note too the quick entry techniques used like the shooting out of the door hinges by 12 gauge combat shotguns. The techno music is very excitiing and inspiring too. The action movie buff will definitely enjoy this movie. When I first saw this movie in 1982 in England, the Campaign For Nuclear Disarmament supporters actually protested outside the cinema! Dr. Michael Lim The Travelling Gourmet.

It is scandalous that Amazon is selling this product for $51 (as of May 20, 2010) when the item is available from Amazon UK for $21 (thats including postage to the US)I am guessing Amazon is counting on buyers being too lazy to click onto the United Kingdom link at the bottom of the page when looking for this item.

This movie, titled "The Final Option" here in the United States, is inspired by the SAS rescue of hostages at the Iranian Embassy in London when the British elite paratroopers stormed the building before the world's television camera's in the early 1980s. It is said that producer Euan Lloyd (who also produced classics such as "The Wild Geese" and "The Sea Wolves") registered every title he could think of after the incident, determined that the event would serve as a dramatic movie.

In the UK the movie goes under the title "Who Dares Wins" (which is the motto of the SAS). The action is switched from the Iranian Embassy to the U.S. ambassadors residence (evidently to make it more marketable to a U.S. audience) and the terrorists become nuclear disarmament militants.

In his first major leading role was Lewis Collins who was most familiar to British audiences for his role in the television series "The Professionals" and was among the public's favorite choices to take on the role of James Bond. Here he plays an SAS officer who is assigned to infilitrate the militants group and foil whatever mission they have planned.

The movie is a particular favorite of mine and on this imported British Blu-ray whereas the main feature plays on North American blu-ray players, the special features do not. The commentary however is playable on American Blu-ray players since it is an audio track and is quite engaging and interesting with the director phoning in his comments from New Zealand and producer Euan Lloyd in London.

Buy Who Dares Wins Now

Now 25 years since it was filmed in England and Wales, this movie is an as yet "undiscovered" classic. The supporting cast of UK and US actors are instantly recognizable. It includes Richard Widmark, Robert Webber, Maurice Roeves, Patrick Allen, Edward Woodward and Tony Doyle, the latter currently famous for his role in Ballykissangel. While the beautiful Ingrid Pitt plays a very convincing "evil" terrorist who we, the audience, can love to hate.

Other reviewers on this page have been rather unkind to leading lady, Judy Davis, describing her as "ugly". If you click on her credit link at the top of the Amazon page you can see how many movies she's made and how attractive she is, both before and after 1982. Perhaps it is the early 1980s "big" hairstyle and makeup that are not found attractive today. Also, in her role here as a baddy, she sneers her way through the whole movie to impress her leading man, while in doing so repelling us, the audience. The leading man in this movie is played by Lewis Collins, who at that time still enjoyed the notoriety garnered from the very successful "The Professionals" action series.

What drives this movie is the superbly photographed action sequences, that are earthy, realistic and devoid of the modern "Hollywood" treatment where film shots are overly choreographed. The musical score is upbeat and drives most of the action, though the incidental music for a couple of family scenes is a little too syrupy. The tension builds slowly with occasional outbreaks of violence that we see are secretly financed by an organized international group. We see neo-Nazi "skinheads" beat up innocent bystanders and a good old British bobby (police officer) being kicked in the face. Later we are endeared to another unarmed bobby who, despite being repeatedly beaten by terrorists, continues to give words of encouragement to a hostage with a small baby. Thus by the time we approach the climactic events at the end of the movie, we are in no doubt who the good guys and the bad guys are. It is because of the time taken to build this tension that when we finally approach the climax, the urgency feels tangible: you really are sitting on the edge of your seat. I regard the scene where Rosalind Lloyd fights with Ingrid Pitt's character to save the life of her 10 month old baby as one of the most nail-biting sequences ever put onto film.

The first hour of the movie may seem somewhat slow to an US audience as the characterizations are established. Also the anti-Americanism portrayed both in opinions expressed and in on-stage "entertainment" may seem extreme, yet at that time, parts of European society were expressing these kinds of sentiments, and so these scenes should be viewed as authentic.

By today's movie standards, the SAS tactics used look somewhat passé, until you remember that this is the movie in which these tactics were first seen, and that this is the movie that many other have followed.

Numerous people involved in the making of this movie are still alive, including Phil Meheux, cinematographer, Ian Sharp, director, Chris Chrisafis, executive producer, and many of the cast. I personally would love to see the 35mm print remastered to a new DVD, with commentary and extras added. What better time than the 25th anniversary of its theatre release?

Read Best Reviews of Who Dares Wins Here

Both discs have the same content 1 has been remastered and the other is the Blue Ray edition.

Its worth watching the film with the commentary on.The films producer actually admits now some 28 years later that the SAS scenes were the SAS and not actors/stunt men.And that Lewis Collins was actually in 21 SQDN.SAS which is the Territorial unit.

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This movie was my first exposure to the SAS and anti-terrorist techniques. While fiction, it is based on the Iranian Embassy siege of the early 80's. It features a decent story, great actors, and cool spy stuff. If your a McNab or Ryan fan you'll like this flick.

The Omen (1976)

This is a first class, gothic chiller with an outstanding cast, a riveting story line, and a musical score that will make the viewer want to sleep with the lights on! A first rate film, it had audiences riveted to the screen when it was first released in the mid nineteen seventies. I know. I was one of that audience. This film has withstood the test of time, as it is as gripping today, as when it was first released.

Katherine (Lee Remick) and Robert Thorn (Gregory Peck) are a wealthy, older American couple. Katherine is pregnant and, while in Italy, gives birth to an ostensibly stillborn boy, a fact that is kept from her. Knowing how much his wife wanted the baby and the difficulty that she had in conceiving, Robert agrees to have the dead baby supplanted by a living newborn whose mother died in child birth, keeping this information from Katherine. They name this baby Damien.

All goes well for the prosperous Thorn family, until Damien turns five. A series of dramatic, unusual events begin to occur around the Thorns, all seemingly stemming from Damien. Well guarded by a self sufficient, somewhat creepy nanny (Billie Whitelaw), there are those who would believe him to be the Antichrist. By the time that Katherine and Robert begin to realize who Damien may truly be, their lives are out of control. With the aid of an inquisitive photographer, a repentant priest, and an archaeologist who holds the key to the destruction of the Antichrist, Robert Thorn becomes a man with a mission. Will Damien let him complete that mission? Watch this movie and find out. You will not be disappointed. I guarantee that you will be sleeping with the lights on and the covers over your head.

David Seltzer wrote a terrific screenplay. This first class production, which is deftly directed by Richard Donner, is played with straightforward sincerity by its outstanding cast. The casting of Gregory Peck and Lee Remick was pure genius, as their distinguished reputations infused the movie with a believability not thought possible, given the theme of the script. Playing it straight, as a couple caught in a vortex of events over which they have little control, they sweep the viewer along with them. Supported by a fine cast, there are notable performances given by Billie Whitelaw, as the nanny with a mission, David Warner, as the photographer who begins to notice that something odd seems to be going on, and Harvey Stephens, as Damien, whose angelic countenance belies his satanic nature.

This is a riveting, subtle film that, with a few well planned, shocking moments, and an effectively creepy musical score that builds suspense to a crescendo, manages to thoroughly engage the viewer. If one is looking for a blood and gore fest, there is really none of that here. Instead, look to be scared out of the seat of your pants by a superb script, wonderful acting, deft direction, and a musical score that will long linger in one's memory. It is little wonder that Jerry Goldsmith, the composer of the original score for The Omen, won an Academy Award for his efforts.

The DVD is a loaded DVD with a lot of interesting features. It provides a forty six minute documetary on the making of the film, which is quite interesting., as well as a director's commentary. There is a also an intriguing, six minute short on some of the pitfalls that beset the cast and crew during the filming of the movie. The composer also has a small segment of his own. There are the other standard features, such as theatrical trailers, interactive menus, and scene selections, as well as crystal clear visuals and audio. This is a first rate DVD of a film well worth having in one's collection. Bravo!

When The Exorcist was released in 1973 the world stood in awe at the horror and gore than was presented before their very eyes. Rip-offs came thick and fast and then came the masterpiece The Omen. This 1976 horror film scored a hit with both critics and cinema-goers alike who had embraced a deep interest in gothic horror and its history. It has a first-rate cast, superb acting, brilliant shock tactics and a soundtrack to send shivers down your spine whatever your state of mind! It's no wonder Jerry Goldsmith won an Academy Award as the composer of the theme! I first saw this film last night when it was shown on UK TV. My mum recommended it to me, as it was a favourite of hers as a teenager and I absolutely loved it.

In The Omen, Katherine (Lee Remick) and Robert Thorn (Gregory Peck) are a rich married couple who move to England from America. Katherine is pregnant and gives birth to an ostensibly baby boy while in Italy. This news is kept from her. Her husband knows how much his wife has wanted a baby and the problems she had conceiving, so he agrees to have the dead new-born supplanted by another new-born, whose mother died at child birth. Katherine thinks that the child is her own, but Robert knows it's not and keeps this a secret from her. They name the baby Damien (Harvey Stephens).

Five years pass and we see the family growing up joyfully in their big mansion. They're happy and content with their lives and love their son more than anything. Everything is going well for the Thorn family until Damien turns five. A series of very creepy and unexplainable events happen around the time of his fifth birthday, which all seem to stem from Damien. The family employ a creepy and weird nanny (Billie Whitelaw) and things begin to spiral out of control. Robert and Katherine really start to think that there is something seriously wrong with their child so, with the help of a funny photographer (David Warner), Robert sets out to try and discover the truth about the mysterious events. A stubborn priest tries to warn him when these events happen, but Robert doesn't listen. It soon becomes too late when the man is murdered rather spectacularly.

The horror of this film is based more on the shock tactics more so than the suspense factor, which doesn't make it a very scary film in terms of blood and guts, but more so in the way that it disturbs you deep down and shocks your body. The first big shock of the film comes on Damien's fifth birthday party when his nanny jumps from the top of the mansion roof screaming, "It's all for you Damien!" before hanging herself. Another shock comes when Damien goes hysterical as he nears a church in a car with is mother and father. He later drives his tricycle into his mother's stool as she is doing housework on a balcony. She falls and loses her second baby. Her long stint in hospital tears Robert apart, and her death after she is pushed out of a hospital window tips him over the edge. The death of the priest by a Church-spear is not only shocking, but rather humorous. The scenes in Italy with dogs and spikes and broken arms are spectacular, but the most famous scene comes when the photographer is decapitated by a sheet of glass that slides off the back of a truck which rolls down the hill towards him. A scene that has gone down in history!

OVERALL GRADE: 10/10

The Omen can be a tad boring in between the shocking scenes and good parts of the storyline, but the ending is ten minutes of pure cinema brilliance. The scenes of Robert trying to cope with the world crumbling around him are also pure cinema gold, and shows a wonderfully emotional side to Peck's acting. Caught in a tornado of events of which he cannot control, he sweeps the audience along with him. David Seltzer wrote an awesome script, while Richard Donner works finely and precisely on directing this masterpiece. Essential viewing for all those who love gothic horror and truly great thrillers.

Buy The Omen (1976) Now

The Omen (horror, mystery)

Directed by Richard Donner

Starring Gregory Peck, Lee Remick and Billie Whitelaw

20th Century Fox | 1976 | 111 min | Rated R | Released Oct 07, 2008

Video:

Video codec: MPEG-4 AVC

Video resolution: 1080p

Aspect ratio: 2.35:1

Audio:

English: DTS-HD Master Audio 5.1

French: Dolby Digital Mono

Spanish: Dolby Digital Mono

Subtitles:

English SDH, English, Spanish

Disc:

Single 50GB Blu-ray Disc

The Film: 4/5

Modern horror movies are very different from films such as The Omen. Released 35 years ago, the movie wasn't gory and certainly wasn't a slasher movie. It relied on creating suspense and tension and was in the tradition of Hitchcock. The characters have proper motivations for their actions and we are shown what those motivations are. It justifies some of the difficult choices made by Robert Thorn (Peck) as he learns the truth about his son.

Director Richard Donner's next movie was Superman, but The Omen, was easily the biggest project of his career at that point. Peck's involvement proved to be a huge draw and the remainder of the cast was happy to join the project.

The story opens in Rome. Thorn is the American ambassador and his wife, Katherine (Remick), is giving birth in hospital. The doctors tell him that his baby has died, but offer him another baby who lost its mother during the birth. Thorn reluctantly accepts, but hides the fact from his wife. Thorn is made ambassador to Britain and the family relocates to London. Things seem normal until Damien is five years old, when his nanny commits suicide at his birthday party.

Father Brennan, a priest from Rome, pays Thorn a visit. He claims that Thorn must take communion and accept Christ if he is to fight the son of the devil. Thorn dismisses him as a lunatic.

A new nanny, Mrs. Baylock (Whitelaw), shows up at the house to take care of Damien, but the Thorn's realize that neither of them arranged it. She is allowed to keep the job and tells Damien in private that she's there to protect him. He smiles. The Thorn's take him to church against the wishes of Baylock, but he throws a fit and they abandon the trip. He's visibly shaking at the thought of entering the church.

Thorn realizes that Damien has never been ill for a single day in his life and considers it odd. Baylock starts to take over the running of the house and allows in a black dog which seems to be another guardian for Damien. Thorn tells her to get rid of it, but she never does.

Nothing has really happened up to this point. Donner gives us clues that there's something weird about Damien, but it's all speculation. We don't actually see him do anything, but things happen to others around him. This is developed when Damien and his mother visit Windsor Safari Park and the animals act scared and run away from the boy. Now both parents are suspicious of Damien.

Father Brennan sees Thorn again and insists that Thorn's wife will die if he refuses to hear what Brennan has to say. He only wants five minutes. Thorn reluctantly agrees to listen, but Brennan sounds crazy once more, insisting that Damien isn't human and must die. Thorn still isn't convinced, but reads about Brennan's mysterious death in the newspaper the following day. Katherine is convinced that Damien is evil and that he's not her child.

Brennan claimed before he died that Katherine was pregnant again, and that she would lose the baby and then her own life. When Thorn learns that she is in fact pregnant, he begins to think about everything that Brennan has said. He teams up with a local photographer who has more information about Brennan and the two begin to look into Damien's origins.

It's incredible how little action there is throughout the movie. Donner relies on the audience's imagination and keeps building suspense. There's very little blood in the story and Damien hardly does anything to suggest that he's evil. Any problems he causes could be genuine accidents. Baylock is a more sinister character and does take direct action when she thinks that Damien is threatened.

The one thing that doesn't quite ring true is how quickly Damien's parents come to consider him evil. The bond between parent and child is usually strong enough for parents to love and forgive their children. Imagine telling any parents that their child is evil or the son of Satan. The likely reaction would be anger and the parents would defend their child against such a crazy accusation. In this instance, both parents come to the same conclusion. Why are they able to see that Damian is evil? Robert does eventually question the logic when he's ultimately tasked with killing the child, but it seems too late to be authentic.

The journey to uncover the truth sees Thorn visit two other countries as he tries to piece together Damien's past. We meet some unusual characters along the way and there's a little more action when he searches for the identity of the child's real mother.

The story has a resolution of sorts, but The Omen eventually became the first part of a trilogy. The other two movies never matched the suspense of the first and didn't attract any actors on Peck's level. Peck was excellent as Thorn and the most interesting part of the story was seeing how he approached the problem.

Picture Quality: 3.5/5

The opening shots are weak and lacking in definition. Some shots are intentionally soft, but the movie is grainy and the colors subdued for the most part. Things pick up in the second half when we see more outdoor scenes. It's hard to pin down the quality because it varies so much. Some shots seem barely above DVD standard, while others border on impressive considering the age of the film. It's obviously as good as it has ever looked, so worth picking up if you are a fan.

Sound Quality: 3.5/5

Jerry Goldsmith won an Oscar for best original score and the demonic singing adds a lot of atmosphere to the story. It sounds impressive on the DTS-HD Master Audio 5.1 track, as do some of the more subtle sounds such as gravel crunching underfoot. The track is front-heavy and a little quiet, but it does the job. I did watch it at a slightly higher volume level than most movies, but clarity was good once I had the level sorted out.

Features: 5/5

With over three hours of special features and three commentary tracks, you can satisfy your curiosity about the movie. It's a comprehensive package.

Commentary Three different tracks.

Isolated Score Track (5.1 Dolby Digital)

Richard Donner on The Omen (14:36)

The Omen Revelations: Bonus View with Trivia Track

Introduction by Director Richard Donner from 2006 (1:55)

Deleted Scene: "Dog Attack" (1:26)

666: The Omen Revealed (46:34)

Screenwriter's Notebook (14:51)

An Appreciation: Wes Craven on The Omen (20:17)

The Omen Legacy (1:41:37)

Curse or Coincidence? (6:19)

Jerry Goldsmith on The Omen Score (17:41)

Theatrical Trailer (2:19)

Still Gallery

The original part of the trilogy remains one of the best horror movies ever made, but it won't appeal to everyone. The pacing will seem slow by today's standards and the story relies on suspense, characterization and acting ability, rather than gore and special effects. Well worth seeing if you want to see how the genre has developed over the past four decades.

Overall score 4/5

Read Best Reviews of The Omen (1976) Here

I have a weird obsession with the first 2 Omen films, and own the DVD boxed set, so I've seen the DVD quite a few times. This special edition includes everything from the first release: Richard Donner's commentary, a deleted scene, the featurette on all the weird coincidences & tragedies that happened around the filming, and the just over 40 minute documentary on the making of the film.

The new features addednot including the spiffy new slip case cover and spooky white coverare as follows. We get a short introduction from director Donner, a 20 minute featurette that is basically Wes Craven talking about why he likes the film so much. Kind of random stuff, but the thing that made me upgrade is the new, just under 2 hour documentary. It's narrated by Jack Palancethat's worth the money right thereand goes into detail of how it started as an idea as "The Anti-Christ", then "The Birthmark" and finally the completed "The Omen."

This re-release was obviously done to promote the new remake, but they actually make it worth your while. The packaging really is nice, and for fans of the Omen or those interested in the odd happenings that surround itthis is a worthy addition to your collection. For those of you who haven't seen this film beforedon't base your judgement on the remake. This is a classy but fast-paced intelligent thriller/horror film, with amazing acting (especially from Gregory Peck) wonderful music and cinematography. The 6/6/06 date has passed, but until the world really does end you should enjoy this cool release and enjoy a time before obvious and tacky CGI jumps were considered "horror".

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There are few viewing experiences like "The Omen". This movie is one of the most astounding motion pictures of all time. It has all the usual good things associated with a great movie (talented cast, good music, good story line) but has also become a classic in the horror genre! The baby-faced incarnation of the anti-christ has become one of the most paradoxically-appealing characters of all time! (Harvey Stevens, the little boy that plays "Damien Thorne" does a superb job acting!)

If you consider yourself to be a horror fan, please, see this movie! While it is definately NOT a blood bath, it is a pyschological terror that will leave you thinking about what you've just seen... months after you've seen it! With confidence, I recommend "THE OMEN"...you won't regret it!

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Judas Kiss Blu-ray

For me, Judas Kiss (which I saw at the Frameline Film Festival in San Francisco this past June)represents a huge leap in indie gay film making. After years of coming out stories (who have their place, but are clichéd riddled these days), it was fun to see a movie where no one was suicidal about being gay, was not being beat up because they're gay or just worried they could be gay. It also differs from the others in this genre with its lush cinematography and impressive use of CGI effects (and on such a low-budget I know these movies work with). In this film, screenwriter Carlos Pedraza (the web series Star Trek: Phase II) and director J.T. Tepnapa (the funny short Masturbation: Putting the Fun into Self-Loving and the web series Star Trek: Hidden Frontier) takes a simple idea -what if you could go back in time and change your pastand spins a tale about the paths we choose when we're young, and how (at the time) we never think about the consequences of our actions. From that idea, the movie then borrows equal parts The Twilight Zone and a dash of A Christmas Carol and takes us on a journey that while familiar, it is never boring. Charlie David has never been better, giving a wonderful performance of a man in search of redemption for the sins of his past. Then there is Richard Harmon who shines as the troubled young man in search of life outside the reach of his damaged father (he also gave a creepy and memorable performance in AMC's The Killing this past spring). Harmon is brilliantly watchable in what should be a breakout performance. Meanwhile, Belgium singer/actor Timo Descamps as the evil Big Man on Campus is equally as good, along with the talented Julia Morizawa. Then there's Sean Paul Lockhart as the Ghost of Christmas Past. Well known for his gay adult films as Brent Corrigan, Lockhart proves he can act. He's likable, charming and vulnerable, but confident in what he wants. Like Harmon, this could be a game changer for the him.

"Judas Kiss" is a rather creative and ambitious story about destiny and second chances. The main character is "Zachary", a 30-something failed movie director (David's character) who reluctantly agrees to help judge a film school scholarship competition at his old alma mater. Being housed in a dorm room for the festival makes this even more of a journey for Zachary, since it reminds him of all the promise and potential he showed back then, which he sold out by making some bad decisions then and since. At a gay bar near campus, he meets a student (played by Richard Harmon) with whom he spends the night. It's not until the next day, meeting the filmmakers, that he realizes the young man is one of the contestants. Even stranger: the young man's name is Danny Reyes, which is Zachary's real name, and the film he presenting is actually one that Zachary made when he went to the school. A mysterious older man clues him in that he is somehow being given a second chance to perhaps change his life, by helping the younger version of him make better choices than he made when he was in his shoes.

Supporting, fully developed and relatable characters include Shane (Timo Descamps) a singer/artist into "vampire" videos who is the spoiled son of one of the school's richest benefactors, and his filming assistant Chris (Sean Paul Lockhart), and the film has a nice, original soundtrack that adds to the film, which is low budget but done remarkably well considering I did chuckle a bit that it looks like they used an old disco ball to generate some cheap "special effects" in a couple of scenes). Usually, the words "Starring Charlie David" aren't much of a draw for me, but he is actually quite good in this role, much deeper than the usual "hot guy" he plays and has considerable depth and emotion. Harmon is also excellent in his role.

Not rated, but would likely be an R due to sexual content. ... Watch it through the end credits, as the entire cast sings a song that can't be missed! DVD has extensive extras, including commentary, a "making of" feature, deleted scenes and a music video by Descamps (who apparently is a big teen idol in Belgium). May not be for everyone, but I thought it was a great effort. Five stars out of five.

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This film, Judas Kiss, was absolutely amazing, and everyone leaving the film festival theater where I recently saw it was touched by it and its message of regret, redemption, and hope for the future. Judas Kiss has a little bit of something for everyone, but most especially, it is a story that every viewer can relate to... reflection upon one's own life, regret over decisions made, and what you might have done differently if you could. In this innovative film, the character of Zach actually does get a chance to change some things in his younger life. But will his younger self, in that "all-knowing-invincible arrogance" of teenage youth, listen to his older self, and take a different path that will change both of their futures? That indeed is the question in this charmer of a film.

The film has a professional and compelling soundtrack, lighting, photography, and editing, I was blown away by its message of regret, redemption, and the possibility of change. Charlie David, Sean Lockhart, Timo Descamps, Julia Morizawa, and the rest of the cast truly give stellar performances, beyond what is often expected in independent films.

Viewers will be transported to this quirky, mystical intersection of time and space, and experience similar emotions as the characters on screen. Viewers will ponder how they, too, could change their own life, and, indeed, change their own future. Beginning right then and there. I know this for a fact because everyone at the film festival where it played did just that. Everyone was thinking about it. To me, that is the success of this smart and bright indie film from director/writer J.T. Tepnapa and producer/writer Carlos Pedraza (who were amazing in the Question and Answer session held afterward).

Be aware, Judas Kiss is an edgy film, and there are several graphic and emotional scenes that are intentionally made to evoke some emotional response from the viewers. That being said, all is done tastefully and artistically, and viewers will be glad that they saw this little gem of a film.

I can't wait for it to be available on DVD -it will definitely be a stocking stuffer for many of my friends -gay, straight, bi, and whatever.

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I was expecting a lot from this movie, since, well, the tam-tam was huge, the cast was good, and yes, I was really interesting in see how they would interact with each other, who will be with whom and so on.

Charlie David was perfect for his role, a man disappointed with his present life and in no mood to walk through the memory line to be a judge in a college movie festival, the same college and the same movie festival crowning him 15 years ago and now completely forgetting who he is.

Richard Harmon is so "haunting" that is no wonder all the cute boys want to sleep with him (and most manage to). He has an attitude but he seems to deserve it also. He is beautiful, probably even too beautiful and he has got talent, probably even too much. He wants to be someone, but he wants also to escape from his past. And, in the end, he prefers when men take advantage of him, manipulate him, betray him... for him it's how the ways are, how he is expecting to be treated.

That is the reason why he seems to prefer Shane to Chris, even if, actually, he is playing with both of them (and on the side also with Zach).

Sean Paul Lockhart in the role of Chris is probably, with Harmon, the best discovery of this movie. The right dose of enticing young boy, the right dose of shyness, he is the safety against the allure of Shane. I think I understood who Chris is in Danny's future, or maybe it's what I want to believe for them. He played the "innocent/naive/nerd" boyfriend in comparison to Timo Descamps's "aloof/cold/socialite" one, and maybe that made me smile, considering all. But he was cute, and that was what the director wanted, he wanted him to represent the peanut butter in comparison to Timo's dark chocolate. I think he was good in being so.

All in all a good movie, low budget but you barely notice it, and some of the camera shot are almost paintings so good they are. And, I was almost forgetting... good sex scene too, saying all it has to be said without showing gratuituos naked bodies.

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JUDAS KISS is a polished little film that successfully mixes gay issues with science fiction. Written (with Carlos Pedraza) and directed by young J.T. Tepnapa it manages to take a dream idea and by incorporating the use of sci-fi create a story with which almost everyone can relate. It introduces some fresh talent and allows some seasoned actors to keep the quality of the film on keel.

Zachary Well (Charlie David) is a failed filmmaker who despite a promising career in college left school to respond to the magnet of Hollywood: fifteen years later his life now is in and out of rehab and waiting tables because his dream of fame in la-la-land didn't happen. Zach's friend Topher (Troy Fischnaller) is successful and when an emergency trip arises he asks Zach to replace him as a judge for the filmmaking class at Zach's old college. With great trepidation Zach goes back to his alma mater, is housed in the freshman dorm, visits the local gay bar and has an encounter with a student one Danny Reyes (Richard Harmon). The next day as Zach is preparing for the judging he discovers the name of his previous night's encounter and cannot believe that Danny Reyes hnot only has Zach's previous name but also is a contestant in the film contest with a film by the same name that Zach had written and made 15 years ago. Other characters enter the scene Chris (Sean Paul Lockhart) who is Danny's paramour but who Danny is rejecting in favor of Shane (Timo Descamps) whose parents are wealthy and are supporting the film contest; Abbey (Julia Morizawa) who is Danny's assistant; and Danny's father (Vince Valensuela). The bizarre aspect of this is that Danny Reyes not only possess Zach's name but also Danny's life and associations mirror Zach's when he was in college. Characters form the past and imaginary situations occur and Zach sees in Danny the opportunity to make the result of the film contest different and thus alter the destiny of Danny Reyes.

The story makes sense as a campus story but the interesting aspect of the film is the clever way in which elements of science fiction (via camera work and music and Trompe l'oeil) bring the story to a level of reconsidering the past and seeing where different actions could have possibly resulted in a more successful present. It works and bodes well for the career of JT Tepnada. Grady Harp, November 11

Lars and the Real Girl (2007)

Were anyone to suggest that a 'romance' between a guy and a blowup doll could become one of the more sensitive films of the year, it would be cause for derision that is, before viewing LARS AND THE REAL GIRL. The improbable story was written by Nancy Oliver (the writer of many episodes of the TV series 'Six Feet Under') and directed by Craig Gillespie who gathered a particularly strong cast of actors to present this examination of compassion and love for an emotionally injured young man by small town folks, reminding us that caring for each other is still a highly regarded value.

Lars Lindstrom (Ryan Gosling) survived a tough childhood only to become a loner terrified of emotional and tactile contact. He lives in the garage of his deceased parents' home while his brother Gus (Paul Schneider) and pregnant sister-in-law Karin (Emily Mortimer) live in the main house. Despite Karin's pleadings to be part of the family, Lars prefers to keep to himself. At his job his co-workers include Margo (Kelli Garner), who is more than a little attracted to the quiet and strangely distant Lars, and a fellow who finds ' life-size love dolls' on the internet. Lars orders one of the dolls and when 'Bianca' arrives, Lars finally has a girlfriend to share his loneliness. He introduces Bianca to Gus and Karin who find the situation strange, but at the same time see the happiness in Lars that has been missing. They encourage Lars and Bianca to see a doctor Dagmar (Patricia Clarkson) who plays along with the concept that Lars finds Bianca real, and encourages Gus and Karin to be supportive. As it ends up the entire little town accepts Bianca and she is introduced to doing good deeds and be a vital part of the town, all through the kindness of people who love the 'delusional' Lars and care only for his happiness. How Lars gradually finds his way into the real world and copes with the understanding of his need for Bianca, the story comes to a tender ending, one that never for a moment feels like a sellout but maintains the dignity of all of the characters in the story.

This is a fine and thoughtful exploration of the needs we all have for understanding, compassion, and acceptance, and while there are some very humorous moments in this well-written story, the overall message is one of gentle love. Ryan Gosling is so fine an actor that he makes this rather complex character understandable and gains our empathy. The supporting cast is equally excellent especially Patricia Clarkson, Emily Mortimer and Paul Schneider. Highly recommended viewing, this is a DVD many will want to own for repeated viewings. Grady Harp, April 08

Lars lives in one of the snowed-in Northern states; his town could be next to Lake Wobegone. He's painfully shy, in an utterly literal sense of the term he won't even visit his brother and sister in law in the house adjacent to where he lives. Maybe it's no suprise that he orders a customized, anatomically detailed love doll.

The surprise is that it comes to life for him. Everyone else sees a slightly creepy adult toy, but he brings "Bianca" everywhere to dinner with his brother and sister in law, to a Christmas party with his co-workers, even to church. He concocts an elaborate fantasy about why she says so little, why she needs a wheelchair, even why she needs to borrow clothing. A psychologist tries to address his delusion but, while it works itself out, recommends humoring him. And so, the entire community does. If they're going to treat her as real, they're going to do it right.

Therein lies the quirky charm of this movie an entire town rallying around one of their own, playing their part in his odd drama. If that's what's best for him and there's no harm in it, they'll do it. A few balk, of course, but only a few and not for long. They accept Bianca fully into their community, sometimes to Lars's dismay.

The happy ending (happy enough) makes this into a movie about redemption, but that over-simplifies this complex film. The premise looks like some modern-day fairy tale. Once set in motion, the movie carries itself forward with understated kindness, maybe even nostalgia for a small-town closeness, whether that closeness ever existed or not.

-wiredweird

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(4.5 *'s) Lars Lindstrom has all the foibles one sometimes associates with a ventriloquist. Socially inept and insecure, every encounter with even loved ones is full of awkwardness and fumbling. He has difficulty expressing himself and relating to others. At home he lives in the mother-in-law house (or garage as they say) next to his brother Gus (Paul Schneider) and sister-in-law Karen (Emily Mortimer). One night a well-meaning Karen tackles him on the driveway to get him to stay for dinner. Needless to say he is almost traumatized by her good intentions. Work is as pedestrian as it gets: He works in a cubicle doing work on the computer for an unknown company. Co-worker Marla (Kelli Gardner) shows an interest in him, but even her overtures leave him flummoxed. Another co-coworker is friendly, but offers him his favorite porn. That is until he introduces him to his latest offering from "Real Doll.dot.com". Anatomically correct, the life-size doll gives Lars an idea.

Coming home to dinner once again, Lars is beaming about his new girlfriend. Gus and Karen are also beaming, truly enthusiastic and proud. Until they meet Bianca, the "real doll" who is seated with a conversing Lars. Lars is transformed. His speech is confident; his cheeks are reddened; and his outlook is happy. First comes shock; then comes acceptance. Not quite knowing what to do, Lars is so believable that they start to believe it too. They have him see a therapist (Patricia Clarkson), the general practitioner in their small Northern Wisconsin town, and the pastor gathers his flock together. Everyone starts to make jokes, but eventually they go along with someone who is truly delusional. Bianca starts to become real.

Billed as a comedy, `Lars and the Real Girl' is too often sad to be funny. Though profound and heartwarming, the laughs are often embarrassing because the situations of the protagonist are awkward. They elicit our sympathy. This isn't to say the film isn't a gem because it is. In spite of all temptations to pigeon hole this movie as cheesy or a screwball comedy, all the right components come together to make `Lars and the Real Girl' a wonderful little film and truly one of the best of the year. Without serendipity, this movie could have easily been a disaster.

(The extras are short but sweet: "The Real Story of Lars and the Real Girl" (10:11) is worthy for the "real" affection the cast has for the film with reflections by Oscar nominated screenwriter, Nancy Oliver, and a specially articulate director (Craig Gillespie). 'A Real Leading Lady' (5:55) features Ryan Gosling ad libbing facetiously with his co-star Bianca about making the film. The deleted "Bathtub" scene is impossibly short, clocking in less than a minute--but the written explanation by the director is insightful. The rest are trailers.)

Read Best Reviews of Lars and the Real Girl (2007) Here

Lars is a quiet and introverted kind of guy. He goes to work every day then he comes home to the garage apartment he lives in, adjacent to the house he grew up in and is now owned by his brother and sister-in-law.

As his pregnant sister-in-law's due date gets closer, Lars seems to emotionally and physically withdraw from his family and co-workers. Preferring to remain in the comforting small walls of his garage apartment, he starts garnering the concern of his sister-in-law. She fears he is too lonely and when all her attempts to include him and spend more time with him fail it seems all hope is lost. That is till he shows up to dinner one night asking if he can bring his new girlfriend. The excitement and relief Lars' family feels is short lived when his girlfriend ends up being an anatomically correct love doll he has named Bianca.

At the recommendation and guidance of their small town doctor/psychiatrist, Lars' family goes along with his delusion, and then manages to convince the entire town to do the same.

This movie had me laughing out loud and sobbing big ugly tears, I was charmed completely. The situations involving Bianca were equal parts hilarious and heartbreaking. I have never wanted to hug a movie character more than I have wanted to hug Lars; my heart went out to him completely.

I have a friend who hated this movie for the exact same reasons I enjoyed it so much. I loved the fact that the entire town rallied to welcome Bianca, even though they thought it was nuts, just to help a member of the community. I loved all the zany adventures Bianca went on, and I loved the town they lived in. I loved the fact that it was far fetched, but mostly I loved it because that's how a town SHOULD behave. People should go out of there way and do things to help someone in need once in awhile.

With the help of the community, a wonderful doctor, his family and most importantly, Bianca, Lars heals. It's an emotional road to get there, but well worth the journey.

Cherise Everhard, July 2008

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Those are my people! That's my home land! Every face looks like one of my family, including Lars, who looks like a goofier me at the same age. The houses, the furniture, the downtown shops, the costumes, the church, the lake it's all museum-quality Upper Midwest. Minnesota to me, since that's where I'm from. Only the accents and the dialogue in general don't sound Minnesotan, and I kinda wonder why not.

Given that we're all Scandihoovians together here, I can make some sense out of this film by thinking of it as a Hans Christian Andersen tale, a lot like The Little Mermaid or The Faithful Tin Soldier. Bittersweet, artificial and witty, and solidly moralistic at the core. Otherwise, the improbability of the family's and town's response to Lars's delusion (that's the heart of the plot) would seem too improbable to accept, even on theatrical terms of "willing suspension of disbelief." I mean, we're a well-meaning folk, we Minnesotans, and we make trying to be nice the local interpretation of the Golden Rule, but we aren't THAT nice!

Ryan Gosling should get an Oscar for making an impossible role almost fully believable. Of course, Bianca should be a shoo-in for Best Supporting Actress.

In the end, it's "awful heart-warming", as my Uncle Einar would say, noncommittally.

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