Live in Ancient Kourion (2013)

Stu Block has managed to do what I thought was impossible do justice to material from Iced Earth's full discography, and originally sung by no less than 4 different people. He can out-scream Ripper, and even out-emote Harlow. And the whole band sounds tight, energized, and the crowd is INTO it. That a band this far into their career can pull off a live album like this is really remarkable.

If you like Iced Earth old stuff or new this is a must buy. And if you like power metal at all grab it.

Now I just have to wait for the Blu-ray to come out in the U.S.

5 stars... it would be silly to expect anything better than this! Watched the dvd in one sitting... with my girlfriend... we were both mesmerized!

I'm a big fan of Iced Earth, they're probably my favorite band. That may lead you to believe this will be a biased review; however, often times the biggest fans are also the harshest critics. To build credibility, here's a few criticisms I have toward Iced Earth:

* "Framing Armageddon" & "Crucible of Man"... I've picked about 5 songs between the 2 albums that I really enjoy, the rest are pretty much boring/filler to me.

* I liked Barlow the 1st time around, buy why get rid of Ripper to bring back a "part-time" Barlow?

* "Festivals of the Wicked" why release 2 shows from the same summer festival tour? The 2 Barlow shows have virtually the same setlist.

But for "Live in Ancient Kourion" ... Iced Earth has nailed it! As Jon states in one of the interviews, the setlist will never please everyone. It's cool he acknowledged that. He followed that up with his idea to release live material for each of the future tour cycles, each including many different songs from their back catalogue. To me, that sounds like a great response to the setlist conundrum.

Seeing them in concert on the Dystopia tour helped me to fully embrace Stu. He's great with the crowd, but more importantly, he's a terrific singer. This live album should give that same opportunity to the fans whom have not seen Iced Earth live with Stu. He sings low & high, & everywhere in between. Only negative observation I have thus far with Stu is his over-the-top performance of "Dracula" on "Live in Ancient Kourion." It's impressive to hear him switch from low to high so often, so quickly... but it sorta detracts from the song, changes it from an emotional masterpiece, into a vocal lesson/demonstration. Although apart from Dracula, upon 1st listen, every other song on here was done brilliantly. With these new live versions, I will have a hard time choosing my favorite version of many of these songs... I look forward to the challenge.

I'm also looking forward to many powerful years of output from Iced Earth with Stu on vocals. This album is great for anyone wanting to see how Stu fits into the Iced Earth fold, it's great for people just starting out with Iced Earth, & most importantly, it's just a great live album, period.

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No question Iced Earth presented their fans with a true gem. This is simply not just their best live album ever, but one of the best ever in the genre. Why did I buy this album? First, I'm a fan. But, that's not very useful if you are wondering whether you should get it, is it? First should be that Iced Earth truly play inspired and true metal. Emotion, dedication, love shown to their fans all of it is there. Second, the quality of the material is the highest. Songs on this live album sound better than on their studio releases. Third, the musicianship is second to none. Finally, in Stu Iced Earth got the world class singer. I don't care whether you're a fan of Dickinson, Halford, Dio, Ripper, Barlow or someone else, Stu will impress you. If you're a metal fan you should own this record ... If you're an Iced Earth fan, ... well, it's a no brainer.

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My first reaction to seeing this product on Amazon was "Really? Another live recording?". While it is only their second actual live cd release, the DVD set 'Festivals of the Wicked' is less than two years old. Between that and the Alive in Athens recordings, I wasn't sure if a fan would need a new recording. But since this is the first live recording with new vocalist Stu Block, I decided to give it a chance.

Let's backtrack a bit Iced Earth had all of the markings of a band on life support by the time 2011 arrived. Longtime fan favorite Matt Barlow returned to the band for 2010's 'The Crucible of Man', otherwise known as 'Something Wicked Part 2', the conceptual sequel to 2007's 'Framing Armageddon (Something Wicked Part 1)'. This was very odd since Tim "Ripper" Owens had provided vocals for the previous album, so Jon Schaffer even went as far as to have "Framing Armageddon" re-recorded with Barlow on vocals for the 'Box of the Wicked' boxed set.

This proved to be pointless in the end, as Barlow's return was short-lived; he quit the band again in 2011 to spend time with his family. Truth be told, the Something Wicked saga had turned out to be a massive disappointment; after the awesome trio of songs that began the saga at the tail end of 1998's 'Something Wicked This Way Comes', it was almost 9 years before the band picked up the story. By then, many fans had lost interest. Compounding matters even more was the sheer lack of interesting material in 2007's 'Framing Armageddon', which contained bland, overproduced anthems that were not sonic brethren to the original three anthems. Ripper Owens's uninspired vocal performance made the album utterly forgettable; in fact, his tenure with the band never really worked. Whereas he had fire and personality in his stint in Judas Priest, he never quite found his sweet spot in Iced Earth, and was often guilty of over-singing (even by Iced Earth standards).

Even Barlow's 2010 return didn't save "The Crucible of Man" from mixed reception from fans and critics; it seemed that Jon Schaffer's songwriting ability had severely degraded. After the mixed bag that was 2001's "Horror Show", and the average-to-poor quality of 'This Glorious Burden' through 'Crucible', it seemed like the band had finally exhausted everything they brought to the table.

Enter Stu Block Stu came to notoriety as lead vocalist for innovative progressive metal band Into Eternity. His voice in that band could be described as versatile, as he oscillated between smooth clean vocals, piercing shrieketto, and guttural death vocals. It was unclear if he'd be another "Ripper", having difficulty finding a way to fit his voice with a new band. But 2011's 'Dystopia' was a pleasant surprise. Stu managed to find a niche in his new band, modifying his vocal approach to better fit the more 'staccato' vocal attack required of Iced Earth. If he was guilty of one thing, it is that his lower vocals oftentimes sound eerily similar to Matthew Barlow's (at times, it's hard to tell them apart). But his higher register carried much more power and gravitas than Barlow's did; where Barlow's falsetto often petered out, Stu possesses a higher range and greater degree of comfort and power. Stu's solid presence, coupled with Jon Schaffer's 'back to basics' approach of just writing simple, quality metal anthems made 'Dystopia' a surprisingly solid effort. While not a classic, it was far away the band's best effort since 1998's 'Something Wicked', and injected the band with new life.

So it does make sense to a degree that the band would release another live album (assuming of course, that fans want to add another 2.5 hours of much of the same material to their collection). Sonically, this live album does not differ much from previous it is a high quality mix with crisp sounding guitars and vocals (and likely an overdub or two). The setlist is an effective blend of all eras each album is represented by at least one track, and most containing at least three entries.

Sadly, there are no real surprises "Dante's Inferno" remains the only 'Burnt Offerings' inclusion, and 'Something Wicked' has a disappointing representation of mostly ballads ("Melancholy" and "Watching Over Me" are two of the three entries). And of course, 'Night of the Stormrider' and 'Dark Saga' contain their pre-requisite staples. These songs sound as effective and full of life as ever, with Stu Block delivering quality performances. He doesn't necessarily bring anything new to the proceedings, other than restoring Greely's powerful falsettos to the Stormrider tracks; nonetheless, he turns in a solid performance.

What elevates this live album are some of the other performances the 'Dystopia' songs work extremely well in a live context, with Stu Block actually improving on his studio performance on tracks like "Boiling Point" and "V". Surprisingly, the material from 'Framing Armageddon' (especially "Setian Massacre") are given new live with Block's vocals. While still far from their best material, the tracks actually contain presence for the first time that improve their standing in the setlist.

And then there's the 'Horror Show' material. Iced Earth were guilty of overproducing the hell out of the vocals on that album, using layer upon layer that made them difficult to reproduce live. Additionally, they were some of the most demanding tracks Barlow laid down, as they contained some of the rangiest material, with frequent octave jumps and notes around the breakpoint. Three of the best entries on the uneven studio effort are included here: "Wolf", "Dracula", and "Damien". Stu proves he is game on "Wolf", managing to convert the difficult two-part vocal melody into a solid one-part effort, with additional gusto on the demonic-sounding chorus. "Dracula" succeeds largely on the sweat and tears of Block; it's a song that works much better in the studio, but Stu's versatile octave-jumping manage to provide the song with the requisite amount of melodrama and delightful cheese that made the track engaging to begin with.

Only "Damien" fails of the three, but this is largely due to Schaffer's lazy songwriting. Barlow's over-the-top octave-doubled vocals carried the original and masked its weaknesses, but alas, Stu only has one set of vocal cords, which exposes the song's inherent mediocrity.

The recording definitely does a nice job of capturing the energy of the crowd, whose soccer-esque chants are infectious. Stu brings much charisma as a frontman, and clearly feeds off of the passionate crowd.

Ultimately, this new live release is far from essential (how many different versions of "Pure Evil" does one fan need?). But for fans, especially those (like me) who had given up on the band after 'Crucible of Man', the album is a stark reminder that Iced Earth is back...with newfound passion and excitement. And isn't metal better when Iced Earth are having fun?

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I've been a fan since I bought Horror Show back in 2001. I include myself in the majority group that think Matt Barlow will always be the voice of Iced Earth, but newcomer Stu Block is nothing short of spectacular here. He has the low and high range of Barlow, plus he can scream as high as the bands previous vocalist, Tim "Ripper" Owens. If you weren't totally sold on him after Dystopia (I think most were), this 2 1/2 hour live performance will make you a believer. The band is tight and the energy from the crowd is unlike any concert DVD/Blu-ray that I own.

This is a great buy for the price. You get 2 CDs and 1 DVD that capture the entire show, along with a few extras that show the making of this one of a kind concert that was filmed on some ancient stone ruins. The picture is near Blu-ray quality and the sound is loud and broken up nicely.

With founder/guitarist Jon Schaffer leading the way and Stu delivering the lyrics, Iced Earth should be cranking out nothing but classics in the near future. It's also refreshing to know that an American band is representing "Iron Maiden" style metal, when most of the better bands right now are from Europe. Looking forward to what they come up with next.

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Naked Lunch (Criterion Collection) (1991)

Cronenberg's version of Naked Lunch is a brilliant combination of Burroughs' novel and Burroughs' life. He blends the true story of Burroughs life (and his reason for writing) with the surreal dark-comedy 'routines' of the novel until they become one story. The story is a quiet hallucination featuring exterminators, addiction, typewriters in the form of insects, typewriters that grow genitals, a global conspiracy of intelligence agents, the drug trade, homosexual ambiguity, writer's block, accidental murder, and literary paranoia. None of these elements is explored completely. Instead, Cronenberg touches on each one until they form some strange, underlying logic.

This edition of the DVD has enough extras to make it the only version of Naked Lunch you'll ever have to buy. (They won't release a bigger, better edition later.) The BBC documentary is okay. It's about 45 minutes long, giving Cronenberg and William Burroughs a lot of time to speak. (Burroughs is particularly good, with a dry sense of humor and a habit of saying obvious truths that make people uneasy.) The second disc also has stills from the special effects team, showing how the various creatures and organic typewriters were developed.

But it's the first disc --the movie itself --that makes it worth buying and watching. The special audio track, shared by Peter Weller and Cronenberg, adds a lot of useful background information. The film itself is bright and sharp, a perfect example of DVD clarity. I highly recommend this DVD to anyone who is interested in the best films of the 1990s. Naked Lunch didn't make as big an impact in theaters as it did in book stores, but it should have.

As a devout Burroughs fan, of course I was a little hesitant to view this movie initially. And having read the book "Naked Lunch" prior to watching the film, I was at a loss as to what I expected. Certainly there was no way this book could translate into a movie...even "The Wall" director Alan Parker would have been lost.

In essence, Cronenberg didn't attempt to recreate the book verbatim. Instead he deftly interwove Burroughs' life with some of the routines and rants from the book. This movie is not for the fainthearted as it shows man-sized mugwumps and talking typwriter/insects who are really operatives for a covert attempt to penetrate Interzone, using a hapless writer, Bill Lee, as their chief spy.

Definitive moments in Burroughs' life, such as his relationship with Allen Ginsberg and Jack Kerouac and the death of his wife Joan at his own hand are featured in the movie. It also gives a surreal biography to the birth of the writer in Burroughs as he attempts to write his way out of the guilt of his wife's death and the drugs that numbed the difficulties of his life.

Those who think that this movie had no real plot or if they did think there was a plot that the plot wasn't linear, then they can't be that big a fan of Burroughs. His life was not normal, his fans are not normal, and his mode of thinking was, frankly, insane. Cronenberg does a brilliant job getting inside the mind of the writer, the genius, the man, William S. Burroughs. Take a trip into his mind, ladies and gentlemen, and be changed forever.

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David Cronenberg has done something very interesting in his film version of the book by William Burroughs. Attempting to faithfully follow the book's plot would have been a hopeless enterprise (and an X-rated movie); instead, Cronenberg wraps short sequences from the novel and intertwines them with Burroughs' own life. This is not only completely appropriate for this unique author, but also conveys the tone and structure of the book. In this respect, although the 'plot' of the book is not followed with slavish respect, this is one of the most successful book-to-film translations.

There are interesting (if brief) portraits of Allen Ginsberg and Jack Kerouac (although in the movie Ginsberg is portrayed as pursuing Burroughs, when in fact Burroughs was in love with Ginsberg). The film also shows the accident in which Burroughs shot his wife, and his meeting with Paul Bowles in Tangiers. In the plot of the movie, Bill Lee is instructed by giant insects to infiltrate Tangiers and write 'reports' which eventually become the text of _Naked Lunch_. All of the events of the movie are shown from Bill Lee's drug-altered perception, so that most of the film's scenes have to 'translated' from the metaphorical to the actual by the viewer. In spite of other reports, the movie is quite coherent and linear, detailing Bill Lee's emotional recovery from drugs and the death of his wife as he becomes a writer. Perhaps 'recovery' is the wrong word; what Lee learns is to use them as material for his writing.

One warning: Cronenberg's decision to use elaborate special effects to show Bill Lee's reality works brilliantly, but it can be quite disgusting. The movie is not for weak stomachs (which again fits both the book's title and content exactly).

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David Cronenberg's dazzling sci-fi imagery meets William S. Burroughs' dark humor in this bizarre cult film. Peter Weller plays William Lee, an exterminator who can't seem to keep track of his bug powder. His writer friends hint that it may be a `domestic problem.' Indeed, he finds that his wife is stealing his bug powder for its narcotic effects.

At a party with two friends (meant to be Jack Kerouac and Allen Ginsberg), Lee nods to his wife and says, `About time for our William Tell act...' Joan balances her highball glass on her head and closes her eyes. Bill isn't such a good shot that night, and accidentally shoots a hole through Joan's forehead. The glass falls to the floor, intact.

Soon the police are after Lee. They lock him in a room with a giant bug, who tells him his real identity. It starts him on his journey to Interzone, a strange hallucinatory world inhabited by talking insects, living typewriters, and alien/insect mugwumps that secrete intoxicating juices from the penises on their heads.

Lee has a long strange trip in Interzone. His insect typewriter sends him on missions where he meets strange people and even stranger creatures. And all the while he is still on the run from the police.

David Cronenberg's screenwriting and directing skills were in top form for this movie. Once called `the king of venereal horror,' his trademark grotesque sexual imagery and bug obsessions, as seen in Videodrome and The Fly, have been honed to give the perfect nightmarish effect. Surely there couldn't be a better man to bring Burroughs' Interzone to the big-screen.

The acting was also superb. Wearing a fedora and an anonymous tan overcoat, and speaking in Burroughs' low monotonous drawl, Weller is a very believable William Lee. Judy Davis was also excellent, bringing to life the most three-dimensional portrayal of Joan Vollmer Burroughs ever.

The fabulously surreal special effects are sure to draw in Cronenberg fans, and fans of Burroughs will be equally entertained by samplings of the original book's `routines' and parallels to Burroughs' own life. However, Cronenberg isn't known for making accessible movies, and when coupled with Burroughs' characters, this certainly isn't a film for everyone. Rated `R' for heavy drug content, adult language, and `bizarre eroticism,' there are scenes portraying bug powder injection (a heroin metaphor), typewriters with genitalia, and a gay sex scene in which Julian Sands turns into a parrot. But for all the "adult" content, this is a very intelligent, complex, and inspired movie that its viewers will not soon forget.

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I just finished David Cronenberg's Naked Lunch. It was released in 1991, and is based on the William S. Burroughs novel of the same name. I've never read any of Burroughs' work, but now, I wouldn't mind researching it.

This film is about an exterminator named Bill Lee who is played here by Peter Weller of RoboCop fame. Bill is an ex-junkie, and is thrown back into drug addiction once he finds out that his wife is addicted to the bug powder that he uses on the job. He tries it once, and becomes hooked. He starts hallucinating. Giant bugs start spouting conspiracy theories to him. A giant alien-like creature, a "mugwump", has a conversation with him at a bar. Sounds weird, huh? It only gets weirder from there on out. And I mean WEIRD. One night, he and his wife decide to play a random game of William Tell that goes horribly wrong, in that he accidentally shoots his wife in the head, and she dies. He flees the scene, and heads off to the "Interzone," an exotic city that may or may not exist inside of his head. He starts to write a novel, a novel that will eventually become the book Naked Lunch. While he is in the "Interzone," his hallucinations get worse. They become so surreal and weird, that it is hard to differentiate between what is real and what is not. I don't have time to explain it all some of the hallucinations were so strange, that I can't print them for fear of offending someone however, one thing is certain: this is definitely a film that requires a second viewing.

The character William Lee is loosely based on author William S. Burroughs. Burroughs really did shoot his wife during a game of William Tell, and this novel was written shortly after that incident. It may help to know that he was addicted to heroin at the time that he wrote it, which would explain all of the strangeness in the film.

I DO NOT recommend this to everyone. It is most definitely not a film for anyone under the age of 17, and contains some shocking material. However, if you are in the mood for something different and I stress the word DIFFERENT, then you may want to check this out. You may not understand all that is going on the first time around, but the point of the film is to make you feel as though you are on drugs yourself. I still don't know what to think about it. It certainly does stay with you afterwards, and it is very thought provoking. David Cronenberg is one of the best directors out there. After all, he gave us last year's classic, A History Of Violence. If you are familiar with Cronenberg or David Lynch, and you've enjoyed their previous offerings to cinema, then you'll probably want to see this. You may want to follow this up with a similar, albeit less trippy film named Barton Fink, which was released the same year, and also stars Judy Davis in a supporting role.

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The Young Victoria (2009)

I thoroughly enjoyed this film! Emily Blunt gave a stunning performance as Victoria, but Rupert Friend totally steals the show as Albert, in many ways a much more challenging role, I think. Albert was a complex, private person and his relationship with Victoria is all the more interesting, because while he dutifully pursued marriage with Victoria as his destined "career", he did not expect to fall in love or to be loved in their marriage. Friend does a marvelous job of portraying a very reserved, rational man suprised by his own powerful feelings, and of showing Albert's very dry but keen sense of humor. Many biographers/historians have suggested that Albert did not love Victoria as she did him, but I think this has much more to do with Albert's reserved, Germanic public persona than any historical reality, as is amply demonstrated in his letters and Victoria's journals. Friend does a marvelous job of revealing an Albert who loved Victoria deeply and was willing to make great sacrifices for her, but who also had the strength to stand up to her strong will and fiery temper, and not be pushed around. Both actors obviously did their homework on Victoria and Albert and I think very much captured the essence of their personalities. I also very much enjoyed Jim Broadbent and Harriet Walter's marvelous, feisty performances as King William and Queen Adelaide.

One aspect of the film I found a bit jarring was the portrayal of Victoria's relationship with King Leopold and Baron Stockmar as being rather distant and hostile. While Victoria was quite determined to live her own life and not be a pawn in their (or anyone else's) political schemes, she actually had a very affectionate relationship with her uncle Leopold both before and after her marriage, and Stockmar was a lifelong friend and confidant of both Victoria and Albert and helped them through many of their early marital difficulties. Their manipulative attitude toward Albert and their obsessive focus on grooming him for marriage to Victoria was historically accurate, and Rupert Friend's portrayal of the young Albert's attitude toward their "training" is one of the funniest parts of the film.

I highly recommend Stanley Weintraub's biographies of both Victoria and Albert for those wanting the real historical background for the film. Sarah Ferguson's book Victoria and Albert: Life at Osborne House is also a well-researched and beautifully illustrated book about their marriage and family life.

There is a bit of minor chronological rearrangement to cram about 5 years of historical material into less than 2 hours, for which I think Julian Fellowes can be easily forgiven, and some slight embellishment of real events for dramatic effect (eg Prince Albert did attempt to shield Victoria in the assassination attempt but was not actually shot, Albert was not present at Victoria's coronation) but I didn't find it detracted from the story. Much of the script is actually verbatim historical record (King William's drunken outburst at the banquet, Conroy's attempt to force Victoria to sign an order making him Regent) and Fellowes included these bits unaltered, to his credit--they are fabulously dramatic, just as they are.

Costuming is gorgeous and well-researched, the film is a visual treat. A real must-see!

Movie critics seem to brush over the section of movie goers that can't get enough of well done period dramas. The week before I saw YV I watched Avatar. Now, the critics love Avatar--new visual feats, jump scenes, apparent sex and vilification of the political right. What the critics hate is a beautiful well made film with monogamous relationships, real violence and a hero that actual existed. I suppose critics love the imaginative and spur the real, an interesting commentary on our society and its relationship to the beautiful.

This is the best period drama since the 6 hour Pride and Prejudice.

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The delightfully dallying Sarah Ferguson, Duchess of York, treats us to a beautifully costumed glimpse of the political and power machinations that go on no matter the era behind the palace door in her production of "Young Victoria" directed by Jean-Marc Vallée and written by Julian Fellowes.

Flamboyant Ferguson, once married to Prince Andrew of the UK, knows firsthand just how much of an outsider someone married to a royal can be even in his/her own household. Obviously intrigued by her subject matter as illustrated with the elaborate attention to detail, Ferguson uses the outsider theme in her recounting of the story of Victoria Regina (1819-1901) and VR's ascent to the throne of England at eighteen years old in 1837 but also explores `what could have been' for herself and her modern day prince if they had not allowed the politics and manner plays of the realm interfere with their life together.

Living as a virtual prisoner in the home of her mother, the Duchess of Kent and the Duchess's lover/adviser Sir John Conroy, Victoria endures a restrictive childhood with no companionship of her own age; her dog, Dash, albeit an adorable King Charles spaniel does little to promote her experience of the outside world or prepare her for her coming role as queen. Thought of as a pawn to be controlled by either an appointed regent, a husband, or trusted adviser, Victoria must remain focused; understand her weaknesses and work towards a strong independence that will aid her in taking her place as one of Great Britain's greatest monarchs. The film transports the young princess from captivity to competence and sees her growth from unsure and stubborn ingénue to more-in-control young queen, wife and mother.

Ferguson's concept succeeds admirably; "The Young Victoria" is a first rate film in the genre of Masterpiece Theatre, replete with the lush backdrops of the royal British lifestyle (exquisite gardens, Buckingham Palace, and castles, Arundel and Belvoir ) and beautifully recreated 19th century costumes. However, most compelling for this reviewer and her fellow very vocal older audience members was the film's ability to convey the advance and balance of the developing romance between this queen and her consort from the viewpoint of Victoria as unsure insider and Albert as the German prince who most certainly was at first a guest within his own home. What Ferguson did not get right in her own life, she more than adequately conveys here.

Emily Blunt (The Devil Wears Prada (Full Screen Edition), Warrior Queen) plays the young repressed princess with a believable uncertain precision--her role as Victoria contrasts remarkably with the acerbic over anxious assistant to Meryl Streep in "The Devil Wore Prada." Wonderful to look at, Rupert Friend (Cheri, Mrs. Palfrey at the Claremont) gives Albert, Prince of Saxe-Coburg and Gotha, male model sexiness that had many of the audience's older women cooing at his earnest smiles and endearing dimples. However, he is not just a pretty face; his ability to personify a steel core within a pleasant persona admirably depicts the dilemma his character faced throughout his twenty years as Victoria's husband.

Secondary players Miranda Richardson as Victoria's mother and Mark Strong as the Snidely Whiplash villain, Conroy, smolder with insecurity and the wrath that ensues when one's orders are not followed to the letter. Almost unrecognizable--a tribute to his chameleonic ability to become any character--is Paul Bettany (Wimbledon, A Beautiful Mind) as Lord Melbourne, the ambitious and politically minded PM.

The combination of worthy players and intriguing plotline keeps the hour and 45 minute playing time a moving feast of period drama, political power and sweet romance that will wow any lover of the Masterpiece Theatre genre. Despite some historical inaccuracies (Albert never took a bullet for Victoria although there were multiple assassination attempts on her life), the interplay between the two leads cannot fail to charm.

Bottom Line? Sarah Ferguson along with Martin Scorsese produces and arrestingly lovely film depicting the first years of Queen Victoria's long reign as monarch of Great Britain. Telling the parallel stories of her romance with her first cousin, the German Prince Albert and her maturation with regard to court politics and her role as the empire's figurehead, "The Young Victoria" provides an intriguing entertainment for the Masterpiece Theatre set who cannot get enough of costumes, elaborate sets and the mannered sensibilities that act as decoy for machinations that do not change with any age. The audience that I viewed the film with commented enthusiastically about the production afterward, repeatedly exclaiming that it was one of the `best films' they had seen in years. Recommended.

Diana Faillace Von Behren

"reneofc"

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As others have mentioned, the costumes and scenery alone are worth watching the movie for. The acting is wonderful, Emily Blunt and Rupert Friend are passionate and emotive.

The problem stems from messy, unresolved plot holes. A lot of relationships are left undeveloped, and as a result I found it hard to emotionally connect to any minor characters enough to care about their plot threads. When you have such an amazing ensemble cast (Miranda Richardson, Mark Strong, Paul Bettany, Jim Broadbent, etc.) not making the most of them seems almost shocking. Their parts came and went without much ado.

I would have liked to see a bit more development in the romance between Victoria and Albert; the film did a great job showing their correspondence and how excited each was when receiving a letter from the other, but failed to include more than one or two little moments together before expecting the audience to believe in their grounded love for one another.

The driving conflict seems to be Victoria finding her footing despite ill advice, youth, and inexperience; her and Albert's common desire to help the disenfranchised is a great strength, but is never mentioned again after Victoria and Albert are married. They are never seen to do the work that seemingly brought them together.

With just a few little moments added, a few strings tied, a few characters given proper send-offs, it COULD have been utterly moving...but I suspect many of the scenes that would have made this film great rather than good are hiding on the cutting room floor. I can only hope for a Director's Cut at some point!

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From the exceptional costuming to the beautiful cinematography, `Young Victoria' is a triumph...a gem of a film that shines thru all the surrounding noise: when I put this DVD in to watch (released earlier in the UK), I was very impressed with the quality of the entire program! Emily Blunt is stellar as Victoria and Rupert Friend as Albert, as well as great performances from the whole supporting cast: one of my only `issues' with this film is that it was just too short: I was hoping for 3 hours & got about half that: other than that, I was so very well pleased with this film!

Content: Young Victoria had very little that was objectionable in content: there was a sensual bedroom scene (not graphic) between a husband & wife, there was a little violence (a man shoots someone), a little language, and some adult themes, but overall, this was a clean film. I would say it is reasonably family-friendly, but that parents should view it before-hand, to decide if it is acceptable for younger children.

I really enjoyed Young Victoria: from the costumes, to the scenery, to the acting, to the locations, it was just a beautiful film all round: a neat, concise telling of Queen Victoria's ascension & early years of rule, with a huge focus on her relationship & marriage to Albert...a true delight of a film!

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Monamour (2-Disc Special Edition) (2005)

Tinto Brass' latest US release, 'Monamour', is actually from 2005 (why does it take so long for us to get our sexploitation kicks stateside?), starring Anna Jimskaia, and is a sexual homage to the female form, like many of his films, this time even more so, and Anna is an even greater exhibitionist than any of his other actresses, bless her heart.

The story concerns itself with a newly married couple, Marta and Dario, whose love life seems to have stagnated since they got married only six months ago. Marta chronicles the sordid details in her diary, and Dario is too busy with his work to notice her sexual drifting. While away at a publisher's convention in the beautiful city of Mantua with her husband, Marta meets a Frenchman while looking at ancient frescos in a museum, and he pursues her aggressively and sexually right there. Soon, her adultery, born out of neglect, boredom and frustration, is in full swing, and she's encouraged by a female friend of hers who's also at the convention with her younger lover.

The two women attend a day spa and trade tales of their escapades while being pampered by two Eurovixens employed at the spa, conjuring up all kinds of fantasies for us to ponder over as the women are oiled-up and erotically massaged as though being devoured by their masseuses. Marta is now having sexual dreams and fantasies in addition to her carnal activities, engaging in a variety of increasingly perverse pleasures with Leon, the French lover, and naturally, hubbie Dario finds the diary she explicitly details her affairs in. Now things go from steaming hot to boiling over...it's one of those times when being a perv is a truly wonderful thing.

These are women, not girls, and they flaunt their sexuality proudly, libidinous creatures who have not just been around the block a few times, but have frequented the sewers as well. They are lewd, sometimes vulgar, their appetites voracious and lusts almost limitless. Looking slutty, talking dirty, behaving salaciously what's not to love? Hang on a second, I'm getting weepy... OK, I'm back.

There's nary a 30 second frame within the film when we don't have our heads thrust into the breasts, asses, legs, back or nether regions of some delectable Eurovixen's form this is a voyeur's pastry buffet table, a Lazy Susan of rotating sexual smorgasbords that's guaranteed to delight the demented appetites of undying degenerates everywhere. Tinto Brass knows how to let the camera linger over a woman's form the way Salvador Dali knew surrealism, the way Einstein knew equations, the way Monet knew waterlillies. Uncensored, unflinching, uncut, unyielding, this flick is mandatory viewing for all men who appreciate the female anatomy more than a night of ESPN. Do your self a flavor and savor the juices of 'MonAmour'.

Tinto Brass' latest US release, 'Monamour', is actually from 2005 (why does it take so long for us to get our sexploitation kicks stateside?), starring Anna Jimskaia, and is a sexual homage to the female form, like many of his films, this time even more so, and Anna is an even greater exhibitionist than any of his other actresses, bless her heart.

The story concerns itself with a newly married couple, Marta and Dario, whose love life seems to have stagnated since they got married only six months ago. Marta chronicles the sordid details in her diary, and Dario is too busy with his work to notice her sexual drifting. While away at a publisher's convention in the beautiful city of Mantua with her husband, Marta meets a Frenchman while looking at ancient frescos in a museum, and he pursues her aggressively and sexually right there. Soon, her adultery, born out of neglect, boredom and frustration, is in full swing, and she's encouraged by a female friend of hers who's also at the convention with her younger lover.

The two women attend a day spa and trade tales of their escapades while being pampered by two Eurovixens employed at the spa, conjuring up all kinds of fantasies for us to ponder over as the women are oiled-up and erotically massaged as though being devoured by their masseuses. Marta is now having sexual dreams and fantasies in addition to her carnal activities, engaging in a variety of increasingly perverse pleasures with Leon, the French lover, and naturally, hubbie Dario finds the diary she explicitly details her affairs in. Now things go from steaming hot to boiling over...it's one of those times when being a perv is a truly wonderful thing.

These are women, not girls, and they flaunt their sexuality proudly, libidinous creatures who have not just been around the block a few times, but have frequented the sewers as well. They are lewd, sometimes vulgar, their appetites voracious and lusts almost limitless. Looking slutty, talking dirty, behaving salaciously what's not to love? Hang on a second, I'm getting weepy... OK, I'm back.

There's nary a 30 second frame within the film when we don't have our heads thrust into the breasts, asses, legs, back or nether regions of some delectable Eurovixen's form this is a voyeur's pastry buffet table, a Lazy Susan of rotating sexual smorgasbords that's guaranteed to delight the demented appetites of undying degenerates everywhere. Tinto Brass knows how to let the camera linger over a woman's form the way Salvador Dali knew surrealism, the way Einstein knew equations, the way Monet knew waterlillies. Uncensored, unflinching, uncut, unyielding, this flick is mandatory viewing for all men who appreciate the female anatomy more than a night of ESPN. Do your self a flavor and savor the juices of 'MonAmour'.

The second disc contains the short film 'Kick the Cock' starring Angelita Franco from 2008 (hence the re-release) it's short, but a keeper, and so is she. The 'Spanish Dance' sequence is for viral voyeurs worldwide, and made me want to visit Spain before I die actually, waaay before then. There are two 'making of' featurettes worth a watch also, plus trailers for his other Cult Epic films, but the second disc is the dessert, the real meal here is 'Monamour', IMHO, which truthfully, isn't that humble. Deserving a permanent place in your arthouse exploitation collection for certain. Thank Tinto for having the Brass balls to make these flicks...

Buy Monamour (2-Disc Special Edition) (2005) Now

Tinto Brass (who, I think, has two too many letters in his last name), as he does in all of his films, really just made a feature-length fetish picture here. And there are positives and negatives to that. Here are the only things that keep this from being a five-star production:

1. Body hair. The staggeringly-hot Anna Jimskaia (seriously, one of the hottest women I've ever seen on screen...and I've seen A LOT of them) shaves her legs. Why the heck doesn't she shave under her arms?

2. Way too many scenes on toilets. Actually, one is too many if you asked me, and we get no fewer than six in this movie. Again, obviously a Brass fetish.

3. There's a VERY well-endowed chick in one scene in a restaurant and we never get to see any more of her. Highly disappointing because she's a scene-stealer.

Jimskaia obviously is the big seller here, and she NEVER is fully-clothed in this movie...seriously, not a single time. She's not always fully-nude but she never is fully-clothed either. WOW what a fantastic all-natural body, and she shakes and bounces and gyrates through the entire duration. Now if she'll just groom a little more and stay off of the toilet...

Read Best Reviews of Monamour (2-Disc Special Edition) (2005) Here

From the reveiws I expected it to be very sexy & arousing. It wasn't much of either. It was very boring. It got a two because of the ample nudity. Nothing else of note to say about this movie other than to say when they do an english version of an italian movie it should should not be cut. I think brass thinks americans would not like the full italian version so he does a toned down english version which takes away from the movies. Do not buy english versions of italian movies.

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Judge William Lee, DVD Verdict-Monamour doesn't have the most original storyline ever, but the audience for this film genre can do without the distraction of dense exposition and complex plot twists. Tinto Brass is exceptionally skilled at making his brand of sex romp and this film is a fine example. The movie's brisk pace makes the rather predictable story go by effortlessly. Plot points and story beats are observed long enough to serve their purpose and we're quickly onto another locale or scene. Each new scene is another chance to observe our beautiful heroine in another barely-there costume. If Brass knows how to keep the story details short and to the point, he also knows how to keep the sex scenes concise and fresh. Where lesser directors run their actors through a tiresome rotation of positions in an effort to make such scenes pay off, Brass is able to establish a slightly different mood for each scene and he's comfortable ending the scene before it runs out of steam.

The art direction is so detailed and deliberate that Monamour looks like the most lavish erotic film ever made but that's typical of the quality of Brass's films. The movie uses some impressive locations, interior sets have a dreamy elegance, backgrounds are filled with extras, and the lighting is as good as any first-rate mainstream production. Mirrors play a large part in the set decoration, which not only act as a playful visual motif, they allow cinematographer Andrea Doria to capture some very interesting compositions.

The accomplished cinematography is well represented by the excellent HD transfer of this Blu-ray disc. The 1080p, AVC-encoded image is clean and sharp. Surface textures are nicely rendered in close-ups and detail is retained in the gentle shadows. A handful of darker shots exhibit some video grain in the blacks but these few instances are not distracting. The 5.1 surround audio with Italian dialogue is a good, standard sound mix. The 2.0 stereo option is also fine, the main difference is the dialogue gets a slight boost. The English language dub, mixed in stereo, is a typical lazy translation featuring amateurish voice work and is the least of the audio options.

Extras for Monamour are limited to a trailer and a making-of featurette running about 16 minutes. In the featurette, you see Brass at work with the actors and get to hear his very precise instructions when it comes to filming the sex scenes. It looks like the actors and crew are having a lot of fun and, not surprisingly, Jimskaia describes herself as an exhibitionist.

On the second disc of this set is Tinto Brass's 2008 short film Kick the Cock (The New Maid). Brass fills roles on both sides of the camera, playing a dirty old man on screen. His character smokes a cigar while watching a maid wearing a fetish outfit cook and clean in his kitchen. At a running time of 16 minutes, this piece feels too long for this simple premise, but those who are into this scenario might argue it's not long enough. Andrea Doria is the cinematographer again and every shot seems thoughtfully composed. My only minor complaint is the flashback sequence, which is distinguished by overexposing the exterior backgrounds. While the light level still works for the subjects, I just found this visual trick to be a little harsh on the eyes. Otherwise, the 1.78:1 picture, also presented in 1080p/AVC, looks excellent.

The short film is accompanied by some more extras. Some poor location audio recording mars the making-of featurette but it's an interesting look at the crew at work. Actress/burlesque artist Angelita Franco speaks a bit on how she conceived the idea for the short film. "Spanish Dance by Angelita Franco" is footage from a burlesque strip tease performed in a club. "Comic Strip by Franco Saudelli" observes Franco modeling in a bondage scenario for an artist. There is footage of Tinto Brass at the 2008 Venice Film Festival and a teaser for the short film.

-Full review at

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Peter Grimes (2012)

The main strength of Britten's Peter Grimes, and one of its main themes of course, is its essentially English character. That is challenged in two ways in this 2012 production of the opera. One is that it is performed at La Scala in Milan and not at Aldeburgh or somewhere more appropriate with a feeling for the vitally English smalltown seaside location of the work. The second challenge to the integrity of the work is that the period of the setting is somewhat inevitably updated to the near-present by director Richard Jones. In the event not only do neither of these choices prove detrimental to the piece, but they actually manage to bring something new and fresh out of the work. With an opera like Peter Grimes and the sensitive subjects and themes it touches on, that's exactly the kind of challenge and contemporary relevance you want to remind you of the importance of this work in the composer's centenary year.

You might expect that an English orchestra might be more attuned to the specific rhythms of the score and the swells of its tides, but the orchestra of La Scala conducted by the young English music director Robin Ticciati give a remarkable account of the work. There is always the danger of over-emphasis or heavy-handedness within Peter Grimes but Ticciati directs with quiet reserve, allowing the rhythms to assert their authority, building towards the tragedy in a manner and with a drive that seems as unstoppable as the outcome is inevitable. In a predominately English/British cast John Graham-Hall sings Peter Grimes with the right tone of edgy fragility and steely determined defiance, never seeking to endear him to the audience, but rather plunging right into the dangerous nature of this impassioned but deluded character. Most impressive of all however is Susan Gritton's Ellen Orford. It can be possible to underestimate her character, but she is the heart and conscience of the opera and Gritton makes you quite aware of that with her heartwrenching performance. With a cast that also includes the impeccable Christopher Purves and a fine Auntie in the form of Felicity Palmer this is a most impressive and complete account of the work.

The choice of Richard Jones is also a good one for bringing out the essentially English character of the work, particularly in a modern-day context. (It's nominally set in the money-loving 1980s, but that makes little or no difference to its contemporary relevance). All the little details are there without any sense of caricature or parody which can always be a danger with Jones. You might see football tops and trainers and all the indications of class and profession that are equally an important part of the work, but the telling details are in the gestures and movements. Whether it's Aunties "nieces" swaying down the street in their high-heels, curling fingers through hair, whether it's figures in the background smoking cigarettes and chewing gum, dancing in Moan Hall or whether it's more ominous rows of the chorus, watching, observing and passing judgement, it's as good a visual representation of the social context of the work as Britten's music.

Stuart Laing's sets also reflect the context well and even if there are a few curious touches here and there, not least of which is the intriguing final image of Ellen that we are left with. All of this nonetheless gives cause for reflection on the deeper meaning of the work and the ambiguities that lie within it. There is little sense of a seaside town, although static seagulls are mounted on the walls of the buildings and seem to become increasingly agitated in a static kind of way as the work goes on. The rooms of each of the scenes all seem to be self-contained and "boxed-in", again reflecting the nature of this society. Some of them even tilt and sway, rocking from side to side in the stormy conditions and according to the general instability of what is going on. It's by no means a flattering portrait of the English, but then Peter Grimes isn't supposed to be.

The Blu-ray from Opus Arte looks and sounds great in High Definition. The sound mixes are in PCM Stereo and DTS HD-Master Audio 5.1. The BD is region-free and subtitles are in English, French, German, Japanese and Korean. The booklet has an essay that makes good points about the production, particularly relating to the use of movement and dancing in it, and also some interesting observations about Britten learning from Verdi and Strauss. There's also a good set of interviews on the disc itself and a cast gallery.

This new video of Britten's masterpiece opera "Peter Grimes" gives us an excellent performance from an all English cast in this 2012 La Scala production. The performances are wonderful. John Graham-Hall and Susan Gritton are exemplary as the troubled loner fisherman and his sympathetic soul mate, Ellen; also a bit of a lost soul. Montagu Slater's libretto, after the poem "The Borough" by George Crabbe, uses the metaphor of the old-fashioned, cantankerous Grimes in a small, gossipy fishing village to point out the tragedy of gossip veiled in religious hypocrisy. Contemporary designer Richard Jones' production places the story in a strange mid-1980s world where people go to church, but still find time to support the local brothels and pubs and dance studios (the scenes of some disco-type choreography instead of what was supposed to be barn dance are a bit hokey and distracting) The tragic sub-element in the story is Grimes' poor fortune with young boy "apprentices" who have run away, died and ultimately one last accidental death. In both the original setting and now this modernized view, the older, anti-social "old school" fisherman as a potential pedophile plays heavily but Jones' setting and the wonderful but troubling portrayal by Francesco Malvuccio as the "boy" veers a little more uncomfortably in that direction. Another angle here is that Graham-Hall portrays Peter Grimes as a man quite "on the edge" psychologically; this performance is wonderful but quite a bit different than the stoic, stubborn vision of Jon Vickers, for example. Some of the secondary roles are great too, especially Felicity Palmer as the two-faced, self righteous "Auntie" (The penultimate scene where Grimes envisions a conversation with Ellen who he proposes to and then she rebuffs him is pretty manic)The orchestra and choir of the Teatro alla Scala perform wonderfully and Robin Ticciati is a bit quirky but very controlled and accurate Britten interpreter. This is an interesting and very irony rich view of the classic story with great performances. I do not think I would make this my only video performance of "Peter Grimes" but is well worth having in a library of contemporary treatments of masterworks!

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Bottle Rocket (The Criterion Collection) (1996)

Released in 1996, this is Wes Anderson's first feature movie and the beginning of a great career that has also included the fantastic quirky comedy-dramas "Rushmore" and "The Royal Tenenbaums." "Bottle Rocket" isn't the equal of those films, but it is a great start to Anderson's career, and a fine little comedy. It also marked the beginning of the stardom of Owen Wilson, who co-wrote the script with Anderson and plays the most noticeable and memorable part. The film was shot in Texas, Anderson and Wilson's home state, based on a short film they had made two years earlier.

The movie has the type of laid-back and character-driven humor that won't appeal to everyone. This is comedy that doesn't target laughs or build up elaborate set-ups as most comedies do. Instead, the humor is continuously slow-pitched to you in the form of weird but likeable characters, off-center attitudes, and situations that seem familiar to us but are played in unreal ways and thus become extremely funny. All together, it's an extraordinarily enjoyable and pleasant movie that strolls through its story with no particular rush.

Owen's brother Luke Wilson, who had so far appeared in every Wes Anderson film, plays Anthony Adams, who gets out of a voluntary mental hospital after recuperating from a breakdown. His friend Dignan (Owen Wilson) has big plans for both of them -a life of easy and enjoyable crime! Dignan doesn't have any good ideas, but tries to make up for it with endless enthusiasm and an outrageously optimistic view of life. Unfortunately, when things inevitably don't go well for him and his friends start criticizing him, he can fall into pretty bitter depressions. Owen Wilson has the character nailed down, and Dignan sets the tone for most of Wilson's other characters: the enthusiastic but misguided nut. Dignan gets his friend Bob (Robert Musgrave) in on his plan to pull a 'job' (and all of Dignan's 'jobs' are minor-league suburban affairs) that will attract the attention of the local crime boss/landscaper, Mr. Henry (James Caan in a brief but darned funny performance). Dignan get obsessed with his planning and attempts at damage control, while Anthony and Bob are more busy with the really important things in their lives: Anthony falls for a housekeeper at a motel (Lumi Cavazos, from "Like Water for Chocolate"), and Bob tries to deal with his bully of a brother, Future Man (Andrew Wilson -yep, another Wilson).

The film has some sad and serious moments -after all, these are characters who are really going NOWHERE in a very boring suburban landscape -but with Dignan around it never stays down for long. There are plenty of chuckles and some real moments of howling laughter, especially during the climatic 'take down' (and I'm really using that term pretty loosely). Another Wes Anderson favorite actor, Kumar Pallana, who appeared as Pagoda in "The Royal Tenenbaums," is on-hand to add comedy as a safe-cracker (and again, I'm really using that term loosely).

If you like quirky, odd, but realistic comedy, and if you've enjoyed Owen Wilson in many of his later performances, "Bottle Rocket" is really worth a look.

(This DVD is, unfortunately, nothing special. The picture and sound are good, but it hasn't a single extra on it, not even a trailer.)

The Criterion 2-disc Bottle Rocket is outstanding, but don't toss your original disc just yet... the new edition is a slightly different edit that loses one laugh and adds another. I couldn't find any reference to these changes in the supplementary material at all.

MISSING: Originally, during the book store robbery, Anthony grabs a random book off the shelf and opens it, revealing the title page "Job Opportunities in Government 1995" which always gave me a little chuckle. Now for some reason the book opens to a black and white photograph of a military plane (it goes by so fast you'd have to freeze frame to make it out.)

ADDED: Originally, when Bob hands his earnings over to Future Man to cover his attorney fees, he asks if he can keep a few bucks for gas, and the scene ends. Now the scene plays a few seconds longer, and we hear Future Man's reply: "No, you can't."

In addition to these minor (and somewhat baffling) changes, I was also unable to find any images of the one-sheet art or logo anywhere on this set (as appears on the menu page and sleeve of the original release).

So if you're a hardcore Bottle Rocket fan or completist, hang onto your old disc and buy this set as well. In addition to a beautiful transfer, commentary track, documentary, the original short film, and other extras, the booklet insert is a miniature replica of Dignan's 75-Year Plan notebook, along with reproductions of Anthony's drawing of Inez on horseback, the book store heist plan schematics, etc.

Buy Bottle Rocket (The Criterion Collection) (1996) Now

This movie grabbed my attention the first time I rented it at my local videostore for it's low key atmosphere and entertaining storyline. The highly persistent (if not entirely insane) Dignan, played by Owen Wilson has got to be one of the most memorable character portrayals in any movie I've ever seen. The slow pace of the movie makes everything just right (you won't be blown away by special effects, unless you consider an altogether cerebral script pyrotechnic) but you will come away from this movie with a sense of adventure and a deep desire for one yourself. The fact that this movie is practically a remake of an earlier project adds even more to its appeal. The caper scenes are hilarious, the dialogue will make you think as well as laugh, and you will come away from this movie with a new appreciation for film making in general. It's not all about explosions after all. And you will find yourself scaring the hell out of your friends when for no reason at all you start screaming "Ka-Caw, Ka-Caw!". If you like this movie check out Rushmore, also directed by Wes Anderson.

Read Best Reviews of Bottle Rocket (The Criterion Collection) (1996) Here

Taking a trip into Wes Anderson's head is like going into a parallel universe where most things are the same, but the nature of reality is just slightly warped. And that formula holds true for "Bottle Rocket," his first collaboration with actor Owen Wilson (who also stars), an absurdist crime caper.

Anthony (Luke Wilson) has just been released from a mental hospital after being treated for exhaustion ("You haven't worked a day in your life. How could you be exhausted?"). He hangs out with his idealistically weird pal Dignan (Owen Wilson), who has mapped out his life over the next 75 years. Dignan, having seen a TV special, has decided to become a master criminal.

First they recruitt the timid Bob (Bob Musgrave) as the getaway driver, as he is the only one who has a car. They practice for a while on smaller-time burglaries, such as robbing a bookstore -then hiding out at a motel, where Anthony falls in love with the pretty South-American maid (Lumi Cavazos). However, the guys find themselves in hot water when they bump into a REAL crime boss (James Caan).

Wes Anderson's touch is a little rough in his movie debut, but it's that slightly unpolished touch that makes his offbeat style a delight here. For example, Anthony "escapes" from a hospital that he can leave anytime he wants. That unnecessarily complex opener sets the tone of the rest of the movie, of thrillseeking young men who are just a little out of sync with the rest of us.

Don't expect stupid puns, toilet humor and bad sex jokes. "Bottle Rocket" shares the dry, funny, erratic humor of Anderson's later movies. Not to mention a thousand funny little lines ("Bob stole his car!"). Anderson and Wilson avoid being self-consciously cool, in favor of being earnestly quirky. No banter, just wit.

The Wilson brothers are in fine form here, especially when interacting with one another. Anthony is calmer and thinks a lot; Dignan is idealistic and wacky almost to the point of mental illness. They have a certain innocence despite their illegal ambitions, and it's fun just to see them ramble around. They, Inez and Bob are sort of misfits, but not the kind you laugh at.

It's a little erratic, but "Bottle Rocket" comes across as fresh, weird, and extremely well-done. Funny, zany and charming crime comedy with a twist of Wes Anderson.

Want Bottle Rocket (The Criterion Collection) (1996) Discount?

"BOTTLE ROCKET" is most definitely a hilarious but yet an insanely awkward film that just sticks in your head because of how wild and crazy it is.

Released in 1996, the film would be the directorial debut for Wes Anderson ("RUSHMORE", "THE ROYAL TENENBAUMS", "Life Aquatic with Steve Zizzou") and the debut of the Wilson brothers: Owen Wilson (Co-writer) and Luke Wilson (plus brother Andrew) and Robert Musgrave who all grew up together in Texas.

Back in 1992, the first initial concept of "BOTTLE ROCKET" was shot in 16mm film on B&W after the group was able to raise about $4,000 and raise more money and eventually have the 13 minutes extra to have a short film and submit it to the Sundance Film Festival in 1994.

After being screened for the festival, the film was able to attract a few producers who were willing to invest in making "BOTTLE ROCKET" to a full-length film and thus, Wes Anderson and Owen Wilson had their first major opportunity.

As the story goes, the film did terrible in its first test screening which shocked everyone. The film then had its final released cut which then was released in theaters in 1996 and the film bombed. In fact, to everyone's surprie, the film couldn't even get screened at Sundance (where the short film version was able to be screened years prior).

But there were many people who loved the film and for critics, it was a critically acclaimed film that some critics were quite passionate about such as the LA Times (blasting Sundance Film Festival for not screening it) and then followed by director Martin Scorsese calling it one of his favorite films in the 1990's, the film reached cult-status.

Flash forward 12 years later and with three of Wes Anderson's films released on THE CRITERION COLLECTION on DVD, what an awesome way to kick off THE CRITERION COLLECTION's entry to Blu-ray in Dec. 2008 with the release of "BOTTLE ROCKET", Anderson's first film.

VIDEO & AUDIO:

THE CRITERION COLLECTION is all about gathering the greatest films around the world and publish them in the highest technical quality but the focus is to present the film the way the original director intended. For film fans, THE CRITERION COLLECTION is known for its quality and rarely do fans question the releases, the releases are embraced as fans are introduced to important classics or contemporary films.

For "BOTTLE ROCKET", the film is presented in its original aspect ration of 1:85:1. The film's presentation was supervised and approved by Wes Anderson and the Director of Photography Robert Yeoman. The high definition transfer was scanned on a Spirit 2K Datacine from a 35mm interpositive and thousands of instances of dirt, debris and scratches were removed using the MTI Digital Resotration System and Pixel Farm's PFClean.

The video quality of this film looks great especially for a film created in the early to mid-90's. Typically films released on Blu-ray during these years have been clean but have this softness effect where the vibrancy of the colors are not as beautiful as I would like it to be. With "BOTTLE ROCKET", the film had many outdoor scenes and literally from the red's to the blues and greens and the yellow jumpsuit that the guys wear, these colors are vibrant in Blu-ray HD.

As for audio, audio was mastered at 24-bit from the original magnetic tracks and audio restoration tools were used to reduce clicks, pops, hiss and crackle. The film is primarily a dialogue based film, thus a lot of the audio is coming from your front channel speakers. There are scenes with gunshots and music that come out quite live on your home theater channels but the film is primarily a dialogue-based film.

SPECIAL FEATURES:

For the special features, the following are included:

* AUDIO COMMENTARY A commentary featuring Wes Anderson and Owen Wilson. The commentary is not more on the filmmaking perspective but more of nostalgia as the guys talk about memories of people they worked with, areas they shot and how some of the people on the crew have moved on to bigger things.

* THE MAKING OF "BOTTLE ROCKET" A featurette with interviews with Wes Anderson, the Owens brothers, James Caan, Kumar Pallana, the producers and more. You learn a lot about the behind-the-scenes of the film from creating the short film, Sundance, how the test screening was a bomb, how the film was not a commercial success but became a cult hit and much more. Great insight on the actors about being part of the job, how they were able to get James Caan for the film and how the producers felt about the talent at the time. A fun and informative documentary by filmmaker Barry Braverman.

* The Bottle Rocket Shorts The actual 13-minute B&W short film that was created back in 1992.

* Storyboards Wes Anderson's original storyboards and sketches for the film.

* Anamorphic Test Anamorphic test shots of several scenes from the film and how Anderson originally planned to shoot the film in widescreen Panavision. Test shots.

* "The Shafrazi Lectures, No. 1 Bottle Rocket" A guy who is reviewing the film and talking about why he loved it.

* "Murita Cycles" A Short film created Barry Braverman (friend and collaborator for Anderson and the Wilson family) about his father, a Staten Island bicycle shop owner which inspired the guys to create "BOTTLE ROCKET".

* Behind-the-Scenes Photograps by Laura Wilson The Wilson brothers also had a talented mother who is a photographer that took pictures of Wes, Owen and Luke during the planning stages of the film and also at Sundance.

* Deleted Scenes There were a quite a number of scenes that were cut and eleven featured on the disc. Scenes that would have explained how "Futureman" got his name, what Dignan and Applejack were up to when they went to by Bob's place, another scene of how the pot was found in Bob's home and much, much more.

Also included is a booklet that features an appreciation by director Martin Scorsese (which is a tribute that appeared in the March 2000 issue of ESQUIRE Magazine), an essay book by executive producer James L. Brooks (written as an introduction to the "RUSHMORE" screenplay published in 1999) which really goes into detail of how "BOTTLE ROCKET" was created and things that happened behind-the-scenes not mentioned on the special features and artwork by Ian Dingman.

JUDGMENT CALL:

"BOTTLE ROCKET" is just an amazing, awkward and hilarious film. Forget about the "Oceans #" type of films that try to bring comedy to heist films, BOTTLE ROCKET" was special because it came from these young people who were not known at the time but their vision of filmmaking and storytelling just sticks into your mind.

You know that feeling about pulling a prank that got a lot of laughs during your younger years and you remember it to this day. This is how I felt about certain scenes from "BOTTLE ROCKET". There were a lot of humor that was not meant to be taken in as a joke but for these characters of Dignan, Anthony and Bob, you can't help but be entertained and laugh.

From memorable scenes of the group putting tape on top of their noses before their heist, to how rob the bookstore but at the same time, those being held hostage just look at them as non-dangerous and almost humorous (despite Dignan carrying a gun).

And then scenes of love as Anthony falls for this woman who can't speak any English and goes where she goes as she cleans each hotel room and just falls in love. And his far out drawings of his love for Inez.

And also the team assembled by Dignan for their major heist. One would think, why he would select really old men (especially one who had some major memory loss issues) to bring with him for a major robbery? But you realize it's Dignan and you just accept his approach to pulling of a heist and enjoy the ride.

There are many of these moments in the film that you just think back and just be amazed of how much of those type of scenes were included. Wes Anderson and Owen Williams are just an amazing duo and although at the time, they were not known in the industry, it just showed you how much potential these guys had when they first emerged and eventually they would go on to have successful careers making many more films together.

As for the Blu-ray disc, again, THE CRITERION COLLECTION manages to pull of another wonderful release. Wonderful picture quality that is vibrant in colors and again, I've reviewed many major films released in the early and mid-90's and although cleaned up, never have the vibrancy or sharpness but this softness that always bugged me. This was not the case of "BOTTLE ROCKET", the film looks great!

And the amount of special features and also the booklet that really help enhance one's appreciation for the film. You wouldn't expect anything less from CRITERION and sure enough, they delivered.

"BOTTLE ROCKET" is a fun, hilarious and well-written film that is so different from any film that has come out. It's not a moronic film, nor is it a serious heist film. It's just a film that is just all-out fun and one can understand why it has become a popular cult film.

Highly recommended!

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Funny Guy Collection (Napoleon Dynamite / Office Space / Young Frankenstein) (2009)

I got this collection because it is pretty cheap for three silly flicks and for only $39.49.

All three movies are hilarious and all looked and sounded amazing on Blu-ray. Office Space in particular looked very very good. Napoleon Dynamite also looked decent for a lower budget film. Young Frankenstein looked pretty good too, but the fact that it is in black and white and sort of was intended to be a little fuzzy.

I think FOX did a great job bringing all of these films to Blu-ray.

All in all, it is well worth it if you're like me and pretty much have a great collection of action Blu-rays an need a chuckle.

My main criteria for buying movies is, "will I want to watch it again?".

Office Space is close to if not my favorite movie of all time; Napolean Dynamite is unique & memorable in it's own right; and Young Frankenstein is a classic.

If you liked one of these movies, chances are you'll like all three. Which is a rarity for these blu-ray collections from what I've seen.

Two thumbs up.

Buy Funny Guy Collection (Napoleon Dynamite / Office Space / Young Frankenstein) (2009) Now

I'm sick of Blu-Ray sets where there is only one or two great movies in them. For Example, The Holiday Favorites Collection has Miracle on 34th Street, Home Alone, and Jingle All the Way. Why would anyone who likes Miracle on 34th Street also want to see the slapstick comedy of the other two movies? I mean, maybe Home Alone, but definitely not Jingle. The Funny Guy Collection, however, has three movies I would actually buy separately for one low price. They need to make more collection sets like this and I would buy more.

Read Best Reviews of Funny Guy Collection (Napoleon Dynamite / Office Space / Young Frankenstein) (2009) Here

These are my three all-time favorite comedies. Well, maybe not "all time," but I do love them! And for the price, you really can't go wrong. [Insert quote from each movie as witty ending to this review] NOT!!

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I got a great price on this boxed set buying it on sale. I bought it mainly for Office Space, although I have always liked Young Frankenstein. I had never seen Napoleon Dynamite before purchasing this, and although it is not at the level of the other two movies it isn't bad. Overall 1 great comedy (Office Space), 1 really good comedy (Young Frankenstein) and one pretty good comedy.

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Maniac (1980)

Im not easily shocked or impressed with most horror films. Very few come to mind where it disturbs me or has a realistic feeling to it. This is definetly a film that will leave you thinking/The main reason being the main character Frank Zito aka Joe Spinell plays the most realistic psycho/deranged person ive ever seen on film. The whole time i was thinking is this guy really insane? Either this guy is a genius actor or hes really nuts. Thats how real he is in this role. His presance will creep you out. Hes the biggest weirdo Ive ever seen on film. Hes worse than any monster, supernatural being, horror villain because hes so real and gritty. You dont want to think about it but you know that somewhere out therepeople like this exist...

The story focuses on frank the serial killer and his killings and insanity. He calmly stalks his pray through the streets of NYC. I dont know how he manages to fool some of the people in this film but he does. They treat him like a normal guy until he trys to kill them when they least expect it.

Some of the scenes are grusome, but they will keep you on the edge of your seat. You will be able to put yourself in both franks shoes and feel the victims terror as she is stalked and hides from Frank... Especially the subway bathroom scene. Thats an intense scene. Frank keeps on killing till the end when his own demons finally come back to haunt him.

Any horror fan should have this in their collection. I can see why it was banned in germany and england. They were probably scared of it, considering how realistic it was.

As for this film shocking meit did somewhatfor the realism. and the acting did impress me.

Finally at long last Joe Spinnel's clasic tale of a deranged serial killer has finally been released in a worthy form.

Being that many movies have used this title I must explain that this one is not only the real deal but the most vile of the pack. It is a extremely creepy low budget gore flick with absoloutely no moral perspective, So much so that even its own makeup artist wanted to be removed from its credits. Tom Savini, who would later become famous for his award winning FX as well as acting and directing many later horror films, Brings to the table some of the most realistic FX in his career and is one of the many highlights in this classic horror film.

Like it is in many real life serial killer cases, we have the late Joe Spinnel, who potrays the serial killer Frank Zito, a loner with no social grace or personality. Frank is severely mentally disturbed as a result of the emotional and physical abuse he suffered as a child at the hands of his prostitute mother. The murder scenes in this movie are extremely cruel and graphic in nature so I must warn you that this film is defenitely not for everybody.

Most casual horror fans tend to wretch at this film and see it as nothing more than a seedy slasher flick that has a very anti-woman message, but in my opinion it is much more than that. It is a potrayal of one of society's worst monsters, monsters who often walk around our every day world going unnoticed.

So in conclusion, if you are a die-hard horror fan and love gruesome effects, then I highly suggest you purchase this dvd. Out of all the DVD's that Anchor Bay has released, this would have to be the cream of the crop, boasting a plethora of special features, and a heartfelt tribute to the late Joe Spinnel.

Buy Maniac (1980) Now

The first time I saw MANIAC I was really bummed out. I love slasher movies and MANIAC is just a real downer. There's no JOY in this movie to speak of. It's like the polar opposite of EVIL DEAD 2 a grim, sick journey through the mind of a freak with a mommy fetish.

Now if you are a gore freak then this movie represents total nirvana. Savini's effects are amazingly realistic there's no way any filmmaker could get away with this stuff these days. NO WAY! This movie must have gone out unrated.

I saw it overseas years ago on VHS and it was edited pretty heavily. Not this DVD every sick frame is included for your enjoyment. You gotta admire Savini's genius. It's amazing stuff. My fave moment is when he blows his own head off with a shotgun nice.

Just remember it's a joyless little excursion into depravity but if you're into that kind of thing you can't go past this movie. This would have to rank up there as one of the most sadistic pictures to come out of the US during the 80s.

Great poster art for this movie.

Enjoy....

Read Best Reviews of Maniac (1980) Here

In Maniac, Joe Spinell plays Frank Zito, a man haunted by abuse by his mother and by the murderous actions he takes primarilly against women (though two of the movie's victims are men).

The plot is simple, but for its time (1980), groundbreaking. It pushed the bounds of "decency" in that it potrayed not only a vicious killer, but that the killer was the subject of analysis. This is a departure from films such as Friday the 13th and Halloween in that those films revolved around the lead ladies who had to combat merciless killers.

I felt deeply disturbed after watching Maniac, but I felt that the grim picture it painted of mental illness and homicidal psychosis where true to the world in which we live.

Another aspect that contributes to the power of the film is that the violence is neither glorified or "cool." In recent films, such as the remake of the Texas Chainsaw Massacre, gore is meant to be looked at with a sense of amusement. Maniac never does this. The blood and death potrayed are ugly and depraved.

The DVD features are excellent. My favorites were the "Gallery of Outrage" and "The Joe Spinell Story."

Though not a film for the young or impressionable, Maniac is worth the time.

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I saw this film back in 1983 (when I was 13 years old) on VHS video and it was one of the scariest films I have seen in that time. I do remember when this film was theatrically released on November 25, 1981; which only stayed out for 6 days as the film received outcry by Women's and Parents' Groups who claimed the film degrades women. The films' distributor (Analysis Pictures) nicely pulled the film from theatres and has became way popular on video.

MANIAC is a great film, but shown in a very cardboard way. It's about a serial killer Frank Zito (Joe Spinelli) who preys on victims (mostly women) in NYC. He kills, scalps his victims, takes their clothes and displays them in his small studio apartment. That is what MANIAC basically entails. However, MANIAC does have a backstory to it in which Frank Zito was savagely abused by his mommy who was a prostitute who was later killed in a car accident. This backstory was not told too well, but if this was the case in a visual manner, MANIAC would have been an fully effective film.

MANIAC, directed by William Lustig was his first and best film. The effects by Tom Savini (who just came from the Friday the 13th set) were top notch. The music by Jay Chattaway added to the creepiness of MANIAC, also top notch. Also, watch for the Nurse in the Subway scene the most scariest sequence in the film.

MANIAC is the film to have on DVD. The video and transfer were totally great. It was like watching a brand new print of a film. The Widescreen transfer (1.85:1), was also a nice added touch. The numerous theatre trailers, the 9 TV spots and the audio commentary (by William Lustig, Tom Savini & Co.) are those little extras that make MANIAC worth having on DVD !!!!!! This is the DVD I bought back in 1999 from Elite Entertainment.

I am excited about MANIAC being re-released through Anchor Bay Entertainment who will also be releasing this title in a LIMITED EDITION TIN, (5,000 copies only) which will contain a BONUS of the CD soundtrack of the music score by Jay Chattaway. on August 21, 2001.

I bought MANIAC (1980) on DVD from Anchor Bay Entertainment and the results are better then the DVD from Elite Entertainment that I have.

This NEW DVD (from Anchor Bay) is pretty much the same of the DVD from Elite Entertainment but there are a few differences :

this DVD is in its full uncut format (88 minutes) as the DVD from Elite Entertainment (Letterboxed Directors Cut) is 85 minutes.

this DVD is in THX sound, the Elite DVD is in Digital Dolby 5.1 Sound.

the "date scene" is restored in this DVD, it was taken out from the Elite DVD.

In this DVD, the special feautures are pretty much the same as the DVD from Elite Entertainment but there are a few differences :

A documentury (the Joe Spinell Story) with the likes of William Lustig, Caroline Munro, Jason Miller and others is included in this DVD, not on the Elite DVD.

Radio interviews with William Lustig, Joe Spinell & Caroline Munro is included in this DVD, not on the Elite DVD.

Radio Spot advertising of the film is included in this DVD, not the Elite DVD.

Talent Bios of William Lustig, Tom Savini, Joe Spinell & Caroline Munro are included in this DVD, not on the Elite DVD.

A Gallery of Outrage (outraged reviews of the film by critics) : 17 in total are included in this DVD, not on the Elite DVD.

A poster/still Gallery of the film are all included in this DVD, not on the Elite DVD.

All the theatre trailers, TV spot trailers, commentary, optional languages and subtitles that are on the Elite DVD are also on this DVD, too.

Along with those little differences, the front cover is still the same. However, the back cover, disc design and menu board design are all different than the Elite DVD.

...

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Psycho (50th Anniversary Edition) (1960)

Alfred Hitchcock guarded the plot of PSYCHO against publicity, and in 1960 audiences came to the film without being able to anticipate the unexpected twists and turns of the plot. More than forty years later, the movie's fame is such that even those who have not seen it are often able to sketch the basic outline of the story in a few words. This demonstrates the film's fame; what demonstrates it quality, however, is the fact that even those who know the plot before seeing it are seldom disappointed.

Very loosely based on Robert Bloch's pulp novel, which was itself very loosely based on killer Ed Gein, PSYCHO presents us with the tale of Marion Crane (Janet Leigh)--who, in a moment of madness, steals forty-thousand dollars. Running scared, Marion checks into the out-of-the-way Bates Motel. And there, as the DVD production notes gracefully state, she becomes the most grossly inconvenienced hotel guest in cinema history.

The late 1950s and early 1960s saw a deluge of low budget and badly made films that commanded box office business via tawdry subject matter, and according to lore director Alfred Hitchcock was curious to see what might happen if he himself made such a film--but made it well. Working with a remarkable script and gifted cast and crew, the result was a masterpiece. Although it is often described as a horror film, PSYCHO is less horror than it is a study in paranoia and suspense, and certainly a lesson in the fact that one need not bother with graphic gore or big budgets to impress audiences.

Much of the film's success is in its detail. Joseph Stephano's script is memorable for its repetition of verbal motifs and its extremely disquieting tone; Bernard Herrman's famous all-strings score builds tremendously upon it. The simple yet meticulous sets communicate building unease, and the strangely flat, semi-documentary black and white cinematography has a voyeuristic edge that is extremely disturbing.

There are elements that can be justly criticized--moments at which the script sounds a false note or characterizations seem a bit artificial--but these small points fade against the overall power of Hitchcock's vision, a vision that here makes viewers squirm even when there seems nothing tangible on screen to squirm about. But in the end, this is the film for which Janet Leigh, Anthony Perkins, Vera Miles, and John Gavin will forever be remembered... and one of the several films that will forever be associated with one of the twentieth century's most masterful directors.

This DVD largely restores PSYCHO to its original form. Although the first few minutes of the print show wear and tear, for the most part it is remarkably pristine and (after years of pan and scan television broadcasts) is returned to its original ratio. While there is no audio commentary track, the DVD package includes the original trailer with Alfred Hitchcock, extensive production notes, and an extremely impressive documentary that includes numerous interviews, newsreel footage, production photographs, storyboards, and the like. Even if you have the film on VHS, you'll likely want to purchase the DVD. Strongly recommended.

GFT, Amazon Reviewer

This film is a great masterpiece of filmmaking! Perfect in every sense. It is Anthony Perkin's masterpiece as well....no other character in film history makes you cringe yet feel sorry for at the same time. It takes a special talent to do that and why he didn't get nominated for the Oscar much less win will never be understood!! Just as Vivien Leigh will always be Scarlett O'Hara, Judy Garland will always be Dorothy, Anthony Perkins will always be Norman Bates.

The rest of the cast is outstanding as well...notably Janet Leigh as the doomed Marion Crane. She deserved her Oscar nomination for her performance.

The DVD is loaded with a dandy of an extra "The Making of Psycho" plus additional trailers and bonus materials that make this edition well worth owning. Even without the extras though, this film would still be a masterpiece thanks to Hitchock, Stefano's screenplay, and Perkins' unparalleled acting!

Buy Psycho (50th Anniversary Edition) (1960) Now

Hitch said it's "...an exquisite murder with a touch of the bizarre..."

So...You may never want to take a shower(alone) again as "Mother" Bates goes on a psychotic killing spree in "Psycho", the mother of all fright flicks! It stars Anthony Perkins(who "wouldn't hurt a fly"), Janet Leigh and Vera Miles.

It's a film that has scared us silly for over 45 years now, and even though we already know what's coming, we still feel our hearts racing, everytime we hear that familiar music to murder by, and then jump when that shower curtain gets pulled back.

You know it's one that you can watch over and over, so without further ado about the film(there are many great reviews here, speaking to the story and the wonderful performances), here's a look at the DVD.

Universal has made a beautiful transfer of this classic and cherished work. The black and white images are crisp, sharp. The special features include a documnetary, introduced by Hitch, that runs the length of a feature film itself, and even has it's own chapter stops. It has everything you wanted to know about the making of and more! The sound, both dialouge and the wonderfully eerie music is good,in Dolby Dig 2.0 Mono (the score alone probably would be great in at least stereo, though). Languages are English (with captions if needed) and French, and there are subtitles in Spanish as well.

Looking for Hitch? You don't have to wait too long, Check outside the realty office.

Have dinner with Norman and his "mom" tonight...if you dare!

Enjoy.....Laurie

more Hitch stuff:

Hitchcock's Notebooks: An Authorized and Illustrated Look Inside the C

Alfred Hitchcock: 4 Tales of the Macabre Secret Agent / The Lady Vanishes / The Man Who Knew Too Much / Sabotage

Alfred Hitchcock's Marnie

Read Best Reviews of Psycho (50th Anniversary Edition) (1960) Here

After the first release of Psycho on DVD,the disc istself was crammed with wonderful features.Now under Universal Legacy it got released once again-but be warned-The film itself looks better,but not marginally.The Features are exact the same with the exception of a new Audio Commenatary and two new docs.As a Special Bonus you get the classic episode of ALFRED HITCHCOCK PRESENTS : A LAMB FOR THE SLAUGHTER.So decide for yourself:If you haven't own the first release this is the one to buy.Otherwise save your dollars.

Want Psycho (50th Anniversary Edition) (1960) Discount?

This film was listed 18th on the American Film Institute's 100greatest films of all time and I still think it was underrated. Fromthe memorable performances by Anthony Perkins, Janet Leigh and Martin Balsam to the spooky black and white cinematography to Bernard Herrmann's often imitated but never duplicated score, Psycho is about as close to perfect as a film can get. The only possible way this movie could be improved would be to somehow replace the overacted hysterical performance by Vera Miles as Lila Crane with that of Julianne Moore -the ONLY thing better about the remake. By the way, those of you who actually think Gus Van Sandt's remake is better than Hitch's original need psychiatric care more than Norman Bates. Those of you who are fans of the original and do not have a DVD player should plunk down $300 and buy one so you can see this DVD edition. It's spectacular! Besides the usual biographies on the cast and crew, theatrical trailers, and still photos, this DVD edition contains many more valuable nuggets like the inclusion of a version of the shower scene without music. This enables the viewer to both hear the sound effects more clearly and to appreciate what an enormous contribution Bernard Herrmann's great score made to Psycho. The documentary, likewise, is not just another boring rehash of facts everyone knows, but an extremely informative record of the film with dozens of fascinating interviews with, among others, Janet Leigh, Hilton Green, Joseph Stefano and Patricia Hitchcock. In addition, the DVD includes great still photos as well as Psycho posters from both the U.S. and foreign releases. The DVD edition even includes Saul Bass' original storyboards for the shower scene (for those of you who are wondering, Janet Leigh, in the documentary, states rather emphatically that Hitchcock, and not Saul Bass, directed the shower scene). In short, if you are a fan of this great movie, you must get the DVD version -you're missing out on so much with just the VHS tape. Finally, to all those people who gave Psycho a negative review, no one is saying that Rosemary's Baby, Night of the Living Dead, Halloween, etc. are not great horror films, but NONE of the them would have been made without Psycho! George Romero has stated very clearly that the final scene in Night of the Living Dead is an homage to the fruit cellar sequence in Psycho. Stephen King, one of the greatest horror writers of all time, has stated numerous times that Psycho is one of the greatest, if not THE greatest horror films of all time. Perhaps the thing that galls me the most, however, are the reviews that state that Psycho is not scary because it doesn't reach the level of gore seen in modern horror films. That's simply disgusting! You don't have to have eyeballs being ripped out, brains being splattered on walls and guts being spilled all over the floor to make a great horror film! Alfred Hitchcock had the great intelligence to realize that you did not need to stick the camera inside someone's guts to frighten. Not once in the course of Psycho do you actually see the knife penetrate flesh. Instead of splattering us with gore, Hitchcock leaves enough to the imagination to let our minds fill in the missing details. It's sad that so many movie fans these days are so desensitized to graphic violence and so lacking in imagination that they have to have gore spilling all over their screen in order to be scared. Thankfully positive reviews of this film seem to outnumber the negative reviews by a wide margin. Alfred Hitchcock was a genius -one of the greatest, if not THE greatest director of all time -and nowhere is that genius more evident than in Psycho.