Flash Gordon (1980)

I would give the movie itself five stars, but the DVD and Blu-Ray presentation are not as strong. The 1980 Flash Gordon movie is one of the funnest romps in the space opera I have ever experienced. Much more true to the Saturday morning serial kind of sci-fi that Star Wars was paying homage to. There is an inherent camp value that this movie never forgets and it just makes the film a joy to watch. Plus the soundtrack from Queen just ups the fun factor even more. You would think this combination of music and content would make for a very campy film, but not necessarily. While the movie definitely knows it's roots and is having fun with that you really can't call Flash Gordon a cheesy B-movie.

The Savior of the Universe (SotU) Edition DVD lacks the very energetic commentary by Brian Blessed (plus production stills and other static extras) that the European Silver Anniversary Edition DVD and even lacks the commentary by Same Jones and Melody Anderson made for an International Edition (that of course we never saw in the U.S). In spite of that you do get a remastered film with 2.35:1 anomorphic widescreen, 5.1 Dolby Surround and the movie trailer (none of the European releases had that). While the SotU edition was remastered and looked a ton better than the previous releases it wasn't perfect. While background matte effects are noticeable they are easily forgiven considering the sharper picture, but there were certain matted special effects blocks used on the spacecraft that were painfully obvious in the remaster. Either they didn't bother to digitally clean them up or it wasn't technically possible. Audio also sounded rather thin considering this was supposed to be digitally remastered.

Another thing that bugs me is SatU DVD is set in an impressive and slightly oversized case, but when you open it up all you get is the DVD and the pencil art insert from Alex Ross. No booklet detailing any info on the movie... not even a single page chapter list. Yeah, Yeah... most of you would say "but the remastered movie is what's important" but considering the sendup (and packaging) I would expect at least something more than just a disk and a sketch. I have seen movies with far less noteriety get more in their packaging than this.

Where the Savior of the Universe Edition improves upon the previous U.S. release significantly the Blu-Ray edition really stands out heads and tails above the rest. The visual difference is breathtaking. Details and textures come out that I have never seen before (and I was one of those kids who played the VHS of this film to death). Some scenes show so much clarity you would be hard pressed to think they were done recently. I think the sets that were done to be interiors stand out more for some reason so it's not really inconsistent mastering. The special effects problems that were very obvious in the SotU Edition are still there, but the matte blocks are far less noticeable with some cleaned up entirely. Audio is stand out amazing. Don't bother looking for any noticeable surround, but then again this movie was done in stereo. Now it's in crystal clear, deep and full stereo. No more 'thin' soundtrack.

The packaging for the Flash Gordon Blu-Ray is identical to any other single disk Blu-Ray you may find. That makes it a lot easier to fit in with the rest of your collection unlike the SatU Edition's oversized box. You still get nothing special as far as any booklets or liner notes. Also you no longer get the art insert from the previous release. So still nothing really special on that front.

Both the SotU Edition and the Blu-Ray release have identical features with just a little irrelevant extras added to the Blu-Ray What you get on both is two featurettes. One is from Alex Ross (the guy who painted the DVD cover) on how much he loves the movie. He actually does a really good job of making his featurette much like an analysis of the movie and would have worked great as narration for a documentary. Instead you just get Alex in a chair with a few movie clips thrown in here and there. The other featurette is called Writing a Classic by screenwriter Lorenzo Semple Jr.

The Blu-Ray exclusives are just BDLive and some annoying streaming ticker that will give you "news" from Universal Pictures. If your Blu-Ray player isn't connected online you may be able to spare yourself the latest in invasive advertising. The movie case promises exclusive content from the BDLive features, but none of it is related to Flash Gordon. Currently all you get are more promotional tidbits for other movies. You know what guys? This would be a great place to add those freakin' commentaries you keep leaving out.

I can't for the life of me figure out why they didn't just add the European edition commentaries to the Blu-Ray release and maybe add the new things to sweeten the pot. But to have a Blu-Ray missing some cool bonus material that's already out there? Not the smartest move in my book.

So which edition should you get? If you have a Blu-Ray player definitely the Blu-Ray edition. It is the best remaster visually and sonically by far of any edition, European or otherwise. If you REALLY want that Alex Ross pencil insert exclusive to the SotU Edition then you may have to make a choice or double dip. Unfortunately there is no definitive edition for Flash Gordon, but the current winner in at least presentation of the film is Blu-Ray.

Sometimes certain films end up being much better than they have any right to be. Flash Gordon is one of those films. It is, in fact, and I say this in mortal fear of being mocked and shunned by my peers, one of my all time favotite movies. I can watch this film endlessly, and every time I see it I walk around smiling for the rest of the day... it's just that kind of movie.

The cast, first and foremost, is excellent. They work wonders with the material they're given... admittedly this isn't Shakespeare, but it plays remarkably well, with very few cringe-worthy moments. Standout performances include Max Von Sydow as the astoundingly evil Ming, Peter Wyngarde as the almost equally evil Klytus, Brian Blessed as the leader of the Hawkmen, and Topol(?) as an eccentric Dr. Zarkov. Then, of course, there's the absolutely stunning Ornelia Muti as Ming's beautiful daughter Aura... she's wonderful to look at, and has an exotic accent to boot. When I saw this film in the theater as a wee lad, I had quite the childhood crush on Miss Muti... sigh. Anyway, all of the actors seem to be having a grand time with their roles, and it definitely shows.

With all due respect to the actors, however, I really think it's the brilliant soundtrack that makes Flash Gordon stand out most in my mind. Queen, near the peak of their popularity, provided a wonderful, throbbing, highly eccentric collection of songs and instrumental bits that fit the film perfectly. I badgered my poor mother to buy me the 8-track, in fact, and then proceeded to play it at every opportunity... a very patient woman, my mother. She probably still hears "dumdumdumdumdumdumDUMDUM **FLASH!!** ah-AHH!..." in her sleep. Sorry, mom.

The special effects are actually still pretty impressive, as well... bear in mind, however, that I have a soft spot for 1980's effects. I really miss the days when the answer to "How'd they do that?" wasn't always "With computers." There's a certain mystery to these old effects, and I always respect the effort and creativity that went into making things happen with such limited technology. Sigh... Still, the film is very,very colorful, and there are a LOT of costumes, backgrounds, etc. Everything has a very shiny, surreal sort of look to it, in stark contrast to the realistic, worn-out look of the Star Wars films. It's pretty neat in its own way.

In the end, though, Flash Gordon is just plain entertaining. There's hardly ever a dull moment, and the film's almost 2 hour running time goes by in a flash (pun fully intended, with all apologies to the reader). You get a lot of action in those 2 hours... there are laser battles, lots of starships, hand to hand combat on a floating spike disk(?), catfights (in a harem, no less), flame-throwing rings, dominatrix henchladies, evil Space People, a surprising amount of implied sexuality, and the list goes on and on. Just put it in, turn off your brain, and for God's sake HAVE FUN!

On a side note, I have to say that the DVD release is a bit disappointing. The five star rating is strictly for the film itself, not for the disc. Although the video and audio quality is fine (easily the best version currently available), there is absolutely nothing in the way of extras. Zip. Zilch. Nada. Not even a trailer, for crying out loud. Here's hoping that someone, perhaps Anchor Bay (king of the cult classic), will have the good sense to release a Special Edition. I would love to see outtakes, trailers, making of bios, commentary, etc. This film certainly deserves better treatment than it's given here.

Still, this DVD is currently the best edition of Flash Gordon you're going to find (and it's WIDESCREEN!). Plus, it can be picked up pretty cheaply, if you can actually find it. I wholeheartedly recommend that you search it out, watch it over and over, and then join me in waiting patiently for a collector's edition to come along. Even with its shortcomings, Flash Gordon on DVD most definitely deserves a spot in your collection. Just file it under "Guilty Pleasures." :)

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When I got cable in the mid-80's I must have watched this film 100 times. It was interesting to see it again on DVD. It is still a FUN movie. The tone of the film is campy and adventurous. I think it captures the fun of the old serials very well -i.e. Flash seems doomed, only to escape to another tight squeeze!

The production design on FLASH GORDON is colorful and bold. Everything is bright and shiny (including the lycra hot pants on Princess Aura!). The sets are HUGE (example: The Hawk Men's floating fortress). I am particularly fond of the Arboria sets -nice and woodsey!

I think the performances from the actors fit the tone of the film. Melody Anderson as Dale is the best. "Go, Flash, go!" is a hilarious scene. Sam Jones is sufficiently hunky and athletic as Flash. And the Brits add a dash of class and fun (Timothy Dalton and Brian Blessed). Ornella Muti as Princess Aura has the best role: she changes from vixen to heroine and gets to vamp around in colorful, sexy costumes.

The rocket ships and sky effects are my favorite part of the film as well. There's something exciting about seeing FLASH GORDON rocket ships flying through the air.

The DVD quality is OK. I think the picture transfer could have been better -I know this film has a lot of blue screen work, but surely it's not THAT grainy! And I wish there were more extras -just a chapter index.

Read Best Reviews of Flash Gordon (1980) Here

Don't buy from online scammers. This DVD will be re-released in the fall of 2005!!!! Cheaper that these clowns sell them for!

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I saw Sam Jones at a convention and he said he recorded commentary for a future region 1 release. And from what I understand, The "Savior Of The Universe Edition" doesn't have it. So I say, WTF?

I could care less about the artist who drew the new cover and how the movie inspired him. He has nothing to do with this movie.

How about an interview with the surviving members of Queen about the making of the soundtrack? How about including the commentary from Sam Jones and Melody Anderson. Or Max Von Sydow, who is still alive. And the writer and director. Who cares about a guy that had nothing to do with the film?

I am happy that it is remastered. But that should be a given. I own the original region DVD and would really only buy this one if it had good extras. Part of me is still hoping that might happen one day.

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Platoon (Two-Disc Blu-ray/DVD Combo) (1986)

"I think now, looking back, we did not fight the enemy. We fought ourselves. And the enemy was in us."

Thus the summation of Private Chris Taylor (Charlie Sheen) at the end of this film, a film about war, hate, self-realization, and survival. PLATOON tells a powerful story that moves beyond the horror and gore of the Vietnam War, a story that ultimately depicts the demise and disintegration of a dysfunctional combat unit. We see young Chris change before our very eyes, from a green, idealistic "grunt" to an embittered, disillusioned soldier. Chris' platoon is dominated--and subsequently divided--by two strong, yet very different men: Sergeant Barnes (Tom Berenger) and Sergeant Elias (Willem Dafoe). Barnes is cold, calculating, brutal, intolerant; Elias is compassionate, humanistic. The battle of wills between these two men is just as challenging as the Viet Cong out in the bush, and just as deadly. The film's climatic ending is powerful, spellbinding.

I dismiss naysayers of PLATOON as a soapbox for writer/director Oliver Stone's political agenda just as much as I dismiss Mr. Stone's politics. PLATOON hits you between the eyes with its depictions of warfare and human conflict, again and again. There's nothing to feel good about by watching this movie, just as there is nothing to feel good about by fighting a war. It is a dark, negative film--a negative film that happens to be compelling, thought-provoking, and very riveting.

The last Platoon DVD had some impressive extras, most notably two audio commentaries and a retrospective making of documentary. These have been included along with several additional featurettes and deleted scenes.

The first disc features an audio commentary by Oliver Stone. He talks about the challenges of making Platoon on a low budget and working in a harsh, unforgiving environment. This track is filled with fascinating personal insights and is essential listening for any fan of the movie.

Also included is a commentary track by the film's military advisor Dale Dye, a retired Marine of 22 years with 30 months in Vietnam. This is a great track that is technical but also accessible and really makes you appreciate the amount of work that went into this movie.

All of the new extras are contained on the second disc, starting with "Deleted and Extended Scenes" with optional commentary by Stone. Most interestingly, is an alternate ending for Barnes which Stone says he now wishes had been used.

"Snapshot in Time: 1967-1968" gives a historical perspective to the time period the film takes place in and puts things into perspective by exploring the origins of the conflict and how the U.S. got involved.

"Creating the `Nam" takes a look at how the filmmakers created the condition of Vietnam in the Philippines on a limited budget. Some highlights include a bit about how they created the village in the movie from scratch and did such a good job that locals moved in with no prompting!

"Raw Wounds: The Legacy of Platoon" examines the film's legacy and how it gave veterans the dignity they deserved and allowed the U.S. to come to terms with the war.

"One War, Many Stories" features a group of vets talking about the movie after a screening and how it relates to their own experiences. These guys tell some fascinating stories that are in turn juxtaposed with Stone talking about his own experiences.

Included from the previous edition is "Tour of the Inferno," an excellent, in-depth retrospective documentary that brought back a lot of the film's cast who talk about their experiences making the film. This is a fantastic doc that manages not to repeat too much of what was said in the two commentary tracks.

"Preparing for the `Nam" examines what basic training was like with vets talking about their experiences. It was tough but also taught them valuable lessons that helped them survive and bonded them with their fellow recruits.

Finally, from the previous edition, there are photo galleries, three T.V. spots and a theatrical trailer.

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Oliver Stone's Platoon transcends the romanticization that so often infuses our thinking about war with a painfully honest portrayal of its dehumanizing effects. Charlie Sheen plays Chris Taylor, whose idealism drives him to leave college for the hellish jungles of Vietnam. He sheds his innocence quickly, however, as the horrors of war take a heavy toll on his body and his sanity. After witnessing acts of barbarity by fellow soldiers--including rape and the deliberate killing of civilians--Taylor becomes aware that he is fighting not only an external enemy, but an inner one as well.

Representing the sides of this internal battle are Sergeant Elias (William Dafoe), who shows compassion towards his men and is outraged by atrocities he witnesses, and Sergeant Barnes (Tom Berenger), who displays no regard for human life. With their sanity pushed to its limits by the terror of combat, members of the platoon are torn between the two men and begin to turn on each other.

This film is disturbing in its brutal realism, and the painful questions it raises remain relevant decades after the Vietnam War, particularly in light of incidents such as the Haditha massacre and the overwhelming numbers of Iraq veterans struggling with PTSD. Platoon sheds light on the conditions that breed atrocity and the devastating psychological effects of war upon soldiers. It is not an antiwar film, nor one with a political agenda; it is simply a raw, candid film about war's impact.

Read Best Reviews of Platoon (Two-Disc Blu-ray/DVD Combo) (1986) Here

First, let me lay my cards on the table: I'm a conservative Republican, am generally pro-military (i.e. U.S.), and distrust Oliver Stone nearly as much as I do Michael Moore. Further, I don't know if I've ever agreed with a thing that the Sheen family has said. Yet even though some of my political pals disdain this movie, I feel differently. I half-expected a heavy dose of lefty propaganda and intentional distortion, but for the most part was pleasantly surprised. I try to evaluate every item I encounter fairly and individually (instead of a knee jerk reaction), and these are my thoughts on Platoon, after viewing it again tonight:

On the 'positive' side, the film rightly shows the awfulness of war. Again and again, liberals seem to think that those on the right somehow deny this. Of course we do not! I give the movie high marks for depicting war as a living nightmare. Personally, I cringe when some of the older movies represent war as little more than a comic book boys' fantasy. I also thought Platoon contained some admirable acting (Sheen, Dafoe, Berenger, David), and combat scenes. It held me throughout.

The one major criticism I would make, and the flaw that keeps it from being an elite film in my opinion, is the way in which it reaches too far to show the dark side and corruption of the soldiers (American). Stone has a crippling weakness for sensationalism (evidence: JFK), and it seeped through some here. For instance, you cannot take the worst atrocities (even if they are all factual, which I question) and then portray them as representative of a typical company of soldiers and their Vietnam experience. Yet this was the impression given. In fact, it was basically the story. This is irresponsible and misleading. One of the film's few faults, but a bad one.

However, when considered as a whole, Platoon has much to commend it. While it is unfortunate that its weaknesses diminish its merit, they do not ruin it. I'd be very surprised if Stone ever makes another movie nearly as good.

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The reason this movie is no longer for sale is because New Line was bought out a while ago by MGM (or something along those lines, but MGM now owns the video rights). MGM is rumored to be planning a special edition of Platoon in August, which probably means they are just rereleasing the old New Line DVD and calling it a Special Edition. Hope you find that useful!

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Mobile Suit Gundam 00 the Movie: A Wakening of the Trailblazer (2010)

I would like to first off note that Gundam 00 isn't just a recycled Gundam concept idea as some would have you believe, but it is an idea of just how mankind should learn to get along with itself. The story is amazing, the characters are probably the best in this franchise, and the animation is superb. I even liked the way it was packaged. This Gundam timeline has a lot of messages that have to do with humankind finding a way to come together, and I like that about this Gundam timeline. Even the fact that this timeline is set in the A.D. era just adds to the shows appeal. Even if you don't like Gundam, I think you should at least watch it to see what I am talking about. Having both a DVD and a Blu-Ray version of the movie is great, so if you do have just a DVD player, it won't be an inconvenience to have both in case you do plan to get a PS3 or Blu-Ray player. The DVD version of the movie just has the bare minimum stuff like audio setup, scene select, and two extras (which are trailers and DVD credits). But the Blu-Ray version has so much more than the DVD version like special announcement videos, theatrical trailers, and more. I recommend buying this version so you'll have the best of both worlds.

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The Complete Scream Collection (Scream 1,2,3,4) (With Mask) (Boxset) (Blu-ray)

This is it, 'Scream' fans! This is the set you've been waiting for!

This Canadian import (which plays absolutely fine on a US Blu-Ray player) collects all 4 'Scream' films AND includes a bonus disc featuring 2 feature length documentaries-"Scream: The Inside Story" (a 90-minute making-of the first film) and "Still Screaming: The Ultimate Scary Movie Retrospective" (a 90-minute making of the first 3 films). The 'Scream 4' disc also includes all the special features available on the stand-alone US release.

In most of the world, it's not possible to purchase a set w/ all 4 films bundled together. There are rights issues that have split the series between parts 1-3 and 4+. However, Canada doesn't have this problems which has paved the way for this set. So, until the rumored 'Scream 5' is a go, this is definitely the ultimate set for any 'Scream' fan! It's all housed in a very nice cardboard box which features a full-sized Ghostface mask staring out at you. Now, since this is a Canadian box set, there is French writing on the box. I find it very easy to ignore and not nearly as intrusive as most Canadian releases I've seen.

The set is so close to being perfect. If only they had gone the extra mile and included the Director's Cut of 'Scream.' However, I'm not sure that's available in HD anywhere in the world. As far as I know, the highest quality the Director's Cut has ever been released is Laserdisc in 1997. For a die hard fan this will be a negative mark against the set.

So, if you're looking for a set that will look great next to the Halloween: 30th Anniversary Box Set and/or the Friday the 13th: The Ultimate Collection (Parts I VIII + Jason Mask) then this is for you!

Micmacs (2010)

Amelie and The City of Lost Children belong to those films that, although, you find strange when you sit through it for the very first time, they stay with you forever. I find the director (Jean-Pierre Jeunet) to be Europe's answer to David Lynch only a tad heavier on the regressive images and lighter on the subconscious horrors. So when he had another film out, I was not going to miss it. And, once more, I was glad I did.

A bunch of eccentrics (each with his or hers own quirky character and unusual personal history) come together by life's caprice and end up undertaking an impossible task: try to take down the two largest arms manufacturers in the country. Ingenious ideas, impossible retro gadgets (handmade from salvaged materials), and an unwavering sense of justice. No sacrifice is too big if it means making the villains pay for their crimes.

The colors are soft and comforting; the imagery is mesmerizing; the music will take you back to a more naive age; and the story will make you laugh, cry and laugh again. All in all, great entertainment!

HIGHLY RECOMMENDED!

I managed to see Micmacs and thoroughly loved it. In true Jeunet fashion, characters have their specific quirks and little side-plot elements abound through the movie. A lot of what make movies like Delicatessen, Amelie, and City of Lost Children have this sometimes absurd but magical fantasy about them is present here but not overly gratuitous. Just the right amount and exactly how you'd expect it.

I've likened this movie to Three Stooges meets the A-Team versus Goliath. Really, two Goliaths. The plot is that Bazil's dad get blown up trying to defuse a mine made by a arms company. Later in his life, he is accidentally shot and the bullet is that of another competing arms company. Seeking justice, Bazil tries to confront the companies but is rebuffed quite strongly. He's then adopted by a rag-tag bunch of "orphans" called the Micmacs of the Slide Whistle who then join together to help Bazil take down the arms companies who have destroyed his life.

In true Jeunet fashion, we are introduced to each character who has a special talent that is exploited for the purpose of bringing down the arms companies. The plot, sometimes absurd and hilarious and not intended to be taken so seriously (as one reviewer earlier apparently doesn't get it). It's a comedy first and foremost and has all the hallmarks we've come to know and love from Jeunet. It doesn't move as fast as Amelie or have the sometimes overwhelming fantasy and magic of City of Lost Children but, in its own right, moves at a pace appropriate for the characters. And of course, Dominique Pinon is just over the top and brilliant as usual. Well done.

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MicMacs has a plot that defies summation, characters who each are more fantastic than the next, and the sheer joie de vivre that Jean-Pierre Jeunet brings to all of his delightful works. Here his clowns are up against the true clowns of today's world--vicious, selfish, heartless arms dealers. The boys and girls on Our Side must dive deep into their junkyard to find the tools to defeat these evil beings. And just why are they doing it? Because it's right, that's why! Needless to say, the baddies are defeated, the goodies are triumphant, and the whole flies by like a many-ringed circus performance.

Read Best Reviews of Micmacs (2010) Here

Like many of the other folks reviewing this, I'm a big Jean-Pierre Jeunet fan. Amelie, City of Children (La cité des enfants perdus), Delicatessen, etc...all exceptional movies and all having those surrealistic, fantastical, whimsical-laden settings and heart-tugging story lines that Jean-Pierre Jeunet does so well. Micmacs seems very much in the same vein of his previous films with a minor exception for me. I just didn't feel the character development was on par with his previous works. That one little ingredient in a Jean-Pierre Jeunet film that usually cements the experience for me is a level of empathetic bonding with the characters. He's phenomenal at portraying and visualizing a character's emotional response in a way that is so easy to relate to, usually in a very child-like and innocent way.

And that's where this movie just didn't quite reach the same bar as the rest of his works (for me anyway). The cinematography and set design were, per usual, incredible. The story line is interesting and entertaining, and the ensemble of characters he's created have that magical element, but I can't say I felt the same level of emotional connection to the characters as I have in his past movies. It seemed like he didn't have enough time to develop the background and pull the viewer in so effortlessly, say like the opening sequence in Amelie (still one of my all-time favorite sequences in a movie).

If you like Jean-Pierre Jeunet films, I expect you'll like this. I did, just not quite as much as his previous works (a couple of which I would probably rate 6 out of 5 stars), but it was still a very enjoyable escape during the hour and 45 minutes it ran. Definitely worth a watch.

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this is simply everything I want in a movie. It's charming, it's whimsical, it's a win for the good guys, it's creating a family out of unrelated, odd people that works (much better than most families that are related work,) it's lovely I felt good when I left the theater and this is the one movie from this year that I'm buying.

Don't get me wrong, I loved "The Girl With the Dragon Tattoo" and "The Girl Who Played With Fire" outstanding movies in every possible way but I'm not going to buy them and watch them again. So, this is not a review by someone who has to have cute and sweet in her movies. But it is a review by a real movie buff, and a movie buff who has some standards as in, if you can't entertain me, I won't watch your movie! Mic Mac's entertained, it entranced, and at the end I left feeling that the world is a place where decent, caring relationships can happen, and that sometimes, just sometimes, the bad guys get theirs. That's a perfectly reasonable, even desirable, way to leave the theater.

I refuse to accept that a requirement for a good movie is that it is full of sturm und drang that's just baloney sixties thinking and also "I'm too cool to like fun stuff that isn't obscene and/or stupid or both" thinking. As an adult I find that it's very difficult to find movies to enjoy. Usually movie makers can't find their way through the maze of amusing bosoms and bottoms or blowing up something every 10 minutes. This movie maker can make a movie. I am grateful whenever I find one who can. I strongly recommend it.

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Real Steel (Three-Disc Combo: Blu-ray/DVD + Digital Copy) (2011)

Real Steel, directed by Shawn Levy, is one of the very few movies I've seen in recent years where the audience I was in actually broke into applause in various scenes. A masterfully done tale of underdogs a boy and his dad and a discarded robot going against the odds, it really does get you pumped up to that level. I got a bigger kick out of this movie than I have from any other this year. It really is that much fun to watch.

The germ idea for Real Steel comes from a 1956 short story by Richard Matheson that was made into a classic Twilight Zone episode, and the look is right out of the Transformers franchise, but the heart and there's a lot of it in this film comes in equal measure from two films one would ordinarily have never linked together: John Avildsen's boxing classic Rocky (1976) and Peter Bogdanovich's Depression-era con-man & kid road trip classic Paper Moon (1973).

The plot is set in the not so distant future of 2020, where human boxing has been completely displaced by robot boxing. Charlie Kenton (Hugh Jackman), a former boxer who now gets by "managing" a robot boxer named Ambush, is about as down on his luck as it gets. Deep in debt and barely able to keep Ambush functional, Charlie is reduced to working the fringes of the boxing circuit and even exhibiting Ambush in county fairs where he puts the robot up against things like wild bulls. Which turns out to be a really bad idea when Ambush ends up getting smashed to pieces by a bull that weighs almost three times what he had agreed to, leaving Charlie fleeing in his van afterwards to avoid the exhibition promoter (Kevin Durand) to whom he now owes twenty thousand dollars. In this opening scene, we learn two things that tell us why Charlie is in the straits he's in: (1) he frequently makes really bad decisions, especially when he's desperate, and (2) he lets himself get distracted instead of keeping his mind on what he's doing a bad thing to have happen when your robot is fighting a two-and-a-half ton bull.

Shortly after this disaster, while wondering how he's going to be able to afford another robot, Charlie unexpectedly finds out that an old ex-girlfriend of his has died, leaving behind an eleven-year-old boy named Max (Dakota Goyo), a son Charlie hasn't seen since he was an infant. Thinking that it's just a matter of signing over custody to the boy's aunt Debra (Hope Davis) and her new husband Marvin (James Rebhorn), Charlie shows up at the courthouse, only to quickly realize that Marvin is rich and that the opportunity he's been needing has landed right in his lap. Abruptly seeming to change his mind about signing the boy over, Charlie privately talks Marvin into an agreement where he'll give up custody rights to the boy, but only for $100K. Not wild about adopting Max to begin with, Marvin grudgingly agrees, but only on the condition that Charlie keep the boy for the next three months so that the kid doesn't interfere with his plans for their summer vacation in Europe. Charlie, not wild about being saddled with a kid, reluctantly agrees, getting half the money up front, the other half to be handed over when he delivers the kid at the end of the summer. The deal done, Marvin departs with Debra, leaving Charlie face-to-face with Max for the first time. And clearly, neither of them are thrilled by this arrangement. Max is even less thrilled when he finds out that he's been "sold" to his aunt and uncle and angrily demands that Charlie give him half the money. Which Charlie can't because he's already spent most of it buying a replacement robot named Noisy Boy. Seem familiar? It's right out of Paper Moon, as are some other key moments in the film.)

Charlie takes Max to an old boxing gym that now serves largely as a repair shop for robot boxers, run by his friend Bailey Tallet (Evangeline Lily). The two of them have history together as Bailey's father was Max's trainer back in the days when Max was a boxer and the boxing gym was still a boxing gym. Bailey knows Max better than he knows himself, and she's the first one to recognize just how much Max and Charlie are alike. But the similarities quickly come out when Noisy Boy is delivered and Max stares at the robot with fanboy adoration, rattling off a string of fight statistics that even Charlie wasn't aware of. He also turns out to know the Japanese commands needed to operate Noisy Boy from all of the video games he's played.

Things finally seem to be looking up and Charlie gets an old fight promoting friend Finn (Anthony Mackie) to get Noisy Boy on the evening's fight card at the local arena. But once again, Charlie's hopes are dashed by bad decisions and not keeping his mind on what he's doing. Faced with once again having to try to come up with a robot but with no money to pay for one, Charlie takes Max along as he night-raids a junkyard looking for robot parts. As they wander through the place in the dark and the rain, Max falls off the edge of a pit and is barely saved when he's snagged on the exposed arm of a buried junked robot. Excited over having found an entire robot, Max insists on digging him out, which Charlie wants no part of. Hours later, when the sun is finally rising, we see a worn-out and thoroughly mud-bedraggled Max hauling the recovered robot back to the van where Charlie is waiting. Max just glares at his father for a moment, then starts hitting and kicking at him in a blind, exhausted and exasperated fury. The scene is absolutely priceless.

Back at the gym, Max sets about cleaning up the salvaged robot, an older-gen sparring `bot built to take massive punishment but not to deal it out. He discovers that the `bot is named Atom, and that Atom has a shadow mode where he copies the movements of whoever is operating him. Max, convinced that Atom can take on actual boxer robots and win, pesters Charlie until Charlie finally arranges for Atom to get a match in an unsanctioned off-the-grid makeshift outdoor arena. In spite of himself, Charlie gets caught up in Max's dogged determination and enthusiasm and the two begin working together. From there on, the film shifts into Rocky mode and its Charlie and Max and their underdog robot Atom going up against the odds.

The supporting cast is superb. Evangeline Lilly's Bailey is quite convincing as a woman who knows Charlie well enough to care about him but to be wary of him at the same time. The same holds true for Anthony Mackie's Finn, who lets Charlie talk him into match-ups that he knows are a bad bet but he can't prevent from happening. Kevin Durand's Ricky is affably ruthless as a "good ol' boy" promoter who gets Charlie in hock and then takes it out of his hide later. John Gatins (who wrote the screenplay) brings over-the-top trash-talk bravado to his pierced and mohawked Kingpin, the manager of the robot Atom is first put up against. And Karl Yune and Olga Fonda are pitch perfect as Tak Mashido and Farra Lemkova, the arrogant brains and ice-cold business savvy behind the reigning World Robot Boxing League champion, Zeus, the ultramodern engine of destruction that Max, Charlie and Atom must ultimately face.

And the robots themselves are impressive. Not mere CGI fabrications, twenty-six animatronic robots were created for the movie. A combination of CGI and the simul-cam motion capture technology developed for Avatar was used for the scenes where you see the robots moving independently or fighting in the ring. Each boxing robot has a distinctive look and feel tailored to suggest varying levels of sophistication and menace. Everything about Atom, on the other hand, symbolizes the underdog nature of Charlie and Max. Older generation, less sophisticated, more scarred and far less shiny, and a little smaller than most of the robots he's put up against, Atom also has soft blue-oval eyes that subtly suggest empathic connection. There's no sentience behind them, no artificial intelligence, but Atom nonetheless "sees" Max and Charlie, and in him they see themselves.

But the heavy lifting rests on the chemistry between Hugh Jackman's Charlie and Dakota Goyo's Max. Hugh Jackman's Charlie is spot on, a subtle portrayal of a man always reaching for the brass ring and always tripping himself up before he can grab it. Jackman brings this out beautifully you can see the desperate agony on his face each time when Charlie realizes the brass ring is slipping away from him yet again. But something nonetheless keeps Charlie going on, something inside him just won't let him quit, and Jackman brings out that side of him as well. Dakota Goyo's Max is a younger and very possibly smarter Charlie that life hasn't beaten down yet. He is that voice inside Charlie that won't let him give up. And in Max, Charlie finds himself all over again.

Highly, highly recommended.

Technically a Sci-Fi movie, this movie is really a story of a father redeeming his relationship with a son he never knew, and of the character change that occurs in the father throughout the movie. The story is very well told, drawing you into the characters experiences, and although my wife loathes Sci-Fi movies, she loved this movie and cried during some scenes. It's got a lot action in it as well and is fun to watch. I do not watch many movies twice, but I'll be buying this movie and we'll be enjoying it repeatedly. The robot they prepare together serves as a device for a David and Goliath storyline as well. Hard to believe when reading this, but you'll be cheering for the father and son and their robot as well.

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What a great movie. Sure, the storyline is predictable, but the entertainment value is huge. The thing about this movie is that I could see the depicted robot fights, the computer technology, basically everything about it, as coming about in the normal course of our society. A wholly believable story, probably one of the easiest SF movies to watch in terms of suspending disbelief in quite some time -and it's worth mentioning that this actually *is* science fiction in the classic sense; a little technology, all of it reasonable, around which wraps a good story. It's not a fantasy, as are many so-called SF stories today.

So here we have really great robots, some awesome robot fighting, a not-overly annoying kid, and scenes that are (obviously intentionally) reminiscent of big-arena sports today, all combined with some feel-good stuff in the classic sense.

It kind of looks like a kid's movie before you watch it; then when you watch it, there are adult-ish elements; at the end, I wondered who they thought they were marketing to? Perhaps that's why this didn't do all that well at the box office: the kid probably turned off the hard core SF types, the violence probably turned off legions of mommies and daddies, and the people who did go and enjoy it didn't make the case to others that it really wasn't a kid's movie or a movie that is all that violent in the living-things-getting-hurt sense of the word.

Well, whatever the case there may be, I say, forget anything anyone says and just sit down with the desire to be entertained. I think you'll find that entertainment is delivered as desired, and in spades.

They clearly set it up (very well) for a sequel, but it's unlikely we'll see one, again because of the box office performance. Too bad. I really, really liked it. I think you probably will too.

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I rented this from Amazon because I didn't expect much from it as movies go. I thought it was going to be a bunch od CGI with not much more. I was wrong. This movie is much more than just a movie about an underdog robot fighting the big man on the block. It was a mixture of a father son bonding experience blended with Rocky I. Three under dogs and they all do fine. Great acting and great story line combine for a really good movie. I guess I am going to have to buy the movie because I will definitly watch it again.

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Here's Real Steel in a nutshell. Remember that old board game called Rock Em' Sock 'Em Robots? Well now it's a movie. I mean the old game was just two robots fighting it out in a boxing ring. That's Real Steel. Rocky with hydraulic fluid. Your average underdog story. Add a love interest tired of her beau staying the underdog and a dysfunctional father/son relationship and you pretty much hit all the standard marks for an average plot line. I know that's what I thought when I was hearing about the movie. However when I saw the trailers something about it told me this was going to be a really fun movie to watch. Sure enough it was.

So Real Steel is essentially the same, tired old story told that has been spun in Hollywood over and over again, but with robots. Sounds mediocre, huh? Unoriginal plot points is actually the norm these days. Only Real Steel hits these marks with such gusto and polish that it really stands out in that rat race. It's not a masterpiece of script and story, mind you. But then again that's not the intent. This is a feel good, popcorn movie through and through. It's good to see one that at least takes its audience seriously enough to make a well thought out escape.

Lets start off with our main character Charlie (Hugh Jackman). To put it simply he is a jerk for better half of the movie. I mean the kind of jerk you just simply cannot like. Eventually the jerk gets a clue and starts to become the kind of guy you can't help but root for. This takes take a well written script and a talented actor to make the jerk and his eventual turnaround believable. You gotta give Jackman credit for his portrayal of Charlie. It's a character with a lot of heart, even when you hate him.

Next character of focus is Charlie's estranged son Max (Dakota Goyo). As kid actors go we have a winner. Enough teen indignant defiance to carry the family feuding and enough big eyed wonder of a child to carry the story. From there you have a very good ensemble of supporting actors. Again good, solid acting with very few boughs of melodrama (most of which just feels like it was needed).

Since this is a movie about fighting robots the "real" stars have to be just as good as the live actors. The robots in the film all come in a wide variety of designs and demeanor. More so the designs also give off a lot of character. The starring robot, Atom, has just enough characteristics to make him the likeable robot with stuff like rounded features on the face and glowing blue 'eyes'. It's not just with the look of the robot that keep you interested, which can range from junkyard mean to dark and polished shiny monsters, but also with other qualities like poise and stance, how they walk, even how they fight. The production used motion capture technology used in the movie Avatar and had boxing star Suger-Ray Leonard advise in the fight scenes. Again the results show a refinement in design and execution that makes the whole experience with the 'bot feel more real and organic.

The story flows with good pacing. It's not all fights all the time, and the off-time is worth watching. The underdog success story at first feels like it stays in the under part for a while, but then again that's part of the charm as you see just how much Charlie screws up his life. When we are full on in the big leagues is where all the previous stuff really pays off with the big exciting fight and all that feel-good emotions you would be used to by now on movies like this. The only segment in Real Steel that I have a gripe about is the middle when they start the transition from underdog to rising star. There simply isn't any significant robots fights in between. We don't really see Atom build up his reputation with any additional matches. This is a shame because the movie is really at its best showing these fights. You don't even get a decent fight montage. Still that's my only gripe for an otherwise very entertaining movie.

The Blu-Ray release will of course be in 1080p and have a DTS-HD 7.1 Master Audio soundtrack. DVD will have Dolby Digital 2.0. Both the DVD and Blu-Ray are announced with a host of features with the Blu-Ray rounding out some nice extra features. Here are the list list of extras (* denotes Blu-Ray exclusive):

Audio Commentary With Director Shawn Levy*

Countdown to the Fight: The Charlie Kenton Story* An ESPN-esque expose set right before Atom's big fight with the champ. It covers Charlie's boxing career with interviews with key characters in the film. It also talk about Atom from a sports commentator perspective. Pretty neat little featurette.

Sugar Ray Leonard: Cornerman's Champ* Really cool featurette on Sugar Ray and his involvement with the movie. Hearing him talk in the interviews and hearing how the producers and actors take to his direction gives me a renewed level of respect for the boxing champ. Probably the most feel-good extra in the bunch.

Making of Metal Valley Behind the scenes of the what it took to create the robot junk yard as well as the development of the biggest stunt in the movie in said junkyard.

Building the Bots Interest, if short, making of documentary on the robots. Most of the 'bots were built as well as computer generated and there is a lot of talk about the virtues of using practical effects. Only problem is you don't see enough of the practical effects in action on this feature.

Deleted and extended scenes One of each. There is a slightly extended scene with Charlie's first robot Ambush that has more stuff with the kids. I can see why they took most of the stuff out, but there is a second of footage here and there that would have done well to stay on the final cut. Next is not so much a deleted scene as a set of deleted or extended scenes that follow a particular story arc. Again I agree with the deletion, but I have to admit there was some nice scenes taken out (even if they did mess with the flow of the movie).

Bloopers and outtakes Just as it sounds. A montage of mess-ups for you to enjoy. Not much in the way of belly busting funny, but if you like the behind the scenes camaraderie that you usually see in stuff like this it will satisfy.

Real Steel Second Screen: Ringside With Director Shawn Levy* This is to access interactive content on your PC or iPad while simultaneously watching the movie. It's worthless if you do not have a device to sync to.

I am normally the type of person who shies away from "popcorn flicks" but this one is very well worth making the exception. It's fun and excitement for the whole family. If you ever liked underdog sports movies you gotta check this one out.

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The Fighting Seabees (1944)

This movie provides one telling of their story. During WWII, there was a serious need for men in the military who had the know how and the determination to carry out essential construction work, particularly in the Pacific Theatre of operations.

In this movie we learn a bit about the plan and recruitment of men to serve as hybrid construction workers/soldiers. John Wayne was a natural choice to serve as the prototypical SeaBee -an undisciplined individual, but determined, willing and able.

Join JW and his colleagues as they work and fight their way across the Pacific, building runways and roads, and anything else that needed to be made. During their spare time, they did some fighting, and JW finds time for some romancing (doesn't he usually?).

A good telling, and an interesting movie, but not quite 5-star material. Well worth a watch though!

This movie has become a part of lore among the men and women of the finest combat contstruction organizations of the US military. It is a nice Hollywood adaptation of the creation of the US Navy Seabees. And who can forget the best character in the movie -Natasha! It's not often that you see JW's character make the ultimate sacrifice. I watch this and see the beginning of some traditions and attitudes still in practice today. "With Compassion for Others, We Build We Fight, for Peace with Freedom," from the Seabee Museum. Remember their montra: Seabee Can-Do.

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In one of his lesser starring efforts, John Wayne plays the leader of a construction company that goes on to help form the Fighting Seabees, an armed group of workers. Prior to the Seabees, the construction crews building air strips and other military installations weren't allowed to carry arms. Wayne is stubborn and determined to say the least, and he pushes to have his men armed for battle as they work on curiously named islands in the Pacific during the Second World War. The film's focus is torn between the establishment of the Seabees and Wayne's romance with journalist Susan Hayward. Neither plotline is developed enough, and considering that it appears to be a war film, there's not much to the fighting in the film. It's not a bad film, but it suffers from a low budget and a script that needed much more work. However, there is a rare chance in this film to Big John jitterbug, which is good for a laugh.

Read Best Reviews of The Fighting Seabees (1944) Here

The setting of this movie is an island in the Pacific in June 1942. Besides getting entertained by the blazing combat action and the fervid patriotic mood, the viewer gets an education on the Seabees. The term itself comes from a phonetization and dramatization of CB's, which stands for Construction Battalions.

Wedge Donovan (a young John Wayne) takes command of a US Navy group of engineers who are using bulldozers, cranes, etc., to build various installations for military use. At first, civilians are involved and, not understanding the realities of a combat environment, they suffer severe casualties during a Japanese attack.

Wedge Donovan trains and, in time, leads the newly-named Seabees in a subsequent counterattack against a large group of Japanese invaders. Now it is the Japanese who suffer heavy casualties. The Seabees trap the Japanese in a flaming ravine, and pour gunfire upon them. Wedge Donovan gets decorated for leadership in this military success.

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Compared to today's action thrillers, this is sedate. However, there is more to a movie than speed. What it does well is remind us of our heritage. Although Hollywood may not have been accurate in its portrayal of the Seabees, this movie goes a long way in helping us understand their courage and contributions.

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Steamboat Bill, Jr. (1928)

I must disagree with Leonard Maltin; Steamboat Bill Jr. is one of Keaton's best, and as a very fluid and well-plotted example of late-silent filmmaking, it makes an excellent intro to his work for neophytes-better perhaps than some of the more deliriously surreal comedies such as Sherlock Jr. Keaton's performance as the college boy son of a riverboat captain is generally regarded as his best acting, and the 20-30-minute hurricane sequence is one of his most remarkable feats of solo pantomime (it includes the famous clip of a building front falling on him, the window landing exactly where he stands). This tape is also worth noting for the presence on it of a recently discovered complete version of the short Convict 13, one of the last missing bits of silent Keaton.

I have most of the Buster Keaton DVDs and this is one of the most fun. "Steamboat Bill Jr" is the typical Buster Keaton plot, with twice the stuntwork. The hurricane scene is one of his most famous and shows the talent, genius and dexterity of this man. Incredibly fun and entertaining for the whole family.

The first short, "Convict 13" is not a very high quality print, and some parts of it get very hard to decipher, but you must remember that 1 complete reel of this film was considered lost forever until recently. At least we get to see the short in it's entirety. "Convict 13" was one of Keaton's first starring movies for Metro studios and shows him in a very slapstick-ish role; His trademark dean-pan expressionism and personality have not quite evolved at the time of this film. It's still very fun, but not as sophisticated as his later work.

The final short on this DVD "Daydreams", is another 'nearly lost' classic. The DVD states that some of the footage is unavailable and they took the liberty to piece a few extra stills and title cards to make the movie flow with a comprehensible storyline. Once again, the transfer quality is not high, but better than "Convict 13". "Daydreams" is classic Keaton, complete with the chase scene of 20-30 police officers, ala "Cops" (See 'The General' DVD). There is an implied attempted suicide in "Daydreams", but it's all completely off screen.

Once again, I have yet to be disappointed by a Buster Keaton DVD from Kino International. I recommend it highly.

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As one of his last great silent films, Steamboat Bill Jr.(1928) is one of Buster Keaton's finest. Nearly a third of it's 69 minute running time is comprised of some of the most spectacular and funniest stunt work Keaton ever did. The General, Our Hospitality and the 45 minute Sherlock Jr. are better films but none are any more entertaining than Steamboat Bill Jr .

Bill (Ernest Torrence) is the tough Captain and owner of the old and somewhat run-down Stonewall Jackson river boat. He is about to be run out of business by the richest man in town, King (Tom McGuire). King has built a huge, fancy river-boat and gets the Stonewall condemned.

Bill then gets word that his son is going to visit him. He has not seen his son for many years-Bill Junior aka Willie, has been in college back east-and Bill Sr. imagines his son must be bigger than he is. He's pretty disappointed that not only does his son look like a 90 pound weakling, but he's got a city slicker hat on that has got to be replaced pronto. Father decides its time to make a man out of his son, while son Willie, has his eyes on a beautiful young lady (Marion Byron) who happens to be chief rival King's daughter.

Father Bill ends up in jail, and Buster Willie tries to break him out. He succeeds, but is almost accosted himself so Father turns himself back in and Willie is sent to the hospital with a minor injury. Just when it looks like the old Steamboat is doomed for extinction, and Willie won't get the girl the weather changes.

The final extended sequence of the film begins at the front porch of the King Hotel. King is warned that a wind storm is coming and the pier is not going to be strong enough to hold his fancy boat against the wind.

The wind blows and the death defying stunts, and inventive sight gags begin. A man tries to start his car, the wind blows the hood of the car up which makes the car into a land sail boat-with the man being dragged down the street holding onto his cars bumper. The car comes to a halt in front of the King Hotel. The Pier collapses and the King Steamboat breaks away and some of its crew leap for their lives. The entire front of the King Hotel collapses into splinters and is blown away. People on the street struggle as they run for cover and shelter.

Buster Willie who is in the hospital, remains in his bed as the patients and nurses flee out the hospital which is then entirely blown away. Buster tries to leave the area with remarkable calm but must leap onto his bed as it is propelled through the ruins of the town's streets and through a horse stable. In the middle of the street, Buster goes under the bed for cover. A man leaps from the second story of his house onto the bed. The Bed collapses on Buster. The wind blows the escaping man and the bed away.

Then the somewhat confused Willie rises to his feet, in front of the house that will be ripped apart by the winds and give us one of the most infamous and death defying stunts in all of movie history. As he stands groggy and confused, the entire two ton facade of the house falls and crashes over him. A small window opening just happens to have passed over the very spot he is standing. Buster had positioned himself with only inches to spare so that the facade would crash over him but avoid crushing him to death. If he had missed his mark by a few inches, or if something had gone wrong, Buster Keaton would have been crushed to death.

Realizing how close he has come to death, Willie tries to run, but the wind is too strong and soon he is sliding and tumbling and being blown as if he is a tumbleweed down the street. Eventually he winds up amongst stage props at what remains of the theater. More inventive gags follow leading to an exciting finale in which he must rescue his father from drowning in the Jail,the woman he loves, and more.

Keaton did all of his own stunts. He designed many of them to be shot in longshots, choreographing movements so he tumbled or was dragged from end of the frame to the other. His acrobatic ability continues to amaze. It should come as no surprise that one of Keaton's biggest fans is Jackie Chan, who carries on old stone-face `s tradition quite well.

The credits list Charles F. Reisner as the director of Steamboat Bill Jr., but it is unlikely Reisner even co-directed the feature with Keaton (Keaton did collaborate with Eddie Cline on several shorts). Keaton actually directed all of his feature films, sharing or giving away credit to a string of studio assigned directors who did very little work on Keaton's films.

Also featured on the wonderful KINO DVD (and video) are two wonderful Keaton shorts. Convict 13 and Daydreams. Convict 13 (1920) contains some clever physical slapstick choreography while Daydreams (1922) shows the early genesis of ideas that would be fully realized in the classic Sherlock Jr., and ends with an exciting chase scene in New York City.

Steamboat Bill Junior was the last film Buster made for producer Joseph M. Schenck. He would then begin his ill-fated contract with MGM. After The Camera Man and during Spite Marriage, the sound era began and MGM would team Keaton with Jimmy Durante (bad idea) and then in several mediocre comedies completely mis-using Keaton's talent and forcing severe restrictions on him. Keaton already in a bad marriage and an alcoholic, allowed his career to be destroyed.

Buster Keaton is one of the top directors, and comics who ever lived. He experimented with film in ways that none of his contemporaries even dreamed of and in doing so surpasses even Chaplin and Lloyd in terms of genius. Some of the innovations he explored continue to be used by modern film-makers today.

Chris Jarmick Author of The Glass Cocoon with Serena F. Holder A steamy cyber thriller available January 2001. Please order it today. Thank You

Read Best Reviews of Steamboat Bill, Jr. (1928) Here

When we think about Buster Keaton, we think of one of the kings of slapstick comedy during the silent era. The master of physical comedy, a talent known for his deadpan expression and his films, well-revered today as one of the best actors and directors of all time and beloved by many.

But in 1928, Buster Keaton was going through one of the most problematic times of his life. A marriage to Natalie Talmadge (of the popular Talmadge family and sister to actresses Norma and Constance) which was going south and to make things worse but two years prior, Keaton had learned that Joseph M. Schenk (the man in which Keaton was contracted to) would be taking the job as President of the new United Artists (created by D.W. Griffith, Charlie Chaplin, Mary Pickford and Douglas Fairbanks).

And with Keaton now losing independence as a director/actor and becoming part of the new studio mentality, in the three year period, he would create three films which would be his final films he would have complete control over and that was "The General" (1926), "College" (1927) and his final film with United Artists, "Steamboat Bill, Jr" (1928).

Like "The General", "Steamboat Bill, Jr." is considered one of the best films that Keaton had created but in 1928, people didn't feel the same way. People were now getting read for the talkies (which was in its infancy) and slapstick comedy was phasing out and people were wanting something new and different.

Eventually like many silent era stars, "Steamboat Bill, Jr." is considered as Keaton's last great silent film and is now considered today as not just one of the top Keaton comedy films ever created but one of the top comedy silents of all time.

VIDEO:

"Steamboat Bill, Jr." is quite literally the best looking version of the film available and for an 82-year-old film, Kino International has once again done a spectacular job on a silent film release on Blu-ray.

Before I discuss the picture quality of "Steamboat Bill, Jr.", it's important to note that because this is a silent film, it's important to emphasize that each silent film has been handled and stored differently. With that being said, I also want to add that there are only so many very good silent films still around, many destroyed from fires started by the Nitrate film or mishandling (or improper storage). Fortunately, a good number of Keaton films have strong film elements that have led to Kino International wanting to release more Keaton films on Blu-ray and to also make sure the film has not been digitally tampered.

Similar to "The General", Kino International has done a a great job with bringing this film to Blu-ray. Presented in 1080p High Definition, black and white, yes, the film is not pristine (no silent film in HD will be) looking as it does have scratches, dust, hair and other damage that the film has gone through within the last 80-years. But this is to be expected, if anything, many silent films on nitrate were not well taken care of, so each time I see a film in which the films are much better than I expect, I'm quite pleased and for "Steamboat Bill, Jr." in HD, it's definitely a major improvement over its original DVD counterpart.

I have watched many silent films that have had considerable nitrate damage but this film still looks fantastic for its age and you will not see the nitrate damage or acid buildup in the film's sides. Yes, it's not pristine but it's the best looking version of the film that I have seen so far. There is a good amount of detail where you can actually see detail on the ground, on the wood of the Steamboat bill ship, the curvatures and bark on a tree. It's important to note that some elements of the film do show its change in black levels but by no means was this distracting for me. I know of one review that said that contrast was blinding and I think that comment was a bit excessive. There are changing levels but by no means was it blinding or over-contrast. I found the black levels and contrast more distracting on the DVD but I believe that KINO did a wonderful job in fixing it on the Blu-ray release (and I am assuming it was fixed also on the ultimate collection 2-disc DVD that was released simultaneously on the same day as the Blu-ray).

The differences between the Buster Keaton Estate version and the Killiam Shows Archives version is quite interesting as the films show different takes. Because the film were handled by different properties, the picture quality is slightly softer in the Killiam version but personally, both looks good and I'm very grateful that both films are included in this release.

Many have wondered if the film does have any DNR and Bret Wood posted on Nitrateville.com:

When we transferred THE GENERAL, we had the grain-reducer turned down to zero, assuming that would kill it. But when we QC'ed the Blu-Ray, we saw traces of digital artifacts. As a result, we re-transferred THE GENERAL for Blu-Ray, with the grain-reducer not just turned to zero, but completely by-passed (and we followed the same technique for STEAMBOAT BILL JR.).

By this time, the DVD of THE GENERAL had already been released, so it has a slight amount of digital noise reduction, but it's virtually undetectable on a SD monitor.

But despite its having its share of dust and particles and other things that do show up in the video, comparing both this Blu-ray version to the DVD version in my Kino "Art of Buster Keaton" set, "Steamboat Bill, Jr." looks fantastic on Blu-ray!

On the DVD, there is constant flickering and there were times that blacks look quite deep and were hard to see faces at times. Also, seeing how much cleaner the print looks on Blu-ray vs. the original KINO DVD is quite amazing.

Iknow some Blu-ray purists that have never seen a silent film can be alarmed that silent films are not clear and pristine but the fact is many of them aren't but if we can get something as close to perfect, for an 82-year-old film, I'm quite impressed with the results!

AUDIO & SUBTITLES:

With any release of silent films on Blu-ray, one thing that I have always wanted to see is more musical scores that people can select for their own viewing and personal preference.

For "Steamboat Bill, Jr.", you get the The Biography Players music presented in DTS-HD Master Audio 5.1, an organ score by Lee Erwin and a piano score by William Perry. Unfortunately, the music by Gaylord Carter presented on the original DVD is not included.

It's important to note that the Buster Keaton Estate version comes with The Biography Players DTS-HD Master Audio 5.1 score and a Dolby Digital 2.0 Stereo version and the Lee Erwin mono organ score. The Killiam Shows Archive version only features the William Perry Dolby Digital 2.0 piano score.

The Biography Players lossless score was well-done! I enjoyed Gaylord Carter's score from the original, so to hear another score, I was quite impressed of how the orchestra carried on various instruments during a scene's most emotional or hair-raising moments. It is important to note that the score is presented on all five audio channels. But just in case, you don't like that, you can always select a Dolby Digital 2.0 version of the score.

I also enjoyed the organ score by Lee Irwin (presented in Dolby Digital mono) and you get the Dolby Digital 2.0 piano score by William Perry.

There are no subtitles in this Blu-ray release.

SPECIAL FEATURES

"Steamboat Bill, Jr." comes with the following special features:

* Steamboat Bill, Jr. (Killiam)(1:10:29) The second version of the film which is similar to the Buster Keaton Estate version but the Killiam Shows Archive version does feature different cuts of scenes (such as the trying on a hat scene). The Killiam Shows Archive version only features the William Perry Dolby Digital 2.0 piano score.

* Visual Essay (12:20) A short documentary explaining Keaton's mindset during the filming of "Steamboat Bill, Jr." and the challenges that Keaton faced at this time in his life.

* Steamboat Bill: The Song Early recordings of a folk song that created the persona from which the film was derived. Performed by Edward Meeker (1911, 2:10) and Irving Kaufman (1919, 2:48).

* "Why The Call Him Buster" (1:11) A musical montage of pratfalls and stunts created to promote the upcoming release of KINO's "Lost Keaton".

* Stills Using your remote, you can cycle through various stills from the film.

EXTRAS:

"Steamboat Bill, Jr." comes with a slipcase.

JUDGMENT CALL:

As a big fan of Buster Keaton films, from his silents to his talkies, I do feel that Kino International has done a fantastic job with this Blu-ray release of "Steamboat Bill, Jr.".

While I really enjoyed "The General", "Steamboat Bill, Jr." is a film that I enjoyed even more. I felt the physical comedy by Buster Keaton was fantastic! The scenes when the hurricane hits the town literally makes your jaw drop and makes you wonder how they created those scenes in 1928. Hurricane-like winds, watching Keaton risk his life and putting his life into this crew's hands as homes and buildings collapse all around him, houses falling on him and literally escaping harms way to seeing him on a tree and being carried away by the hurricane (of course, a crane whisking him away from land to ocean). The fact is for this film, Keaton put his life in jeopardy and just the slightest miscalculation could have either killed him or maimed him. Fortunately, Buster and his crew prepared quite well for those scenes.

Keaton including his third wife have said in past interviews that he didn't care about doing those scenes because at the time, he was fighting off depression. His marriage had failed (which would actually hurt him severely a few years later), his financial problems were mounting and the lifestyle that his wife had wanted was taking its toll (it's important to note that in their bitter divorce, Natalie Talmadge literally took all his money and his children away from him and leaving him a broken man driven to alcoholism).

As much as I love the film, I can't help but feel saddened that this incredible film was a box office failure and literally stripping away Buster Keaton's control over his films. But the fact is that Keaton was one of the casualties of the crossover from silent films to the talkies. Without Joseph Schenk, without the support of his wife, without control over his films. But he took the advice to close down his own studio from Schenk and to move to Columbia Pictures. This slapstick comedy king had his whole role reduced when he went to MGM (which Buster would say was the worst decision he made all his life) but the truth was, whether he kept his studio or not, the movies would never be the same for these silent film stars. And while Keaton would go on to make commercially successful films, the days of Keaton showcasing his physical comedy (which the studio would not allow and he had to work with a stunt double) was over.

So, in many ways, "Steamboat Bill, Jr." can be seen by many of us today, as his final silent film in which we got to see the actor at his most daring. Exciting, captivating, and doing things that not even Charlie Chaplin and Harold Lloyd would ever dare do. But the attitudes towards cinema during those final silent years were not kind to these silent stars and for many people watching this film, its difficult to imagine how this film did terribly because it's a fantastic film that you can't help but respect Keaton for what he accomplished.

As for this Blu-ray release, once again, Kino has done silent film fans a big service. Another wonderful Keaton film in HD and their continuing dedication of bringing silent films to the masses, especially to those who are now discovering silent films for the very first time. The fact that you get both the Buster Keaton Estate version and the Killiam Shows Archive version is a major plus (same film but both have different takes and alternate scenes). Also, I was quite pleased with the features presented in this release.

I will say that if you are planning to buy this release, you're going to read different reviews about "Steamboat Bill, Jr." on Blu-ray and you are going to see reviews that are positive and negative due to the way the video is presented. I am on the side that feels the presentation of "Steamboat Bill, Jr." was well-done and I know there will be those who will debate the black-levels and the contrast and so forth. In my case, the contrast was not blinding but again, we all have different equipment.

But for the film alone, what was included on this Blu-ray release and its' over all presentation, "Steamboat Bill, Jr." is a winner and is highly recommended!

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STEAMBOAT BILL, JR. (1928): Never having seen each other before, preppy college student Buster arrives to meet his father at his father's riverboat town along the Mississippi River. Buster's burly father expects a tall blue-collar guy he can pass his riverboat business on to inherit but is disappointed to find a prancing Buster in pantaloons, ukulele, and a ridiculous French beret which comes to irritate his father. It's bad enough that Buster is an incompetent wreck on the boat, the worst thing he had done is get involved with the daughter of his father's enemy. Later, Buster's father gets sent to jail for trying to slug his enemy and this becomes an opportunity where Buster gets to prove himself. The last third of the movie contains some of the most classic scenes Keaton ever filmed, which involve the destruction of the town in a cyclone. Scene after scene shows Keaton bouncing around town trying to survive the desecration swirling around him. I've never seen him more athletic. This movie contains the famous scene of Keaton going through the glassless-window of the side of a 2-story house, which slams to the ground around him. You can see that the wall missed his left shoulder by about an inch. The film did not do well financially when it was released in 1928, but I think it was due to a distribution problem. As an independent filmmaker, Keaton did not release all his films from one single company, such as a good one like MGM which turned his films into hits. I think Steamboat Bill, Jr. was released by United Artists, which was a troubled company. However, Steamboat Bill, Jr. is a definite classic and deserved to be a hit.

One of the offhand things I found amusing in this film is that there's an actual typo on one of the title cards! After seeing numerous silent films, I noticed that the punctuation and grammar in them is always perfect, so I was surprised to see a typo here! The title card that says "That must of happened when the dough fell in the tool chest" should read "That must've happened when the dough fell in the tool chest".

CONVICT 13 (1920): Another one of Keaton's early shorts, this one has the rambunctious quality similar to the shorts he did with Arbuckle a few years earlier. Buster gets kicked out of his golfing clothes by an escaped convict and winds up in that guy's stripes. He ends up in prison where we are shown quickly-paced gag after gag involving prisoners and guards. The print on this DVD is OK, but there are a few shots that appear mushy and unfocused. Still, Convict 13 is well worth a watch numerous times.

DAYDREAMS (1922): Daydreams shows Buster trying to win his gal by claiming through letters that he's a successful career-guy-on-the-go, when actually he's the opposite and most of the film shows him getting into trouble in the jobs he's too embarrassed to admit he has. There's a warning at the beginning that a few scenes from the original print have been lost, but it doesn't really matter, unless you've seen those scenes and know what you're missing. I noticed that a classic scene of Buster on the paddlewheel of a boat was cut a little but it didn't bother me much. Daydreams shows a lot of filmed-on-location scenes, which I prefer over his studio soundstage filmmaking.

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Girls Against Boys (2012)

Shae (Danielle Panabaker) is a student who studies male fantasies and how they view women as objects. She is hurt by an older male boyfriend who patches things up with his separated wife for the sake of his three year old daughter. Distraught, Shae is taken under the wing of a somewhat psychotic Lulu or Lu (Nicole LaLiberte) a woman straight out of a Billy Joel song..."She can carelessly cut you and laugh while you're bleeding."

On the rebound, she goes out with Lu and gets involved in a situation where "No" doesn't carry any meaning. With the aid of Lulu, they go on a killing spree, after which you wonder where this movie will go. Unlike so many films in this genre, it smartly brings it home.

The film brought to mind "Shame" and "Compliance" two recent films sold as being "disturbing and thought provoking" which are nothing more than perv films. This one is the opposite. It is sold as a perv film, but is really more thought provoking as it looks into psyche of sexes and the way they view each other and what women would do if they could get away with it.

This film ignores plot continuity points such as body disposal, clean up, or the police investigating the homicides. This is a theme driven film, not plot driven.

This is a soft 5 star rating. Most people won't like it. I enjoyed the small clever aspects of this film. The slow motion scene of the smoke leaving the gun, or the young girl riding by with vampire teeth as a way to say, "what roles are we subconsciously teaching our children." The policeman with the straw irritatingly sipping from a cup. Lu speaking at the Tarantino restaurant "explaining" the film theme. At the end there is a small insert of Lulu smoking a cigarette that brought the film home. Bravo Austin Chick for making a feminist slasher film into a subliminal art work. I appreciate what you did.

Parental Guide: F-bomb, off screen rape, sexual scenes, nudity (Nicole LaLiberte)

the movie has a very unusual point of view for saying that women can be dangerous if you don't respect them...what you will find during the plot is how a typical woman can suddenly change into a cold blooded murderer....it's enjoyable if you happen to be a fan of SAW movies...

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A female empowerment revenge film made by a man? Hmmmm... I don't think a female director would have made her shorts so short. It was decent but hard to describe in a few sentences. I recommend it to fans of the extreme (e.g., Hostel or Sawmovies).

Our male writer/director (Austin Chick) piles the female oppression on pretty hard. We first find Shae(Danielle Panabaker) in some sort of feminist women's studies class talking to her classmate about her married boyfriend who's about 15+ years her senior. After he breaks things off she feels lost without her unhealthy relationship as she fends off unwelcome advances at work (as a night club bartender) and sneaks off to cry about the loss of this loser. As if she didn't already have a big enough deficit of self worth, Shae is always dressed in very short shorts or snug tiny skirts.

Lu (Nicole LaLiberte) works at the same bar, but she handles her shallow clientele with more assertiveness; she won't be bullied or taken advantage of by men. She wants to help Shae feel better so they go out for a night of drinks and dancing. But when one thing leads to another, Shae finds herself alone with a man in a situation where "no" has little weight. As if that wasn't bad enough--and ALL of this has happened in just one day so far--Shae's day gets much worse with! After that which would undeniably be considered the worst day of her life, she can't even report the multiple assailants without being called "sweetheart" by a dismissively skeptical cop who says "you look fine to me."

Yeah, laying it on a little thick, huh?

Nicole LaLiberte does a solid job as the vengeful, sociopathic and sultry Lu. She kills a man in a cringingly brutal manner and just looks him in the eye, watching as he dies. She plans murders with the same calm deadpan demeanor one would have while reading the nutrition information off of a Captain Crunch cereal box. The yin to Lu's yang, Shae is clearly the shy one, but she's along for the ride willingly and finds her murderous footing quickly. The two of them embrace their vengeful actions--not as righteous, but simply "right" as if they had no other cares or sense of consequence in the world.

They have some funny moments. The delivery of their homicidal discussions provides a great dark comedy appeal in a few scenes. The gore element is present and there's even a brief dash of torture, but it's not celebrated as it is in the Hostel movies. We still get gummy detoothed mouths, some dismemberment, and exit wound splatters, though.

The female empowerment is often credible, but at times, a bit over the top. For example, Lu physically handles herself way too well for someone who's probably never lifted anything heavier than a 6-pack and is a crackshot with a handgun and we have no reason to find that credible. However, anyone who watches this movie wants to see brutal and clever death scenes and likely wouldn't be too troubled with this shortcoming.

On the topics of female empowerment and death scenes, that's all we see. Unlike crime thrillers, this movie does not alternate between the killers' agenda and the police detectives tasked with the investigation of their bloody wake, there are no chase scenes and our "protagonist" murderesses make no effort to evade their pursuers (which we have no knowledge of, if they exist) or to cover their tracks or wipe their fingerprints from the crime scene. No. This movie is about two girls avenging how they've been wronged.

This was a female empowerment revenge film made by a man. It wasn't bad. But...hmmmm...I don't think a female director would have made Panabaker's shorts so short or LaLiberte's lesbian-driven nudity soooooo, well--naked. LOL.

It's still a fun romp, though.

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Girls Against Boys was a Clever film that from the trailer leads you to believe it's another "I Spit On Your Grave" or "Last House on The Left",it even co stars Andrew Howard who plays the Sheriff in "I Spit On Your Grave" but what we get is much smarter and will not be as satisfying to the hard core slasher fan.

This film is more thought provoking and has less gore. Although there are some moments that are pretty hard core most of the brutalizing is done off camera and left to your imagination which at times can be more effective.Myself, I prefer to see the gore as I am an avid slasher fan. Even so I was not disappointed in this film and found it to be very entertaining.

Throughout the film I kept thinking where is this really going? It's plays quite ambiguously,I got this feeling from act one in a scene where Nicole LaLiberte who plays Lu glanced in a bathroom mirror but even with that it didn't end up where I thought it would which I believe is a good thing,I hate for a film to be predictable.

Again, much of it is subjective but effective all the same.The stand out actor in my opinion was Nicole LaLiberte who was excellent as Lu a true sociopath in every sense of the word.

Her Samurai costume was very effective as was Danielle Panabaker's mouse costume which played out in the third act,Oh the Irony in that.

I would recommend this to anyone who want's to see a smart film with a few bits of effective gore.I would not recommend it to the stalk and slash set.

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great movie panabaker kicked ass and her friend to the movie played great no scratches on the disk grat movie everyone should buy this movie

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The Resident Evil Collection (Movies 1-4: Resident Evil / Resident Evil: Apocalypse / Resident Evil

They're ridiculous, they know it, and they don't give a damn what you think. In point of fact, they prefer if you don't think.

Let's get one thing straight, I am a huge fan of the game series. I own Resident Evil 1-5, and I'm probably going to buy 6 soon. I am fully aware that these movies deviate from the games in every way, but for some reason I still love them. They're dumb, stupid fun.

Resident Evil is actually a great movie in and of itself. It's suspenseful, and well made. I appreciate the fact that zombies and other monsters aren't introduced till late in the movie.

Resident Evil: Apocalypse is actually my favorite of the bunch. It's a good action movie, and I think they really captured Nemesis. Great movie, and awesome action.

Resident Evil: Extinction is a little slow, but is ultimately a good movie. The story of this series has never been cohesive, but the plot of this one in particular is just ridiculous. At this point the movies have become self aware and every subsequent sequel is even more bombastic and ridiculous. Awesome...

Resident Evil: Afterlife is a little weird. Kind of strangely paced, but still a solid action movie. I love how they don't even try to explain how the zombies got Las Plagas virus. Just go with it.

Resident Evil: Retribution. Holy hell. What a strange ride. It's a top notch comedy, I'll say that much. I, personally really liked this movie. It's just so... ridiculous. Like I said, these movies have become self aware, and are now just trying to one up each other. This one does a hell of a job.

Milla Jovovich is hamming it up with every single movie. It's really funny. She's always this hardcore action star with a little bit of an emotional side. I also think she's just gorgeous, so that's alright.

These movies aren't oscar winning classics. They're like every cheesy 80's action flick that you love. Keep that in mind if you are looking to buy these films. As for this collection, they are all the individual releases with no added special features other than the ones that are included with the individual release. Good for the price.

This review is going to focus more on the quality of the blu ray transfer rather than evaluating if the movies are quality works of art. For zombie action movies, I think they're pretty good. Anyway, the audio quality on all of the movies seemed pretty outstanding to me; got to love the lossless audio you get with most blu rays. There was a lot depth to the audio track, especially during action scenes (which there are a lot of), that really engrossed me into the film. The overall video quality I would describe as average for blu ray for the first 3 movies, while I would describe Afterlife as above average. There were some scenes that really looked good in that last movie. There was one big issue with the video quality though, black levels.

Black levels were not consistently black during the movies. I didn't notice it during the first movie, but during Apocalypse it was almost unwatchable without adjusting my television. Almost that whole movie takes place at night, so when black is showing up as moderately dark gray, there is an issue. I had to turn the brightness way down on my television to compensate, at which point the movie was watchable. The problem with doing that is black crush, now everything that is supposed to simply be dark gray is black as well. But that's better than everything that is supposed to be black or dark gray being shown as dark gray. The black levels weren't as messed up for Extinction or Afterlife, but they were off a little as well. Especially since more of the movie takes place in light environments, I didn't bother to adjust my television for those.

Overall, I would recommend these if you are a fan of the series and don't have any of the blu rays. I gave the package 4 stars with great audio tracks, good video for the first 3 and great video quality for Afterlife, and the entertainment value of the movies helping and only the black level issues bringing it down. I could have gone down to 3 stars because of the brightness issue, but since you should be able to adjust your television to compensate, it shouldn't be a deal breaker.

EDIT: I stumbled upon Resident Evil: Apocalypse on tv and noticed that the black level was totally off there as well. I decided to dust off my old DVD for that film and yet again black was gray. So it seems that, at least for that movie, the black level issue didn't arise from the Blu Ray transfer, but probably resides in the studio master. I never acquired DVDs for the other RE films, so I can't check those out.

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Blue ray is the only way u should watch these movie.i have only one word for this collection.....have to have it

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the 5 movie boxed set has all the resident movies but there is supposed to be an ultraviolet code in the box, didn't come with one. I am waiting for a prepaid return label to send it back I can get the same boxed set w/the ultraviolet code and could then watch on my tablet any time any where

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I rated this 5 stars, because it is a really good franchise that is worth watching. Non stop action in all of these movies! If you like Sci-Fi with action, then buy this set.

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