Showing posts with label top 3d movies on dvd. Show all posts
Showing posts with label top 3d movies on dvd. Show all posts

Monday, October 6, 2014

Washington the Beautiful in High Definition (2012)

Washington the Beautiful in High DefinitionI purchased This DVD because I love these kind of fly overs. Fantastic Blu-ray DVD. One other reason why I purchased it. I love the ride (Soarin) in Walt Disney World.The ride soars over California as if you were hang gliding. Washington The Beautiful Is almost like that ride. Yes, I also purchased the Blu-ray, (Over California).

While i agree with GMc regarding the quality of the blu-ray, the visuals are still stunning. However, in my opinion, the insipid and overblown narration are what detract from this otherwise enjoyable visual spectacle. On first listening I thought it was bad, and it just gets worse with each repeat viewing. Unfortunately, you can't mute the narration without muting the musical score (which is actually quite good) also. Just another of life's interminable dilemmas.

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I once received a ten minute sample of this video at a broadcast electronics show when DVDs were first coming out. Yep, it's that old! I have been looking for it ever since because it impressed me so much.

Recently, I found it here on Blu-Ray HD! It was recorded in the old Japanese MUSE HD analog system. Don't let that stop you, it looks great. The narration is insightful and the sweeping scenery, incredible. It is all photographed from a helicopter, so it looks great on my projection system. A must buy demo disc.

Read Best Reviews of Washington the Beautiful in High Definition (2012) Here

This review is based on the Blu-ray of 'Washington the Beautiful'. I purchased this because I'm planning on relocating there. This film certainly didn't quell those desires. Featuring gorgeous majestic arial views of the Evergreen State, you will definitely be entranced by her beauty! And that really is about the only good thing I have to say about this disc. So if you're wondering whether or not this disc lives up to its promise of showing you beautiful Washington, rest assured in the knowledge that Yes, it does!

This issues I have with this disc are mostly on the technical side of things. However from a presentation standpoint, let's get one thing out of the way: The feature's narration is extremely, well... sappy! And boy does it lay it on thick! I'm guessing the producers wanted everything in the feature to keep inline with the theme of 'beauty', from the beautiful visuals, to the nice music, as well as trying to make the narration 'artsy' and colourful, and thus beautiful. Sadly it feels like the attempt at that was WAY overdone. If you don't groan at least a few times while watching this film, I would say you're not a human and should be inspected to make sure you're not one of them 'Terminator' machines everyone's talking about now. Here's a sampling of the overblown narraration, as spoken by a guy who sounds like he'd much rather be going over your investment options with you, speaking in a hushed assertive and wispy tone as he introduces the viewer to Seattle:

"A Spectral Spirit, borne of dreams and dreamers...

An unexpected forest, rooted in yesterday, rising into tommorrow...

Here in the Pacific Northwest, no land stands fallow; Upon all ground, something grows...

Upon THIS land... grows Seattle'."

Ugh! The entire feature is riddled with such silly mosaics of fancy excretions, and while you may not feel the effect seeing it written here, as you experience it in the film, it ultimitely winds up feeling... for lack of a better term, seriously ridiculous!

Let's move on, shall we?

Video quality for this Blu-ray is not great. Not terrible, just not great. I certainly would not call it "HD" in the traditional sense of the term. Images are grainly with digital noise and mild artifacts noticeable in the brighter areas, as well as an array of horizontal 'gridlines' that are also barely noticeable, but are definitely there. Plus it lacks a certain sharpness and smoothness (it wasn't shot at 60p, that's for sure). As a result there is no HD 'pop'. I also noticed that yellows and reds tend to be a bit oversaturated and most other colours seems slightly muted. Now granted I'm watching this at 720p and not 1080p, but even still.. it looks like the feature was shot on a Sony Cybershot! Yet if you're not watching it for the HD factor, you'll be okay. The beautiful vistas are still well represented here and will not dissapoint, it's just sad that the quality isn't as good as the subject matter.

On the Audio front, know that the feature is not in 5.1. Rather it uses PCM Stereo. But since it's mostly music and the narration (as well as a handful of sound effects that do actually sound quite nice) it shouldn't matter too much.

In the end I give this disc 3/5 Stars. The non-HD looking video quality and the nausea-inducing narration each take off one star. Otherwise, if you're looking for a wonderful view of Washington's beauty, this feature certainly provides it in breathtaking spades! Covering nearly all interesting areas from the coast to the Cascades to the eastern areas of the state, this film will wisk you through the state's diverse and complex good looks and will make you want to live there, if you don't already.

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I purchased this item accepting the fact that I would have to pay for a conversion to my blu ray player to enable it to play region 1 dvd's. Out of curiosity I tried it and it worked perfectly in my region 2 player. A stunning record of the magnificent scenery in Washington State. I would recommend it to anyone who has, or intends, to visit that part of the Pacific North West

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Friday, October 3, 2014

Late Spring (The Criterion Collection) (1949)

Late SpringThis is one of a handful of films I consider one of the most moving ever made. Director Yasujiro Ozu has created a symphony of the emotions regarding the relationship between a father (played by Chishu Ryu) and his daughter (the great Setsuko Hara).

There is a Zen-like quality to this and Ozu's other great films -including TOKYO STORY (1953). At salient points in the action, the camera leaves the characters and focuses upon the middle distance, with sad orchestral music welling up. I am told that this technique is an example of "mono no aware," or sympathetic sadness. Ozu does not hammer at the viewer: He knows when to pull back and let the feelings take root and start to spiral up your spine. It is an instinctive talent that few filmmakers have.

Ozu almost NEVER moves his camera, which he sets up on a short tripod about 3 feet high -just about the height of your head if you were sitting on a tatami mat and interacting with the characters.

I saw a recent documentary about Ozu in which almost everyone who ever worked with this quiet genius broke into tears. The last shot was simply of his funeral monument, with the same sad music welling up.

Ozu was one of a kind. We shall not look upon his like again.

In my review of 'I Was Born But...' I brought attention to one of Ozu's subject matter motifs estranged relationships between children and parents. Usually when the children are not kids as in 'Late Spring' then Ozu develops this motif with the topic of marriage. In this case, the widowed father in realising his selfishness to 'keep' his daughter urges her to marry before its too late. This sudden parental wish is not without resistance from his daughter.

The fact that this film is 'post-war Ozu' provides an important contextual backdrop that is, Japan's fascination for things American. Moreover, it is the idea of marrying for love than for traditional duty. With much parallel action at work, the narrative is consumed with trying to match Noriko with suitors. At the same time, marriage becomes conceptually compared with other characters in terms of divorce and tradition.

Again, spatial violation and mimimalistic camera shots are prevalent. Furthermore, Ozu's sense of graphic composition is superb here as each shot be it an object or room looks strikingly articulated. I don't want to spoil the final scene however I will say that it is one of the finest moments in the history of cinema.

See this film and you will love the father, as you will the daughter, and even the interfering Aunt. Its not just Ozu's excellent sense of humanism but his ability to share the emotional resonance of his characters with the viewer. Wait for that final scene and be spellbound! Ironically, if it hadn't been for Ozu's estranged relationship with his father he might never had so much tenderness to convey in his films.

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(2008 HOLIDAY TEAM)**The original review is for the all-region DVD version previously available in Asia only. Updated comments for the two-disc Criterion Collection DVD set released on May 9, 2006 are included below.**

Through an eBay auction, I was so lucky to find a DVD of Yasujiro Ozu's "Banshun (Late Spring)" since it's not available yet in the US, where I imagine it will be released some day through the Criterion Collection. This is how new viewers like myself have discovered the other two classic films of his Noriko trilogy, 1951's "Bakushu (Early Summer)" and 1953's "Tokyo Monogatari (Tokyo Story)". This 1949 film is perhaps the most Japanese of the three as it concerns the rather unearthly devotion a daughter named Noriko has for her widowed professor father, Shukichi. While an American film would have touched upon the incest angle, under Ozu's immaculate direction, there is nothing unseemly about the relationship. She thoroughly enjoys taking care of him, but her father knows she must get married.

A meddlesome aunt named Masa aggressively sets up an arranged marriage with a supposed Gary Cooper-look-alike (though we never see him). Noriko resists all efforts until Shukichi and Masa convince her that he is getting married to a woman she eyes with remorse at a Noh play. Noriko reluctantly agrees to marry but never really accepts the reasoning that she needs a husband. In a beautifully economic scene only Ozu could convey, Shukichi peels an apple after the wedding and sadly bows his head to cry. Even though the later "Tokyo Story" deals with death, this is the most emotionally naked of the trilogy, as it is palpable how Noriko cannot truly succumb to the supposed joy of marriage.

It's no wonder Setsuko Hara became a huge star in Japan with this film. She plays Noriko with a wellspring of emotion from scene to scene headstrong, petulant, flirtatious (the sliced pickle comment is pretty saucy), blindly devoted, masochistic, and guardedly happy. Ozu gives her the full glamour treatment as well, having the camera linger in a medium shot on her beautiful, often smiling face, for instance, during the fanciful bike ride on the beach and the lengthy Noh play scene. Even though Hara plays three different characters in the trilogy, all named Noriko, it's fascinating to see how she seamlessly manages the evolution from high-spirited daughter here to emancipated working woman choosing to marry on her terms in "Early Summer" to resigned widow lost in her solitude in "Tokyo Story". She is memorable.

Familiar Ozu regular Chishu Ryu gives his most sympathetic and accessible performance as Shukichi with a touch of appropriate absent-mindedness. The rapport between the two feels genuine, and it amazes me how they can be so convincing as father-daughter in one film and brother-sister in the next. Another Ozu mainstay, Haruko Sugimura, excels at willful, often irritating characters, and her unrelenting portrayal of Masa exemplifies her unique talent. It's intriguing that Hara and Sugimura have an almost duplicate scene in both "Late Spring" and "Early Summer" where the older woman cajoles Noriko to marry the actors play the scene with sweetness and surprise in the latter film, whereas turmoil and regret fill a similar turning point in this one.

There is some wonderful acting on the sidelines the comically cherubic Masao Mishima as the "unclean" Mr. Onodera (I love the scene where he keeps pointing in the wrong direction to get his bearings in Kamakura); Jun Usami as Shukichi's assistant Hattori, a seemingly perfect suitor for Noriko who turns out to be unavailable but not overly so; and Yumeji Tsukioka as Noriko's worldly divorced best friend Aya. Note Aya's completely Western home (ironically filmed at Ozu's typical tatami-sitting eye level), one of many interesting American touches in the film, including the anachronistic use of "Here Comes the Bride" to introduce the wedding scene. The Kyoto sequence is particularly affecting with a fine use of real locations (Kiyomizu Temple, Imperial Palace) and the moving scene when Noriko and Shukichi come to their mutual understanding of the future.

This is said to be Ozu's personal favorite, and I can understand why as the director tells a simple story with relatable truths and honest intensity, even though the relationship is rather unusual by Western traditions. A holistic view of the Noriko trilogy shows "Early Summer" to be more comical and "Tokyo Story" more universally poignant, but "Late Spring" is a gem all on its own. This DVD gratefully has English subtitles, though the translation can be a bit sketchy at times. The print transfer is not pristine (some scenes are overly dark) but not as bad as I feared. There are no extras, as I expect there will be once Criterion does decide to release this classic.

**ADDENDUM FOR THE CRITERION COLLECTION DVD RELEASED ON MAY 9, 2006 (updated on 5/16/2006)**

As I had been anticipating, the Criterion Collection has finally completed Ozu's Noriko trilogy with the release of this wondrous masterpiece on a two-disc DVD set. The print is marginally improved over the Asia-originated, all-region DVD in circulation for several years, but the subtitles make far more sense in this edition, which now includes the meaningful lyrics to the Noh play at the center of the movie.

However, the major asset is the informative commentary from Richard Pena, program director of New York's Film Society at Lincoln Center. He speaks in depth about the themes of the film and Ozu's broader career, though sometimes his comments inappropriately precede the action on the screen. Most importantly, Pena provides the much-needed historical context to the story, in particular, the implied impact of WWII labor camps, which led to the nearly intractable relationship between father and daughter. The second disc has Wim Wenders' excellent 1985 documentary, "Tokyo-Ga", which shows the director retracing Ozu's steps in a modern-day and almost completely unrecognizable Japan. A great buy.

Read Best Reviews of Late Spring (The Criterion Collection) (1949) Here

The extras on this disc are fabulous. TOKYO-GA, in particular, is fantastic. It's fascinating to see what Chishu Ryu looked like in his old age, and a real eye-opener to learn that he was almost the same age as Tetsuko Hara when they were making pictures together, considering he was most often playing her father. Criterion has done a wonderful job with the bonus features and package design, as per usual. I would have given it a 5 star rating, but for one issue. My biggest complaint (and unfortunately, it IS a complaint), is with the print source quality. One of the reels has a white vertical emulsion scratch running through its entirety; the one with the famous shot of Setsuko Hara riding a bicycle with a male friend, passing a Coca-Cola sign at the side of the road. Only four years after the end of WWII, the Coke sign served as a reminder to the viewer that Japan was still occupied by the Americans, but was also feeling the encroaching influence from capitalistic western culture. Perhaps it was an insurmountable feat for Criterion to have digitally restored this sequence, but I must admit having to endure watching the vertical scratch throughout that entire sequence was quite disappointing and even infuriating, considering it's one of my favourite moments in all of Ozu's films. Having said that, it's an absolute essential for any serious film enthusiast to have this in his or her dvd collection, so I guess I'll just have to grin and bear it. I'm one of those dummies who buys his favourites again and again, like Star Wars fans, so if they improve upon the transfer, I'll probably buy it again. ;-)

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I discovered this film after reading Paul Schrader's book, Transcendental Style in Film. I located an old VHS copy and got totally sucked in by it. I found I loved the father and daughter by the end in a way that was more real than in nearly any other film I'd ever seen. I felt as though I'd been invited into their home and then been treated like an honored guest as a subtle and profound crisis in this family was dealt with.

I bought a Code 3 DVD version from Shochiku Home Video and continued watching it while reading Donald Richie's book on Ozu. But the subtitles seemed to be translated poorly and I could tell that a lot of the subtleties were lost. So I was very pleased when Criterion came out with this version in which much greater care was given to the translations.

In the Shochiku version there are no subtitles at all in the famous scene at the Noh play. But Criterion provides a marvelous translation that adds another layer of depth to the experience. As Noriko looks at her father beside her and then at Mrs. Miwa, whom she thinks is going to marry him, her jealousy and hurt are underscored by the performance of the play. In it a chorus of monks recites in verse a woman's feelings for her lost love. The emotions of the woman in the play, hidden behind the monk's ritualistic performance, parallel the storm of feeling raging just beneath Noriko's subdued expressions.

This is a masterful work and Criterion's translators should be applauded. Also, Richard Peña's commentary points out even more subtleties than I'd read in Richie's book. This DVD is a treasure.

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Saturday, September 6, 2014

Bruce Almighty (2003)

Bruce AlmightyThis is one of the funniest movies I've seen in some time. Bruce Almighty starts Jim Carrey, Jennifer Aniston, and Morgan Freeman. The basic premise is this is a comedy about one man who is given the powers (and responsibilities) of God and we get to see what he does with this power. Knowing that the movie stars Jim Carrey we expect quite a bit of over the top humor. While we do have a fair amount of the typical Carrey humor, Bruce Almighty is a lot more than that.

Bruce Nolan (Jim Carrey) is a reporter for a local television station. He gets the assignments that show off his warm and humorous side. But Bruce wants the anchor position that will be opening up when the current male anchor retires. Bruce does not feel that he is getting the respect or the opportunities necessary for him to be able to get the job he has always wanted.

Bruce is living with his girlfriend Grace Connelly (Jennifer Aniston), an elementary school teacher. When Bruce loses his job (have a nice Jim Carrey fit) he blames everyone and everything including God for his mediocre life. Grace sees that Bruce is also calling their relationship mediocre and is now upset with Bruce. Bruce blames God some more, asks for a sign (he gets several, which he promptly ignores) until finally he realizes that there is something going on and actually meets God (Morgan Freeman). God is tired of listening to Bruce whine so much so he tells Bruce that if he thinks he can do a better job at running the world, then perhaps Bruce should try. God endows Bruce with the divine power and lets Bruce have a go at it.

Bruce does what most of us would do with the power of God. He plays around with it for his own convenience, messes with the people who he doesn't like and uses it to help out his sex life with his girlfriend. His use of power is very funny, but it appears that he is not happy with life. Finally, Grace leaves him because even though Bruce is improving his life he has not changed who he is or how he acts to other people.

The movie changes gears and turns into a film about Bruce's redemption with God and with Grace. The film presents a positive message about God and faith that does not feel heavy handed at all (the director happens to be Christian). I thought this was a fairly well thought out and incredibly funny movie. It is the funniest movie thus far this year and I would definitely recommend it.

"Bruce Almighty" is another fine effort by Jim Carrey. Anyone who enjoys his work will enjoy this movie. Unfortunately, the DVD edition starts with four minutes of movie trailers. Unlike other DVD's, this one locks out the controls on your player so that you HAVE to watch the trailers before accessing anything else on the disc. You cannot even stop the disc from playing once the trailers start, except by ejecting it. AND, this happens every time you load the disc.

This is unacceptable, especially in a medium that normally allows the viewer such varied control over how a movie is presented on their screen. Because of this bone-headed decision by the DVD makers, I cannot recommend you purchase this disk. Indeed, I would encourage anyone else who has purchased this DVD to protest to Universal about this forced advertising. Anyone who pays full price for a new DVD should not have to sit through unwanted advertising to view their purchase.

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Bruce Nolan (Jim Carrey) is a local TV news reporter in Brooklyn, NY who is constantly sent out on the least desirable assignments and made into the "funny" guy instead of the serious person he wants to be perceived as.

His goal is finally sit in the anchor's chair and be taken seriously as a news personality. He is so goal oriented, it causes strife with his girlfriend Grace (played wonderfully by Jennifer Aniston). Nothing seems to go right for him. His dog eliminates in the house, his car gets demolished, he gets embarrased on TV and continues to butt his head against the wall.

Grace is a school teacher that has a special bond with her students. She is spiritual and loving, and cares deeply for Bruce, warts and all. Bruce only sees his goal and as the world crashes around him, he blames God for his troubles.

In a scene reminiscent of "Oh, God!" (starring George Burns and John Denver), Bruce goes to an unusal, nondescript building to talk about a job offer. Little does he know that it's God (Morgan Freeman) who has contacted him and who offers Bruce the opportunity to have God's power so he can try to prove he can do a better job than God.

Needless to say, giving Jim Carrey omnipotent powers is a recipe for non-stop laughter. A number of the funny scenes have already been shown in the trailers, but there are many more. Beyond the humor, however, there is a much more powerful story going on in Bruce's heart.

While he has the power of God, he doesn't have the knowledge or wisdom of the Almighty. He finds himself deluged with prayers still overwhelmed with pressures of the world. He uses his new powers for selfish things, and when he finally is moved to do something for others, he does a half-hearted job at it.

Despite his powers, he still finds himself going nowhere nothing works out the way it should. He can manipulate people and things, but he does not have the power to interfere with a person's free will. Free will is the only thing we have when we're born and the only thing we take with us when we leave but despite being told not to interfere in free will, Bruce tries at it anyway.

After nearly 2 weeks with omnipotent powers, God confronts Bruce asking what good things he has done for other people, or what things has he done at all that were good. As his life continues to unravel, Bruce realizes what God was trying to tell him subtly all along.

This is not just a film about the funny situations one can get into with almighty powers the story is more about the individual relationship each person chooses to have with God... and how to look at yourself before pointing out the problems in others.

There is some foul language in the film, but it is minimal and not anything beyond what is seen on prime-time TV these days. The film is very entertaining, but also very deep. It's hard to watch this film and not have at least a moment of looking at yourself in a different way and more importantly, looking at the people around you and trying to see them as God sees them instead of in the selfish way we usually look at others.

In many ways, this is a timeless movie almost an instant classic... and one of the few blockbusters in recent years that it's safe to take your family to watch.

Read Best Reviews of Bruce Almighty (2003) Here

Bruce Nolan is a flunky reporter who is always sent on remote locations to cover ridiculous assignments for a local television station in Buffalo. His life goal is to be head news anchor, but his career is cut short when he swears on the air. After his neglected girlfriend dumps him and everything in his life goes awry, Bruce asks God for Help. God answers him, but Bruce cops an attitude and tells God how unfair He is and what a terrible job He is doing in the world. God listens patiently and tells Bruce that he can play God for a while, which is similar to giving explosives to a child.

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What happens when God gives a whining, complaining ordinary Joe his powers? "Bruce Almighty" attempts to answer that question, with Jim Carrey playing Bruce Nolan, the whining, complaining ordinary Joe. And Carrey has a field day with the character, delivering some of his funniest stuff yet, which include a tyrade on a newscast from Niagra Falls and making his rival newsman speak in gibberish. Jennifer Aniston does well in her first mainstream role as Nolan's girlfriend Grace, and Morgan Freeman never takes his God role too seriously, which adds an extra layer of humor to a movie already chock full of Carrey's physical gags.

Nolan (Carrey) is a reporter at a Bufallo news station, buts what he really wants to be is an anchorman. But when his rival takes the job instead, and he loses his job because of his tyrade at Niagra Falls, he gets fired and starts to get on God's (Freeman) nerves because of his complaining. All the while, he is starting to neglect his girlfriend Grace (Anniston). But God hears Bruce's complaints and bestows his powers on him. Carrey thinks all his problems are now solved as he now becomes known as Mr. Exclusive because he makes it so he covers amazing, freak stories, like a metorite hitting Earth. Although, Bruce soon finds out that his new found fame is taking him away from what he really enjoys, i.e. grace, and he is going to lose all that if he does not change himself and how he acts.

And that is the film's moral: instead of asking for everything, you have to get off your butt and do it yourself, and think about people other than yourself. Despite the occasional corny moment, director Tom Shadyac (Who collaborated with Carrey on "Liar, Liar") still manages to lend enough gravity and emotion to the message, and makes a wholly satisfying conclusion to a movie that will make your sides split, as well as make you rethink the way you go about life.

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Tuesday, September 2, 2014

Pit And The Pendulum (1991)

Pit And The PendulumAfter seen the remaster work done to Puppet Master and Subspecies, I was excited to see this and Castle Freak coming out on blu-ray. What I discovered instead were a couple new releases that had no work done to them. They're basically upconverted DVDs and if you already have the DVD, your blu-ray player will upconvert those and you'll get the same quality. There's nothing new on these releases that warrants a blu-ray purchase if you already have the DVDs.

How could this be "temporarily out of stock?"....this movie has never been released on bluray...Its available on dvd but not bluray...how about giving us a release date for the bluray?

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I really want to buy this movie on blu ray but it`s always out of stock.I love these full moon movies and I hope they get more in soon.

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Friday, August 29, 2014

New Jack City (2012)

New Jack CityThe two-disc special edition of New Jack City is a great investment for fans of the classic hip-hop drama. Released in 1991, New Jack City was the first feature film Mario Van Peebles released. The film also was a breeding ground for actors who went on to have very successful careers. The music of the "New Jack" movie is almost as memorable as the movie itself. Ice T stars in the film as a "New Jack" cop who goes undercover to break down the "CMB" crime mob. Crack was running rampant. Wesley Snipes starred as Nino Brown and Allen Payne starred as his right hand man "G-Money." It's a great film and Chris Rock appears in the film as a crack head named Pookie. "New Jack City" is the first hip-hop gangsta movie classic. It wasn't just a shoot em' up bang bang movie, it really captures the essence of those mafia/organized crime movies. The DVD's packaging is very nice.

The Road To New Jack City-

This is hands down the best featurette on the special features.

Usually when you see these behind the scenes features, at lease one of the main actors is missing. Not so with New Jack City. Mario Van Peebles (actor/director), Ice-T, Chris Rock, Wesley Snipes, Allen Payne and Judd Nelson speak on the film. It's really interesting to see the actors express their feelings about the film. Nino Brown is such a memorable character and Wesley Snipes seems very upbeat in reminiscing about the film. This featurette is really amazing because they get inside of every major character involved in the film. They even discuss certain scenes. This is great.

NJC-A Hip Hop Classic

Fab Five, Nappy Roots, Truth Hurts, A DJ from Power 106, Ed Lover, Ice T, Warren G, and a few others speak about the film and the films soundtrack. Cassandra Mills-the soundtracks producer tells the story of the films soundtrack. She states this was the first soundtrack that featured rap, hip-hop and pop songs. She explained how Color Me Badd had a #1 song, the Christopher Williams song was doing it's thing on the pop charts and the Ice T song was thing on the rap chart. She states they had three hit songs from the soundtrack prior to the film even coming out.

Music Videos

Ice T-New Jack Hustler

Color Me Badd-I Wanna Sex You Up

Don't Wake Me (I'm Dreamin)-Christopher Williams

Two disc set also includes a feature title "Harlem World-A Walk Inside (Mario takes viewers on a tour of memorable locations seen in the film) and Director/Co-Star commentary by Mario Van Peebles.

Mario Van Peebles directed and co-stars in this influential and well filmed urban crime saga that surprisingly still holds up today. New Jack City, like King of New York, Boyz N the Hood and Menace II Society, has spawned a host of immitators to this day, but it's Peebles heartfelt message that sets New Jack City apart from others. Peebles stars as one of the honest cops (along with pimp turned rapper turned actor Ice-T and Judd Nelson) trying to nail ruthless drug czar Nino Brown (Wesley Snipes) and bring down his empire of drugs and murder, to little avail. A young Chris Rock stars as a recovering addict who Ice-T and co. look upon to help them nab Nino, but it soon proves to be something that is much easier said than done. Unlike the "gangsta" films that followed, New Jack City offered a glimmer of hope under the violence and pounding hip-hop soundtrack, and it helped launch the career of the charismatic Snipes who would become an action star as the decade progressed. The rest of the cast does great as well, and it's nice to see that the film gets the Special Edition treatment it has deserved. All in all, New Jack City remains a near classic of the genre, and still manages to hold up to this day.

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I grew up on a staple of spaghetti westerns (Terence Hill), kung-fu (Bruce Lee & Jacky Chan) and action (Bruce Willis) flicks but as a young black man growing up in Kambuzuma, Harare, Zimbabwe I did not identify myself with any ONE genre. Kine 1000 was a typical urban cinema goer's paradise.

Enter Wesley Snipes in 1991's New Jack City and my whole world changed. Here was a despicable villain, vicious, arrogant and totally self-serving an individual as you ever will see, yet he was charming ang very likeable at the same time. I identified with him, I hated his politics (so to speak) but in the same breath I knew a 1000 like him who corrupted nations and enriched themselves while so doing. The movie was set in America but it could have been enacted in any urban city in the world.

Happening, relevant and totally and brutally believable! Snipes is excellent, Allen Payne, Ice T, Judd Nelson & Chris Rock not far behind this movie set the the tone for all drug related movies to follow. Brilliant movie, brilliant acting this film turned me off drugs for life!

Read Best Reviews of New Jack City (2012) Here

Ahh..... New Jack City, what a classic. The tale of a man who runs the streets of New York selling crack, the overly agressive cop who wants to kill him himself, and the funny and funny-looking crack addict turned good. Ice T plays a cop who wants to shut down Snipes' business and watch Snipes die with his own two eyes. The loving part of the movie includes Chris Rock as Pookie, the crack addict who decides he is done with crack tries to help the cops but ends up being killed. The action in this movie in unbelievable. Wesley Snipes and his crew are one of the meanest in film history ive seen. He makes Al Pacino and Robert De Niro look like pussies. This is definitely a must see and a must own.

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This motion picture is about the crack cocaine epidemic and the devastating impact that it had on life in the inner city. This is a tough and uncompromising movie.

The main character in New Jack City is Nino Brown (Wesley Snipes), the leader of the Cash Money Brothers (CMB) gang that is one of the biggest crack cocaine trafficking outfits in New York City (NYC). Together with his partner Gee Money (Allen Payne), Brown lives a glamorous life of luxury, fast cars and hot chicks. To put it mildly, Brown is a poor role model for inner city youth.

As Brown's CMB empire grows, he becomes ever more arrogant. The CMB takes over an apartment building and evicts the inhabitants, including an elderly World War II veteran. The CMB is becoming big, fat and out of control. The CMB is hell bent on contaminating the NYC inner city scene. Brown even dreams of taking down the Mafia so that the CMB can become the dominant organized crime gang in NYC. Brown initiates action against the Mafia and scores some success. The shootouts between the CMB and the Mafia are very well done.

Eventually, the top brass at the New York Police Department (NYPD) wake up to the CMB menace and resolve to do something about it. Two of its best detectives, Scotty Appleton (Ice-T) and Nick Peretti (Judd Nelson) are assigned to the case. The detecting duo get a big break when they come in contact with a druggie named Pookie (Chris Rock). The detectives put Pookie on the road to recovery and Pookie agrees to infiltrate the CMB for the NYPD.

New Jack City is a most interesting movie. On the surface, it is just another cops and drug dealers movie, but it is really more than that. It is a tough, realistic portrayal of the damage wrought to the inner city by the crack cocaine epidemic. It presents an involving story with a strong anti-drug message. This movie really makes clear just how bad the drug problem is in the inner city and how illegal drugs have ravaged the community.

New Jack City is a well executed movie. It features strong performances by such actors as Ice-T and Wesley Snipes, who have generally not made strong performances on other movies. It has a strong script and an involving plot. It probably should have won the Academy Award for Best Picture, yet it was not even nominated for an Oscar in any category. This was because, for all its great points, New Jack City was generally regarded by both the critics and the Hollywood elite as a "black" movie and as such unworthy of being considered as legitimate cinema irregardless of how much money it earned for its releasing studio.

This movie was both entertaining and educational in that it taught this country's youth the dangers of drugs and how it

leads to a person's downfall. The message of this film was plain and simple: Crack cocaine can destroy a person's life and damage the lives of others. If we do not continue to fight the war on drugs, then drugs will continue to destroy our country.

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Wednesday, August 13, 2014

Sin City (Two-Disc Theatrical & Recut, Extended, and Unrated Versions) (2005)

Sin CityWhile it's probably a total cliche to say it by now, Sin City really is a wild thrill ride of a movie, and quite possibly the most entertaining thing that will hit theaters all year. Adapted by director Robert Rodriguez from Frank Miller's graphic-novel series, it's an energetic slab of neo-noir, complete with twisted characters, ambiguous morality, and deadly serious dialogue. For those who thought the Kill Bill movies weren't bizarre or violent enough, Sin City ought to seem like a stylish, action-packed gift from guy-movie heaven. It's filled with negativity, outrageously over the-top bloodletting, and some of the blackest humor known to man, but it all works anyway. I even managed to forgive the incessant voice-over narration, normally a rather lazy device, because it's so oddly poignant and poetic. It's not really that big a deal anyway, because this movie is so impressive visually that the characters could speak in gibberish and I'd probably still be moved to give it at least three stars.

It should be noted right off the bat that Sin City is not a movie for everyone, but if you're the type who would like it you presumably know who you are. IF you like crime movies, especially those filled with action and atmosphere, you will almost certainly get a kick out of Sin City. If you prefer lighter, more "socially redeeming" fare, you may still like it, or you may be overcome with bile filling your throat for most of its two-hour running time. It's all a matter of how willing you are to accept what's going on without asking too many nagging questions like "How exactly did Mickey Rourke just take out ten armed riot cops with nothing more than his fists and a hatchet?" or "is it really possible or even necessary to manually tear off a man's scrotum?". Everything about this movie is utterly outsized, from the themes to the characters to the action, but in the end it's a rousing success at what it intends to do, which is entertain. It's precisely because this movie was so utterly entertaining that I found myself unwilling to nitpick; you'll probably be too busy having your senses assaulted to linger on any problems you may have with the movie. Nothing is more key in movies (or TV, or novels for that matter) than getting the viewer to suspend disbelief, to simply let go and enjoy what's transpiring regardless of the plausibility level. Some of my favorite movies are wildly unrealistic, but at some point when watching them I just decided to go with it. Sin City is one such movie: I realized early on that the events unfolding onscreen bore little to no resemblance to reality as presently constituted; I just didn't care. I went to see this movie with my wife (who is, to put it mildly, not a fan of dark or violent movies), and she may have summed up the experience of watching it the best when she said simply "I was never bored." That, ultimately, is the secret to Sin City's success: it's so gripping to watch that it's hard to care about anything else.

As everyone (and probably their brothers) knows by now, Sin City was filmed using real actors against a black-and-white CGI background with some touches of color added for dramatic effect. It may seem like a gimmick at first, but Sin City is all about bringing the viewer into a sort of parallel universe, so this unconventional device works perfectly. Sin City is a movie dealing with lives on the edge, and it conjures up a delightfully dark, grimy, and gritty atmosphere to go match the depravity of its subject matter. Weighty themes and over-the-top violence abound here, and it's only fitting that the movie's look and feel should be so uniformly haunting. Consisting of three tangentially related stories occurring out of sequence, Sin City brings the viewer into an underworld populated by thieves, murderers, hookers, and dirty cops, and the morality is viewed entirely in shades of grey. In the Basin City of the movie, where the good guys are bad and the bad guys are even worse, violence is often a virtue, or at the very least a prerequisite for survival. If there's one redeeming value to Sin City's cartoonish ultraviolence, it's that it's painfully clear that its recipients generally deserve it.

Anyway, if there's one theme running through all of these stories, it's that of redemption. The protagonist in each tale (Bruce Willis's Hartigan, Rourke's Marv, and Clive Owen's Dwight) is a most unlikely hero (although Hartigan is just a regular cop and therefore not exactly bad, whereas it's clear that Marv and Dwight are murderers), but each finds himself driven to acts of extreme courage and sacrifice in order to see justice done. Sin City portrays a kind of heroism not typically seen in movies (especially big-budget, sanitized Hollywood productions), one that comes from doing the right thing even when it's nowhere near being the easiest thing. Rourke's Marv is probably the most memorable character, a hulking thug with a highly overdeveloped sense of vengeance who managed to arouse some of my sympathy even as he cut a swath of unimaginable destruction through his enemies on his way to avenging a murdered prostitute. Out of the legions of other figures in the movie, the great Benicio Del Toro deserves some special mention as a comically malevolent crooked cop who won't shut up even after he meets his unfortunate end.

Now, although I've gone on too long already, I'd feel remiss if I didn't talk about Sin City's staggering violence quotient. Yes, this an extremely graphic movie, and much of the violence is downright disturbing to watch (Elijah Wood's character being cut up and fed to a wolf is a prominent example, even if much of the violence in that case was implied), but it's just as true that context is an important factor when considering just how offensive such bloodletting is. Now, for one thing, Sin City is meant to be a piece of escapist cinema, so nothing that takes place onscreen should be taken too seriously anyway. After all, no one got offended during the scene in Monty Python and the Holy Grail when King Arthur cut off the Black Knight's arms and legs; that scene was meant to be funny and it was. Perhaps more to the point, the violence here is so ludicrously over the top from the opening scene that it's hard to imagine any rational person getting too upset. You have to just go with it; if you're the kind of person who makes it a point to be huffy and offended all the time you shouldn't be seeing this movie anyway. 'Nuff said

The concept for this film started in the Comics revolution of the late 60's with incredible artists like Frank Frazetta, Jim Steranko, Neal Adams, and Barry Smith. They knew anatomy, and they used photographs to compose their backgrounds. Pre-Anime, the characters began to "almost" move off the pages. Frank Miller came along in 1978. He helped to inaugurate the adult graphics novels-larger formats, better paper, brighter inks-coupled to nudity and R-rated dialogue. Some of this has been around since the late 50's, but the new format was gathering speed and Miller was in the vanguard.

Miller's graphic novel's about SIN CITY contained art in panels that broke down like very detailed storyboards. When Robert Rodriguez decided to court Miller and sell him on the idea of converting the graphics to digital video-Miller loved it. Their partnership went so far as to have Rodriguez dropping out of the Director's Guild so that he might be permitted to put Frank Miller in the credits as co-director. Rodriguez created a B&W world where color was used sparingly-and for great effect. Blood was white-or bright red. Some eyes were blue. Some hair was blond. Pale green and pale blue showed up on classic cars.

Rodriguez assembled a powerhouse cast. Bruce Willis was first up, to boost the sales of the production and the star power. He was excellent in the film-beginning to appear very Noir-very Chandler and Hammett-a modern Bogart. Using CGI and live actors, Rodriguez was able to do most of the work in his homegrown studio in Texas. Miller created a world part pulp-novel, classic cars-and part hyper-violent martial arts and splatter film. Everybody smoked, many of them drove a ragtop-they could shoot guns with both hands simultaneously-and women, regardless of how far they had fallen-were still treated with respect. More than an adaptation of Millers comic book art-it is literally his artwork brought starkly to life. The effect is original, violent, sexy, existential-and very effective.

The film worked off three Miller "stories"-and the best of the three-THE BIG FAT KILL-starred Mickey Rourke. He can think of this film as his return to the big time. He is brilliant. His character, Marv, is perfectly fitted for this new genre-and his acting, and the action he precipitates-blows all the others in the film out of the water. This may be Rourke's finest performance. He has been a pro boxer, as well as actor-and he needed that physical prowess for this role.

Everyone in the film was impressive-with the likes of Clive Owen, Powers Boothe, Rutger Hauer, Nick Stahl, Benicio Del Toro, Elijah Wood, Michael Madsen, Josh Harnett, and Michael Clarke Duncan all making love, murdering, or slapping around women like Jessica Albo, Jamie King, Rosario Dawson, Carla Gugino, and Brittany Murphy. One critic wrote," This is a Mickey Spillane fever dream!"

There is a rumor that in the director's cut RR will include some deleted scenes that he shot to flush out all three of the Miller stories. It appears that a sequel is imminent-absolutely necessary. Most of us can't wait for the next installment-to cruise Old Town, prowl the Roark farm, beware of the warrior hookers, love the hot babes, dodge the bullets and swords and knives, and stare at those great cars.

Buy Sin City (Two-Disc Theatrical & Recut, Extended, and Unrated Versions) (2005) Now

I wish the rating scale went up to 10 stars because I'd enthusiastically give them all to Sin City. I've watched it a dozen times and am still blown away by the dialog and gritty throwback feeling it evokes of the old 30's and 40's hard-drinking, hard-fighting tough guys. It actually inspired me to sit down the night I saw it, and jot down the outline for a Film Noir type novel that's now moved to my front burner after completion of my third novel in my McCarthy Mystery series. I just hope I can write something half as compelling as Sin City.

The film makes no apology for the raw lust and violence and yet never falls into campy self-parody.

But it's the film-work, the use of light and shadow and especially color that really blows you away. Yellow for the corrupt, cowardly blood of the pederast villain. Masterful!

If you haven't seen Sin City, give your senses a treat and buy the DVD.

You won't be disappointed!

Read Best Reviews of Sin City (Two-Disc Theatrical & Recut, Extended, and Unrated Versions) (2005) Here

It is now official that Robert Rodriguez will be releasing a full, 2-disc special edition copy of Sin City in early December. It will feature the film (theatrical version and a version in which the three tales can be viewed separately)and a disc of bonus features (ten minute cooking school, ten minute film school, a few commentaries, trailers, poster gallery, and a load of featurettes).

So if your just looking for the theatrical version and nothing more, buy the featured DVD now. If your a fan, and want all of the nooks and crannies, I think you can hold out until late November or early December, trust me, it should be worth it.

Want Sin City (Two-Disc Theatrical & Recut, Extended, and Unrated Versions) (2005) Discount?

Sin City has finally come out on PSP, and my god it doesn't get better than this.

A few words about the movie This is, without a doubt, a MASTERPIECE of film-making, and definately live's up to the hype surrounding it's release.

Now that's said, let's get onto technical side of the UMD disc.

Video:

Sin City looks absolutley JAW DROPPING on PSP. Consistently sharp, contrasty as hell with solid "BLACK" blacks, no evidence of grain or compression artifacts, and no bleeding whatsoever...it's a SOLID performance from Mirimax/Dimension. The OAR is untouched, keeping it's original 1:85 ratio (with tiny little black bars at the top and bottom). Subtitles are large, displayed in yellow, and easily readable against the image. Overall, this is a faultless presentation.

Video: 5/5

Audio:

The sound on this baby packs quite a punch, and right from the word go you'll be pleasantly surprised. Make sure you crank this up to full volume, as it deserves this experience to be fully appreciated. Overall, a nice job boys.

Audio 4.5/5

Extras:

Now, this is the first UMD disc that i own, to spoil you with more than just your usual trailers. Like the DVD release, we get the gorgeous animated menus aswell as the 8 min "Behind-the-scenes" featurette, giving you a teaser of what we'll expect on the future Director's edition coming out.

Extras: 4/5

Overall this is, without question, the disc to own this season. And for under $20, there's no excuse not to buy. Fantastic Visuals, Excellent Audio, and great extras, this is the benchmark for future UMD releases. Get used to this kinda UMD treatment boys and girls.

Overall 5/5

-zallapo

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Tuesday, July 29, 2014

The Piano (1993)

The PianoJane Campion's "The Piano" does what many truly great films do: It inspires fascinating discussion and provokes mixed reactions. The male friend with whom I saw it back in 1993 and I were so enthralled that we kept our significant others waiting to leave for our respective Christmas vacations because we kept phoning each other to discuss symbolism and interesting themes in the movie. While I continue to absolutely love the film, I also recognize why some viewers have not shared my reaction. Perhaps you have to have at least considered a forbidden love affair or perhaps you have to have found yourself trapped in a relationship where you feel you have lost your voice to appreciate what Campion explores.

The story centers around Ada (Holly Hunter in an Oscar-winning performance) and her daughter, Flora (Anna Paquin--who also won an Oscar for her extraordinary performance). They leave their upper-class home in Scotland after Ada's father (apparently) arranges her marriage. Ada, who has willed herself not to speak since age 6, expresses herself through her beloved piano.

The true story of who fathered Flora is never revealed in the movie, but the context suggests that she is Ada's illegimate child born from an illicit affair. The hinted-at story of Flora's conception provides a key to understanding both why Ada later begins an affair with her New Zealand neighbor Baines (Harvey Keitel) and why she makes a mail-order marriage in the first place. I suspect that Ada's aging father may have wanted to see her settled--preferably far away so that her unconventional behavior would no longer be a source of social embarassment--and given Ada's muteness and out-of-wedlock child, her father probably couldn't find a suitable suitor in mid-Victorian Scotland.

Stewart (Sam Neill) first encounters his future wife on a lonesome gray beach surrounded by her crated belongings. His Maori porters begin carrying many household items up the muddy path to his dreary homestead. But Stewart refuses to bring the piano along, despite Ada's apparent distress and Flora's pleas that her mother MUST have her piano.

Ada's piano, abandoned on the barren New Zealand beach, captures the sense of what 19th century colonial life might have been like for too many women--treasured possessions, the last ties to "civilization" left behind.

Rendered voiceless without her piano, Ada begs Stewart to return for her instrument through notes and more pleas from Flora. Finally she persuades Baines--a colonist whose tattoed face evidences the extent to which he has "gone native" and who is considered less civilized by his neighbors--to guide her back to the beach. Ada comes to life again as she, at last, gets to play. Drawn by her passion for the piano, Baines arranges with Stewart to trade land for the piano. Without consulting his wife, Stewart assures him that Ada will provide lessons too.

During first of these lessons, Ada strikes her own bargain with Baines, whom she still considers a boor: She will trade sexual favors to earn back her piano, one key at a time. Ultimately, her reluctant bargain grows into full-blown love and passion. The dark, brooding tone of "The Piano," however, suggests that something in this situation will go tragically, and probably violently, wrong.

Campion has filled her movie with haunting piano music (actually played by Hunter) and intriguing imagery. The metaphor of piano as voice and losing and regaining one's voice, Flora's role in changing her mother's fate, the question of whether Ada's bargain reflects a woman taking control of her life or just being victimized in a different way, and many other complexities make this a movie worth watching again and again and again.

By the artwork I believe this Blu-ray to be an import from Australia and the bad news is that it is a terrible transfer.

Having purchase this disk I offer the following review based on the assumption that it is the same product.

The back cover states that this disk has been mastered to 1080i Standard. Why on earth 1080i???????

Why was the film not re-mastered from film stock and to 1080p Standard?

The interlacing is apparent from the very start. The title sequence background has very obvious horizontal streaking. An ominous beginning.

This Blu-ray suffers from too much green and too much grain. Most of the red seems to have been filtered out thereby making the film darker than it should be. As a result the flesh tones are unnatural. Having seen the film in the theatre, to me this print has been made unusually dark for no apparent reason. The opening sequence where Ada McGrath is looking at the light between her fingers is strange because her fingers appear to be black, when in reality as anyone who has done this themselves know that the light through your fingers appear flesh coloured or red. This sets the darkness for the rest of the film. My Region 2 DVD has colours that are lighter, more red and natural looking (as I remember them from the theatre).

Viewed on a small screen (i.e. my PC) the picture generally looked OK, however on a large LCD TV all the shortcomings were accentuated and became unacceptable.

Another annoying feature of this disk is the omission of automatic subtitles for translations where required;

(i) When Ada and Flora McGrath are both conversing in Sign Language.

(ii) When George Baines or any of the Natives are speaking Maori.

Automatic translation subtitles were included in the theatre and also on my Region 2 DVD, however, on this Blu-ray; nothing.

There are selectable subtitles for the Hearing Impaired, but these have no translations for the Maori dialogue either.

The only thing that is an improvement over the DVD is the addition of a DTS-HD 5.1 Audio track. Everything else, I consider to be sub-standard for a Blu-ray.

What the manufacturers of this Blu-ray have done to this wonderful film is nothing short of a disgrace. A DVD up-scaled to 1080i would have been quite OK if the source material had been better. At US$34.99 I would expect a bit more effort should have gone into the making of this Blu-ray.

Being more than a little disappointed with my purchase, the next day I returned the disk and obtained a refund.

The 3 stars are for the Disk not the movie. The film deserves 5 stars.

Buy The Piano (1993) Now

I missed this movie in the theaters 10 years ago, and saw it for the first time purely by chance on HBO recently. I was so enchanted that I watched each of the next three showings in the very same day, and then bought the DVD for my collection. It is one of the most unique, truly deep, thought provoking, awe-inspiring, movies I've seen in a while. The drama is almost Biblical, the love story almost Shakespearian in quality (think Othello). I was enraptured by the music, the crashing waves, and the amazing synergy between the players.

And Harvey Keitel who knew? Those gangster/tough guy roles just don't even touch this man's talent. George Baines is intense, tender, passionate, a total jerk so it would seem but underneath the gruff exterior lies the heart of a prince. Keitel really puts it all out there, literally and figuratively. It's a risky role and it works for him.

Holly Hunter was spectacular, as usual, but in this film the fast-talking, high-energy woman you came to know in "Broadcast News" or "Texas Cheerleader Murdering Mom" must dig deep. Ada's silences surpass powerful, she conveys more with her facial expressions than most people say out loud in a lifetime. Speech is clearly an overrated and overused form of communication. Ada's will is almost a character onto itself. And one can see clearly that no one is more surprised by her emerging emotions and unfolding events than she.

Sam Neill's character is sad, broken, pathetic, frightening, and your basic worst nightmare all at once. Jealousy is indeed and ugly and and devastating emotion.

I disagree with a few of the other reviewers about Anna Paquin's character, Flora. Some saw Flora as innocent. Watch closely. She's diabolical, almost schizophrenic. She has the wide-eyed, innocent visage of a pathological liar. Note the scene with the photograph, the dog under the porch, her conversations with the other women in the village (where you begin to see her turn on her mother as she realizes that she's being replaced as the center of her mother's universe) and when her final act of betrayal results in horrific violence (don't think for a second that she didn't know what she was doing), then note her repentence, and subsequent absolution (the soiled angel wings in the river), and her redemption. Miss Paquin could never be considered a "child star" she's already shown more maturity than many adults in film today.

And of course, the Piano, the center of it all, Ada's voice, the music in this movie is so moving and expressive, so perfect for each scene. My next purchase is the soundtrack.

In sum, heart-achingly beautiful, devastatingly real and dream-like all at once. I highly recommend.

Read Best Reviews of The Piano (1993) Here

I saw this movie when it first came out in theaters in 93 and it has continued to haunt me ever since. Watching it again last night, I realized once more what a wonderful movie it is--rich in symbolism, character, excellent acting, and a story so deep and beautiful it won't leave your brain.

Many reviewers have given a plot synopsis but I want to talk about the way the piano itself is used in the movie. It is a beautiful instrument and from the start of the movie we can see that Ada loves it. We soon see why she is so attached to it--it is literally her voice since she has not spoken since the age of 6. When she and her daughter are dumped on the shores of New Zealand, her new husband refuses to acknowlege her need to have the piano with her. He leaves it behind despite her pleas that they take it rather than her clothes or household goods. There is a very poingnanant scene with Ada standing on a cliff and looking out to the beach at the piano with such longing in her eyes. It is clear she is leaving a part of herself behind--perhaps the most important part and yet her oaf of a husband completely misses it.

It is Bains, the neighbor and friend of Ada's husband who finally grasps the significance of the piano. At Ada's insistance, he takes her and her daughter back to the beach so she can play her beloved piano and 'speak' for the first time in days. You can see by the way her face lightens from the harsh mask it has been through most of the movie so far how much this means to Ada. She actually smiles and her movments lose their stiffness and become flowing as she lets the music move through her, saying things impossible to express through words. Bains displays a quality here that Ada's husband has little of--patience. He stays on the beach and listens to Ada play most of the day. There is another interesting piece of symbolism at the end of this scene where Ada walks in the wet sand, leaving her footprints behind. Her daughter runs to join her, walking in the same set of footprints and after a moment's hesitation, Bains also follows, adding his footprints to hers and making the track a single one--forshadowing the end of the film in which the three of them will form a family.

After hearing Ada play, Bains is captivated by her. He arranges with her lunk of a husband to buy the piano and Ada is forced to give him lessons. At first she has nothing but contempt for Bains whom she considers ignorant because he can't read but after they strike their bargain--1 black key on the piano keyboard for one sexual favor in order for Ada to earn her piano back--she gradually begins to see him in another light.

Much has been made in other reviews of the fact that Bains proposes such a bargain to Ada in the first place. But this is not the act of a man bent solely on gratuitous sexual gratification--rather it is the only way Bains can think of to make Ada his--to bring the elusive and aloof woman down to his level so he can love her and give her a chance to love him. Throughout the movie it is clear that Bains is deeply moved by every aspect of Ada--the way she looks, the way she expresses herself through music, the play of muscles under her skin as she 'speaks' through the piano, even her scent. And it is clear that he understands the significance of the piano because he treats it as an extension of Ada herself. In one evocative scene, he takes off his clothes and uses them to polish the richly carved wood of the instrument after Ada has gone. He touches the piano with reverence and love, using the same gestures that he later uses with Ada herself when he caresses her body.

I must digress here to say that many reviewers have commented on the full frontal nudity of both Ada (Holly Hunter) and Bains (Harvey Keitel) in the movie. Some people seem to think it is gratuitous but I really liked it because I felt it added to the symbolic quality of the film. Bains looks like you might expect a New Zealand farmer to look--his body is hard and deeply tanned from working in the sun--he is everything that is rough and rugged and masculine. In contrast, Ada is pale and fragile looking--everything soft and feminine and when she does finally yield to Bains with her whole heart, the differnces between them combine to make a deeply sensual scene.

It is in the love scene that we first see the beginning of the end of the piano. Ada, who hasn't spoken a word out loud since she was 6, says something we can't quite catch while she and Bains are making love. Bains doesn't quite catch it either but he urges her to 'whisper it' in his ear which she does. Now that Bains has unlocked her voice, we can see that the piano is going to become obsolete. And in fact, at the end of the film when she and her daughter are leaving via canoe with Bains, Ada orders that it be pushed overboard. The piano now symbolizes her old life, a life she wants to leave behind forever. But it almost takes her with it--she nearly drowns with her piano when her foot catches in the ropes that bind it. She struggles free at the last moment as much to her own surprise. She is surprised that her will has chosen to live rather than to die with the piano which now symbolises the stagnant life she is leaving behind.

At the end of the film we see Ada learning to speak. Though she still plays the piano, it is no longer her sole means of communication. She has grown from a cold, silent woman to a warm and loving one, the change fostered by Bains' love and understanding. He has helped her find her true voice and let go of her past though in her dreams she still sees herself tied to the piano which rests at the bottom of the ocean. Perhaps she sees the part of herself she had to leave behind in order to grow and find true happiness and self fulfillment.

The Piano is a moving and beautiful film, one of my top five favorties of all time. I can't say enough about this lovely movie. Rent or buy it today and see what I mean.

Want The Piano (1993) Discount?

My wife & I love the movie The Piano.. let's just say it strikes all the right chords and it falls into that category we have reserved for just a handful of special movies that are worthy of being watched over and over. Anyway when the Blu-ray version of The Piano was released(apparently Australia made this happen)we immediately bought it from Amazon and tried it. This was a very disappointing experience.. you get all worked up to see one of your favorite movies upgraded in glorious Blu-ray and suddenly it all turns into a big non-event. It absolutely would not work in my newer model Sony Blu-ray player.. no picture, nothing. I even went so far as to drive to the local dvd shop around the corner and they allowed me to try it in their Blu-ray player.. nothing. I quickly sent it back to Amazon for a refund. Later on I decided to take a chance and try out another copy of the The Piano (Blu-ray), this time I obtained it from a local dvd shop (the shop is actually one of the ones on Amazon's secondary market). The dvd packaging was identical to the first one I had obtained from Amazon(same Australian source) labelled "a world of stories dendy heart", it was noted however that there was a small black sticker on the package that states it is compatible with PS3. What about the average Blu-ray player that most people have? Anyway, I tried this second copy and you guessed it, it also did NOT work! I returned it for a refund. I give up. Why is this inferior type of product being sold and why doesn't Amazon address this. My recommendation is don't buy this product unless you want to be inconvenienced.

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Tuesday, April 29, 2014

Journey 2: The Mysterious Island (Movie Only Edition + UltraViolet) (2012)

Journey 2: The Mysterious IslandThis movie has some really great 3D effects! Sure some of the kid pranks are in here but it also has expansive scenes where the water and landscape become part of the living room. I think the home 3D was better than the theaters. My kids have already watched it multiple times and enjoyed the special features on the bluray. I would list it as a buy if you like 3D and hate that most movies it seems to be an after thought rather than a focus. My only complaint is this insistence to make the digital copy ultraviolet...it sucks! They even now have multiple warnings on the cover saying it is not an iTunes digital copy...wake up...we want itunes/windows digital copy that we can carry no matter our connection speed.

Juvenile action films should always have Dwayne Johnson (formerly The Rock) in the cast. He has an unmistakable charm that spoofs his image and seems enormously likable. This time he treats us to his dancing pecs (yes, you read that right!) and a ukulele-accompanied version of "What a Wonderful World," but his focus is still kid-friendly family fare. No argument here! And Amazon.com has family fare!

To make an island this mysterious, Director Brad Peyton ("Cats and Dogs: The Revenge of Kitty Galore") is once again using a LOT of Computer Generated Imaging. How else can we have puppy-sized elephants and honeybees big enough to ride?

We see:

* Josh Hutcherson ("The Kids are All Right") as our hero, off in quest of an island that seems to exist only in books: Jules Verne's Mysterious Island and 20,000 Leagues Under the Sea, and Robert Lewis Stevenson's Treasure Island. He decodes a message from his long-missing grandfather and thinks he might be stranded on an island doomed to soon disappear.

* Dwayne Johnson ("Fast Five") is our young hero's stepfather but his awkward attempt at a father-son talk is pretty pathetic. He agrees to take the boy on a trip to the South Pacific, but has no idea what the kid really has in mind.

* Luis Guzmán ("The Caller") owns a rickety old helicopter which they hire (chickens roosting in it are his "security system"). He knows the danger, but really needs the money to send his daughter to college.

* Michael Caine ("The Dark Knight") is our hero's grandfather, isolated on that mysterious island for many years and more than a bit daft.

* Vanessa Hudgens ("Beastly") is here for set decoration and to provide a flimsy love interest for our hero.

Lame dialogue like "Who's up for adventure?" and calling three guys "ladies" is offered, along with 3-D images of centipedes skittering off rocks into our laps, cherries ricocheting off the pecs of Rock into our midst, and pieces of that helicopter as it disintegrates in a hurricane. The children in the audience weren't bored and I am, once again, impressed by Dwayne Johnson's career path. He is the most unlikely of PG-rated actors, yet he consistently entertains in these goofy things. Good for him.

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The writers and producers of this film were smart enough not to have Dwayne Johnson play the role of Brendan Fraiser. Sean, the son, is back and lives with his mom and step-dad in teen prison, known as Dayton, Ohio. Dwayne is intelligent and understanding. When Sean gets a cryptic message, Brainiac Dwayne Johnson helps him decode it. Sean wants to go to the Island and find his grandfather, who he thinks sent the message. Dwayne, who is trying to connect with Sean, decides to humor him and very quickly into the film, we are at Mysterious Island.

Luis Guzmán plays a local helicopter pilot who along with his pretty daughter Vanessa Hudgens (Gabriella Montez of High School Musical) are capable of getting the foursome stranded on the Island. Once they meet up with Michael Caine, there is some ridiculous rivalry dialouge that doesn't fit well into the film. The special effects were good. The humor and story was aimed at the kids who enjoyed the picture far more than their parents with some scenes being downright juvenile. Sean, of course, has a thing for the island girl, who plays hard to get. All this is going on while the volcano blows smokes and oozes lava.

Some cheesy fun. 3D effects...unfortunately bounce right at you.

No F-bombs, sex, or nudity, Pure PG goodness. Good one for the kids (pre-teen and younger). WARNING: Dwayne Johnson sings. 5 STARS for kids, 3 stars for the adults who sit through it.

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My 7 year old daughter and 4 year old son absolutely loved this movie. In fact, they couldn't wait for it to come out on DVD. I liked it too. It was exactly what I expected and ..... It was a lot of fun. No academy awards on this one, but I knew that going in. Listen to us 5 star raters.....it is worth the purchase. What were the people that rated this one as poor expecting? I mean..... Really?

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SURPRISE this a terrific, entertaining movie! Pop some popcorn and get ready for some good old fashioned family entertainment.

The characters are engaging, the storyline filled with adventure, fun and excitement (with a little teenage surliness and romance thrown in for effect).

The high definition is crystal clear and the 3D is beautiful.

I recommend this highly. Surely there's not an Academy Award nomination in its future... but it IS a great little family film... with a happy ending! (and a setup for a sequel!!!)

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Thursday, April 24, 2014

Before the Devil Knows You're Dead (2007)

Before the Devil Knows You're DeadThe full title of this film is 'May you be in heaven a half hour before the devil knows you're dead', a rewording of the old Irish toast 'May you have food and raiment, a soft pillow for your head; may you be 40 years in heaven, before the devil knows you're dead.' First time screenwriter Kelly Masterson (with some modifications by director Sidney Lumet) has concocted a melodrama that explores just how fragmented a family can become when external forces drive the members to unthinkable extremes. In this film the viewer is allowed to witness the gradual but nearly complete implosion of a family by a much used but, here, very sensible manipulation of the flashback/flash forward technique of storytelling. By repeatedly offering the differing vantages of each of the characters about the central incidents that drive this rather harrowing tale, we see all the motivations of the players in this case of a robbery gone very wrong.

Andy Hanson (Philip Seymour Hoffman) is a wealthy executive, married to an emotionally needy Gina (Marisa Tomei), and addicted to an expensive drug habit. His life is beginning to crumble and he needs money. Andy's ne're-do-well younger brother Hank (Ethan Hawke) is a life in ruins he is divorced from his shrewish wife Martha (Amy Ryan), is behind in alimony and child support, and has borrowed all he can from his friends, and he needs money. Andy proposes a low-key robbery of a small mall mom-and-pop jewelry store that promises safe, quick cash for both. The glitch is that the jewelry story belongs to the men's parents Charles (Albert Finney) and Nanette (Rosemary Harris). Andy advances Hank some cash and wrangles an agreement that Hank will do the actual robbery, but though Hank agrees to the 'fail-safe' plan, he hires a friend to take on the actual job while Hank plans to be the driver of the getaway car. The robbery is horribly botched when Nanette, filing in for the regular clerk, shoots the robber and is herself shot in the mess. The disaster unveils many secrets about the fragile relationships of the family and when Nanette dies, Charles and Andy and Hank (and their respective partners) are driven to disastrous ends with surprises at every turn.

Each of the actors in this strong but emotionally acrid film gives superb performances, and while we have come to expect that from Hoffman, Hawke, Tomei, Finney, Ryan, and Harris, it is the wise hand of direction from Sidney Lumet that make this film so unforgettably powerful. It is not an easy film to watch, but it is a film that allows some bravura performances that demand our respect, a film that reminds us how fragile many families can be. Grady Harp, April 08

At the age of 83, director Sidney Lumet proves he still has plenty of juice. And once again, Philip Seymour Hoffman proves he is one of the finest American actors working today. This powerful one-two punch nails this movie into your head; and that's further guaranteed by, a) great acting by the rest of the cast, including Ethan Hawke, Marisa Tomei and, in a bravura performance, Albert Finney, and b) a shockingly dark portrait of a family so dysfunctional it almost makes the Texas Chainsaw Massacre folks look tame. Well, almost.

Two brothers, played by Hawke and Hoffman, work in the same real estate company, but are hugely different. Hoffman's the bigshot; Hawke's not. Hawke's divorced; Hoffman's married to Tomei and the opening graphic scene shows just how married the two of them are. Hoffman's got problems and so does Hawke, but they're different problems, although both have their root in money.

Money drives this sucker and leads to greed, murder, despair, fear, and retribution. This is one of the darkest of noir tales in a long while; it's a noir family drama that's so unrelenting your chin drops further and further as the movie progresses and by the whopper of a tragic ending, it's definitely on the sidewalk.

But this is what makes it so compelling. It's astonishingly powerful; fundamentally, you can't believe how things can spiral so much out of control the way they do in this movie, but they do, they definitely do.

Hawke and Hoffman both needing money leads to a plan to get said money, and, of course--this being a noir film at its blackest heart--to get it completely illegally. Watch this movie to see how noir is REALLY done today, in the 21st century. As another critic pointed out, it's not so much that these guys are criminals, but that they are essentially average guys with some smarts who are in real jams and who take what looks like an easy way out to remove those jams...meaning that these guys could be you or me.

This is a real kick in the teeth movie. Serious punch, powerful acting, a director with real chops at the age of 83, and one you won't forget for a LONG time.

See it.

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I had a pretty good idea of the basic plot when I walked into the theatre. Two brothers (Philip Seymour Hoffman and Ethan Hawke) plan to hold up a jewelry store in a strip mall...and the store is owned by THEIR PARENTS. I also knew it bounced around in time a little.

What I didn't expect was such an unrelenting look at a whole bunch of magnificently screwed-up people! WOW! I was left almost breathless by the new depths to which these folks could sink. It was a family tragedy, but there sure wasn't anything noble about these characters.

Hawke is the younger brother, and he works for the same company as his brother, but in a fairly lowly position, and he can barely make ends meet. He's way behind on his child support, and his daughter is growing more and more aggravated with him because he can't follow through on his promises to her to do things like fund her field trip to go see THE LION KING on Broadway. He appears to be ever so slighly dim-witted, although that may just be the drugs. He lives in a rough apartment and has some pretty rough friends.

Hoffman is the older brother, and while on the surface he may appear to be a little more together (he has a fairly responsible accounting position in the company)...we actually see as the movie progresses that he's in some seriously deep trouble. His marriage to Marisa Tomei is very much on the rocks, and the only good times they had recently were on vacation in South America. He believes he can start a new life down there, and keep his marriage going...but how to fund such a move? He's also into some pretty hefty drugs and even his larger salary can't fund it all.

It's his idea to rip-off the parents. ("Hey, they're insured.") Hawke finally buys into it, and they enter into the plot. It isn't spoiling much (because we see it so early in the film) to say that things don't exactly go smoothly! I won't say more, so you can see for yourself.

So why are these two guys SO screwed up? We see some of this as more scenes between the boys and their parents are revealed. In particular, we see their relationships with their father, Albert Finney. He's an old man now, but we get the idea that when he was younger, he was pretty tough old bird, difficult to please, lacking in affection and just a real poor father. Scenes with mother Rosemary Harris are fewer and less illuminating. It's really a story about how men in a family can screw each other up. BEFORE THE DEVIL KNOWS YOU'RE DEAD takes this idea to EXTREMES.

Towards the end, the actions of Hoffman in particular become almost monumentally deranged. We believe that he is doing what he's doing...but it's hard not to gasp in dismay. He is truly a completely broken and desparate man. All sympathy we might have had for him is gone...just like any sense of a moral compass he might have had. And Albert Finney arguably goes even one step more off the path of righteousness at the very end.

Anyway, I hope you get that this is not a happy, light film. But it is powerful, astonishingly well acted and written, and an absolute must-see. It's a riveting time at the theatre!!!

Hoffman is brilliant...pure and simple. His work here easily equals anything he's done before. I don't know if the film will be an Oscar contender, because it has such a small audience...but it should be and absolutely Hoffman should be up for Best Actor. Hawke is also very good...he is a complete coward and makes up both sympathize him and despise him. He could be up for Best Supporting Actor. Finney is always an imposing presence...and he's very good here. Again, I can't tell you too much without spoiling the plot line, but let's say he goes very convincingly from distraught to enraged. Marisa Tomei does another masterful performance as the woman who unknowingly is the downfall of the men in her life (in some ways...don't accuse me of being a chauvenist...I'm just saying that a lot of the choices the characters make revolve around trying to please her). She gives a brave performance (she spends a lot of time in the nude) and is her usual mixture of sultry and defenseless. If her role in IN THE BEDROOM got her a nomination (which she deserved) then I think she could have another one here.

Director Sidney Lumet may be getting on in years...but my goodness, he sure doesn't hesitate to step right into some very murky and unpleasant waters. His film is super specific, has a wonderful sense of place and he also gives his great cast the space they need to "do their stuff." No quick edits, or blitzkreig pacing when it doesn't suit. He believes we will be gripped by the story, and he's right.

This is not a film for the kids! Nor is it a film for someone looking for a glossy Hollywood film. It's pretty brutal and uncompromising. But I couldn't tear myself away, and the audience I saw it with was clearly as mesmerized as I was. GREAT stuff!!!

Read Best Reviews of Before the Devil Knows You're Dead (2007) Here

"Before the Devil Knows You're Dead" is one of the best movies to come out of 2007. It's involving, thrilling and even at times terrifying to see how normal everyday people can do terrible and unimaginable things. It's also a film that shows you that nothing is ever simple and even what seems to be the most simple or "victimless" crime can lead to devastating consequences that can shatter lives.

"Victimless." That's exactly the term Andy uses when he explains to his brother how they can get some easy cash. Both are in desperate need of money. Andy says that there is a solution to all of their problems, and that is to hit a mom-and-pop jewelery store that they both know very well. No guns will be used. No cops will be called. And most importantly, nobody will get hurt. How can it go wrong? Very wrong, that's how. Wrong as in that people do get hurt and that the aftermath can lead to the destruction of an already damaged family in the gripping melodrama that goes to show you just how evil the world can be sometimes.

Not a moment went by where I didn't find myself hooked. Not a minute went by where I could predict what was going to happen next. That's a real treat when you are in the presence of a confident film that won't resort to the usual cliches or predictable twists and turns. The writing and performances are outstanding. Phillip Seymour Hoffman gives one of his best and darkest performances as a man who can be so manipulative and cold, yet you sense that there is a longing for love and acceptance that he has inside of him that wasn't shown to him when he was younger. Ethan Hawke, Marisa Tomei and Albert Finney are also terrific and deserve high praises.

There is a risk that comes with a film like this, and that is the fact that there will be a lot of people who won't like it. It's very dark, depressing and even gives you a sense of hopelessness that things can ever be good for these characters. But, because this movie is so well executed, it makes you want to take the trip even if it's not a joyful one. The DVD includes cast and crew commentary, a theatrical trailer and a making of featurette.

I have seen this film many times now, and it never loses its power and emotion for me. True, "Before the Devil Knows You're Dead" is not for everybody, but it is a remarkable film that deserves to be seen. If you're looking for a crime story where you actually care about the characters, as flawed as they may be, then this may be the one for you. -Michael Crane

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This film is a wrecking ball operated by Sidney Lumet -it crashes through manicured downtown New York lofts and lives alike while viewers gawk at the spectacle. If there's a weak link in the cast, it's Ethan Hawke, but even he might get an Oscar nomination for his work here. The level of performance is so high that you nearly miss the film's nearly perfect production design and cinematography. Unfortunately, it's tone is so bleak, bordering on noir, that it becomes much easier to compartmentalize and appreciate from afar rather than embrace and enjoy. (8/10)

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Tuesday, April 22, 2014

Gate of Hell (Criterion Collection) (1953)

Gate of HellIn 1953, Teinosuke Kinugasa (1896-1982) directed and co-adapted the historical play entitled "Jigokumon" (English transliteration of the Japanese title), which was written by Kan Kikuchi (1888-1948). The film's name (the same as the play) translates into English as "Gate of Hell", and was released theatrically in the U.S. in 1954. The story takes place in 12th-century Japan during the Heian period and at the start of a revolt. During the confusion and fear running rampant through the royal palace in Kyoto, a lady of the court, Lady Kesa (Machiko Kyô), is rescued by a soldier named Moritoh (Kazuo Hasegawa, 1908-1984). After the revolt fails, Moritoh is told that he can have anything that he wants, and what he wants is Lady Kesa to be his wife. He is quickly told, however, that she is already married to Wataru Watanabe (Isao Yamagata, 1915-1996). Rather than seek something different, Moritoh becomes dangerously obsessed with Lady Kesa.

Filmed in beautiful & vibrant color (probably one of the first color films from Japan), the cinematography in "Gate of Hell" is exquisite. The story is by no means dated, though it does become somewhat predictable. Still, it is both compelling and engaging and the acting is superb, especially Machiko Kyô. Memorable scenes in the film include the confusion at the royal palace, Laky Kesa hiding from traitorous soldiers, Moritoh meeting Lady Kesa and her aunt after the revolt, Moritoh given the choice of his heart's desire, the horse races, Moritoh at the home of Lady Kesa's aunt, and the ending scenes. The makeup used on Moritoh could have been better.

The film won several awards including an Oscar for Best Costume Design, an Honorary Academy Award for Best Foreign Language Film and the prestigious Grand Prize at the Cannes Film Festival in France. Overall, I rate "Gate of Hell" with 4 out of 5 stars. Hopefully, the film will be fully restored and released on DVD one day. I highly recommend the film.

I first saw this at a revival in the early eighties and couldn't believe how beautiful it was. Then I got this video and was suprized that it wasn't nearlly as beautiful as I remembered. The reason wasn't a bad memory, but the original prints used for showings have rotted in film vaults, and have become blurry, faded, and scrathy. I was very disappointed that Home Vision didn't present this digitally remastered and restored with new computer subtitles (the subtitles are quite crude). That's the reason I didn't give this five stars other than that, this is one of Japan's greatest masterpieces. The ending is pretty sad but has a beautiful ending. The degree that Moritoh will go to get Kesa is trully horrifying and Moritoh transforms from a herioc samurai warrior and hero of the film to a maniacal barbarian and villian. Recommended, but maybe the more picky film viewer who has an outburst everytime a scratch line goes down a film should perhaps wait until this is restored to the experiance it once was.

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Gate of Hell (Teinosuke Kinugasa, 1953)

The 1950s in Japan were a great time for costume dramas. Witness Gate of Hell (Jigokumon), Teinosuke Kinugasa's multi-Western-award-winning (Oscar: Best Foreign Film and Best Costume Design, New York Film Critics' Circle: Best Foreign Film, BAFTA Best Film, Cannes Grand Prize) flick about obsessive love and its inevitable end.

Moritoh (Genji Monogatari's Kazuo Hasegawa) helps put down a revolt, and is rewarded with anything he desires. What he desires is the beautiful Kesa (Ugikusa's Machiko Kyo), but he finds out that Kesa is already married to another samurai, Wataru (Isao Yamagata of The Seven Samurai). This knowledge doesn't faze Moritoh in the least; he sets about trying to win Kesa's love by proving himself a better warrior than her husband.

It is a good film, but it could have been a better one. Midnight Eye's summary of the film says that "Kinugasa himself was fully aware of his picture's dramatic weaknesses, and blamed intervention from his producer, an under-developed script and a rushed working schedule due to a release date fixed in advance. Whilst impressive in its performances, and the ambition and scale of its production, with a little more attention to plotting, one gets the feeling that it could have been a truly great film." This is quite the case. While it is undeniably a stunning picture, even by today's standards-the rather primitive film stock (this was Japan's first color film) does nothing to mask the intricacy of the set design, the brilliant, almost expressionist color scheme, or Kinugasa's excellent eye when it comes to action scenes-the plot is presented in almost stop-motion fashion, with one excellently-acted scene after another, but nothing to tie them together.

This does not, by any means, mean you should avoid this movie. Any film containing Machiko Kyo, possibly the single most beautiful actress working in filmdom in the 1950s, and certainly one of the handful of the most talented, is well worth watching. Hasegawa makes Moritoh into a figure who is less frightening than pathetic, a man who is driven solely by his demons, who has entirely lost his soul to obsession, while Yamagata plays Wataru as a blissfully ignorant chap who is given every opportunity to see tragedy rushing towards him, but refuses until it's on his doorstep staring him in the face. It could have been great, but because it's not doesn't mean it's not good. ***

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This film wowed the critics when it first came out in the 1950's. The extraordinary medieval costumes and exquisite color compositions dazzled the audiences. Today, even Martin Scorsese ranks the movie among his top 10 of foreign films. It must have influenced so many Japanese directors when they attempted to create their own epics.

Obviously, I prefer the masterpieces of Kurosawa or Kobayashi or Mizoguchi. This is a very good film rather than a great one. Nevertheless...this movie grows on you. Other reviewers discuss the basic plot: Moritoh, a warrior who quashes a revolt, is to be rewarded for his bravery by the emperor's regent. He is asked to choose any gift from the emperor. During the revolt, he encounters the beautiful Lady Kesa, who is kind to him. Like a fool, he demands that he be given Lady Kesa as a wife, even though she is already married to a lord of higher class. Everyone asks him to desist.. but pride, madness, and desire prevent him from doing so. He vows to destroy anyone who stands in his path and goes so far as to kidnap his prize. On the other side of the wall, rather than defend his wife from such outrageous conduct, Lady Kesa's intellectual husband takes no violent action to protect her.

The scenes are enhanced by the exaggerated dramatic, strong movements of Moritoh against the delicate movements of Kesa. Notwithstanding, she is just as strong a character as he is. I give this movie 5 stars because I felt this was Machiko Kyo's best performance. Every gesture of hers can be studied for meaning.

The ending of the film grabs me so much because it is pregnant with so much significance. Don't rush to judgment think about it. There are secrets to the ending.

Postcript: The Blu-Ray quality is marvelous don't even think about seeing the movie in any other format. I also love the glorious poster artwork on the cover of this Criterion Edition.

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I saw this last night on TCM, which, BTW, is a rare treasure on the medium of the "idiot box". Isn't it remarkable that this movie is 53 years old, and it still sparkles? What an accomplishment! It had the ingredients of a truly great film complex characters that are developed fully and efficiently, great story-telling with attention to details, and good acting a little stylized, but keep in mind that that impression might be due partially to Westerners unfamiliarity with Japanese culture, and partially to how the definition of "good acting" has evolved.

I love the film's nobility and moral rectitude. Those were the days when (and we were in a culture where) "doing the right thing" was the expected norm. It was seen in Moritoh's loyalty at the price of at least it seems at the time expediency, which was preceded by Kesa's unflinching sense of duty and willingness to lay down her own life. This is the beauty of Kesa's "soul" that Moritoh found out all-too-late he failed to see, which manifested itself as bookends in the plot, but is in fact the moral center of the movie. Such ideals are no longer frequently or fully embraced these days. Look at how we glorify criminals in shows like The Sopranos and Thief. I also liked how the plot falls together: Kesa's readiness to sacrifice herself at the outset of the story made her self-immolation at the end of the film ring true. The little details: remember the talk of chestnuts when Moritoh first saw Kesa with her aunt? We saw later on those very chestnuts hanging on the swaying trees during Moritoh's unfortunate night time visit. When Wataru and Kesa took what turned out to be their last walk in the garden under a full moon, it was all peace and serenity. The very same setting is transformed sinister and ominous just moments later, with the moon now hidden by clouds, as Moritoh slowly emerges out of the darkness in the background a truly masterful and memorable scene in the history of cinema.

The theme of "folly" pervades the movie: we see a lot of it just from one character, Lord Kiyamori and he's a top dog and a leader! His son had to advise him to act quickly to quash the uprising when we first see him. He then failed to reward Kesa, who is every bit as deserving as Moritoh of recognition. Even if you chalk that failure up to the times and the culture, you can't excuse his Jephthah-like stupidity and arrogance in giving Moritoh pretty much carte-blanche in his wish for a reward. What's more, we have his incessant and insensitive teasing instrumental in precipitating the tragedy, in that it made the proud Moritoh all the more determined to have Kesa. Was Wataru cowardly, foolish, or both, when he "threw" the race? Lest you missed it, there's the cruel irony of Moritoh's comment after his brother's treachery resulted in his execution, "My brother was a foolish man". Moritoh proved to be no Solomon.

I thought it was a little frustrating to watch Kesa's helplessness when Moritoh blackmailed her. Surely there's another way out, woman! But I suppose that's part of the tragic theme: all the characters had strengths as well as tragic flaws. At the risk of second-guessing the director of a great movie, I felt that he could have kept the identity of the person in bed a secret until the moment of truth, but I'm sure I need to remind myself that this is not meant to be a thriller. I'd like to watch this movie again, maybe along with a movie it reminds me of: Kurosawa's Ran.

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