Modern Times (The Criterion Collection) (1905)

MODERN TIMES opens with its credits being printed out over a close-up image of a clock ticking interminably forward. The film's first real shot is of mindless sheep being herded through gates, which fades into an image of factory employees exiting a subway stop on their way to work. Looking at this from a modern standpoint, one can only think that the more things change, the more they stay the same.

This is a film that I can watch over and over again. It's not just that it's an incredibly funny film. It's not just that its satire of modernization and industrialization still rings true today. It's that each aspect of the filmmaking pulls together to form something greater than each individual part. The story ranges from big topics concerning the Great Depression and dehumanization, while successfully balancing that with the small love story between the tramp and the gamin. In a theme that would be revisited even more powerfully in LIMELIGHT, the two characters need each other, depend on each other and simply have no reason to exist without the other. The comedy tickles while the tragedy touches. No other director in film history managed to find that equilibrium with such skill.

This is rightly hailed as the last great silent movie, albeit one made several years after sound has become the norm. I still get a kick out of the fact that the only intelligible voices come solely from machines. Chaplin is making a silent film using sound technology, meaning he has the option to take the best of the both worlds. His next film, THE GREAT DICTATOR, wouldn't quite get this mixture right, but it's a success here. The film can go for several minutes at a time with no meaningful talking or sound effects, and then suddenly jump into an unexpected gag involving voice. The mixture of sound and silent set pieces was inevitable at this point in film history, but I've never seen it pulled off as well as Chaplin does it here.

While disc one contains the film itself in beautifully restored condition, the second DVD is full of extras. Most important is the "Chaplin Today -Modern Times" documentary. This is more or less structured around two French directors (Luc and Jean-Pierre Dardenne) discussing the film. Absolutely fascinating stuff. They analyze the film's jokes, its metaphors and its themes. They talk about everything from the number of frames per second shot to the number of gags that revolve around food. Also included in the documentary is some footage of Chaplin meeting Gandhi. I have nothing to add; I just had to mention it.

Chaplin's nonsense song, the tune he sings at the end of the film in faux Italian, is the subject of two extras. The first is an extended version, featuring a final verse that never made it to the final edit. The second is a Karaoke version of the song (I'm not making this up). And speaking of Chaplin's music, there's an excerpt from 1950s TV of Liberace himself (of all people) performing "Smile" -the theme from MODERN TIMES. Great rendition of a great song.

There's also a short (ten minute) documentary from 1967 called "Por primera vez" ("For The First Time") in which peasants in a tiny village in Cuba are shown a movie for the first time. It's a fascinating look at what film means to people who have never actually watched one before. The reason for its inclusion on this DVD is that the film in question is, of course, MODERN TIMES. It may be an odd choice for their first film experience given that the story of a factory worker undergoing a nervous breakdown may not be something that relates well to people who rarely even see automobiles. But the villagers laugh at the right places and seem genuinely enthused. The documentary is well worth watching and will fascinate anyone with an interest in the societal ramifications of film.

The picture restoration on the main feature is also fabulous. The image has never looked crisper. While this is nominally a silent movie, the original release did feature a synchronized soundtrack of sound effects and Chaplin's musical score (which means, unlike other "silent" DVD releases, we connoisseurs don't have to argue about whether this particular sound track is wonderful and totally keeping in the spirit of what would have been played at the time, or a complete outrage that should result in everyone responsible being shot). The sound quality is excellent, bringing one of my favorite film soundtracks to life superbly.

If I was going to recommend one Chaplin movie to someone, I think I'd have to choose this one. It has two major things going for it. It's a great film, but it's also extremely representative of his body of work. It has comedy, it has pathos, it features the tramp, it has a message. And it's also one of the most influential movies that Chaplin ever made. Everyone, from film to television (remember Lucille Ball working at the candy factory?), has either made reference to MODERN TIMES, or just plain stolen some of its gags. The image of Charlie being dragged into the heart of the gears and cogs of a giant unfathomable machine is familiar to even those people who haven't seen the movie. If you like this film, then you should already own this release. And if you haven't seen it before, then this is absolutely worth a gander. You'll be surprised at just how modern and fresh this classic movie is.

Charlie Chaplin's Modern Times is one of my favourite films and arguably one of the best films ever made. The movie remains incredibly funny while also managing to be a significant artistic achievement in cinema design and social commentary. For Chaplin fans, it marks the last appearance of his "little tramp" character and, not coincidentally, his last film without full synchronized sound. The film does include music, sound effects, and the occasional voice, including a segment at the end where we get to hear the tramp sing a short nonsense song. However, as a film released 10 years into the sound movie era, the film is also something of an enigma. It presents perhaps the most famous silent film character in a film that purports to be silent, yet it features futuristic factory machinery (reminiscent of Metropolis) and large close-circuit flat screen video displays that would have looked almost like science fiction back in the 1930's.

This new Blu-ray release from Criterion continues their standard of releasing historically important films with significant audio/video remastering and a variety of enticing special features. However, in this case, Criterion is competing with an already excellent release of this film on DVD from Warner/mk2 in 2003. The new Criterion release mentions that the "new" transfer was created in collaboration with Cineteca di Bologna, who were also credited with the previous Warner/mk2 release. I am not sure if this release actually includes a new transfer or just an upgrade of the existing one to 2K-resolution for Blu-ray. I performed a side-by-side comparison of both versions, and the Criterion Blu-ray version contained noticeably better detail and superior contrast. However, it also contained a great deal more digital grain that I found a little distracting at first. This can easily be seen in the opening frames where the clock face that seemed so steady on the old DVD version now has a multitude of dancing pixels that give it a strange shimmering quality. As the film progressed, I became accustomed to the new graininess of the image and began to appreciate the increased detail. For the first time, I could see some of the horizontal wires used to secretly operate the "feeding machine" in the second chapter. Chaplin's face also looked a little older throughout. The old Warner/mk2 DVD version looked softer and textures, including faces, had a much smoother feel to them. I did notice some extra grit and fibres showing near the edges of the frame in the Criterion version that were absent from the Warner/mk2 DVD, so this does suggest that the transfer or at least processing of the transfer is different. Overall, I preferred the more detailed Criterion version but still think that a better compromise between the two could be reached with some more processing and cleanup of artefacts done to the Criterion version.

Sound quality for both versions was similar with a slight nod going to the lossless Criterion mono version. The old DVD also includes a Dolby Digital 5.1 soundtrack absent from the Criterion version. This is not really worth the effort for a film with 1936 sound technology.

As far as special features go, the Criterion version really shines. It adds a new and informative commentary by Chaplin biographer, David Robinson. The old DVD included only a six-minute introduction by Robinson. Other features from the old DVD are also carried through to the Criterion Blu-ray. These include the 26-minute "Chaplin Today Modern Times" featurette, two deleted scenes of very minor importance, some theatrical trailers, and a 10-minute Cuban documentary about peasants seeing Modern Times as their first movie experience. The old DVD includes some additional materials that are not included on the new Blu-ray such as photo/poster galleries, plus some vintage featurettes from the US government and Ford motor company related to assembly line labour, and a performance of "Smile" by Liberace. None of these is a major loss.

New to the Criterion version are two excellent "visual essays" which are essentially a series of stills (many from the galleries on the old DVD) with substantial and informative commentaries by two Chaplin historians related to the making of the film and the locations used. There is also a very interesting new featurette about the visual and sound effects used in the film. It includes some fascinating explanations of effect shots presented in the film, although their very detailed explanation of a glass matte shot used in the roller skating scene does not seem to take into account that the camera moves during the sequence.

Also included is a very interesting interview with music arranger, David Raskin, taken from an old Laserdisc version of the film. I was glad to be able to see this again. Finally, an old Chaplin short, "The Rink", and a home movie with Alistair Cooke, "All at Sea", are included. These are available elsewhere but are presented here in superior quality (the former) or with an additional interview (the latter) not available elsewhere.

Criterion also includes a nice 36-page black and white printed booklet with chapter stops, cast and credits, plus two informative historical essays.

Overall, I think this is a nice package. The film presentation is more detailed than it has ever been in any previous release, although some additional digital manipulation of the picture and cleanup of artefacts would be welcomed by my eyes. The bonus features are extensive and interesting, although I would like to have seen more of the image galleries (including stills, script elements, publicity and financial material) that have been included, albeit at much lower resolution, on previous DVD and Laserdisc versions. My only gripe with the bonus materials is that both on disk and in print they refer to poor or at least "diminished" box office performance of the film because it did not have full sound. All vintage box office information I have seen related to the film indicate that it was one of the top five grossing films of the year. Then or now, it is a fun ride.

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The more I watch it, the more I feel that Charlie Chaplin's sublime silent MODERN TIMES (1936) is his finest film. THE GOLD RUSH (1925) is too desolate for my tastes, and CITY LIGHTS (1931) does not have the exquisite Paulette Goddard (then Chaplin's wife) as leading lady. MODERN TIMES is more episodic than other Chaplin features--six or seven one reel comedies strung together for 83 minutes. There are two incomparable segments set in a dehumanizing factory (in this silent film, the boss speaks over surveillance photography)--Chaplin gets caught inside the gears of a machine, while much later his boss, Chester Conklin from the Keystone Kops, has the same thing happen during lunch hour. It is hysterical to see Chaplin feed lunch to the upside down head of Conklin inside the machine. It is also pricelessly funny when Charlie is guinea pig for a new mechanized lunch demonstration that fails miserably.

Meanwhile, out along the waterfront (location work was done at San Pedro harbor), an indomitable Paulette Goddard watches as her father is killed by a mob, feeds bananas to children, and is helped by Chaplin out of a robbery of food when she is starving. The scenes with Goddard are heartbreakingly lovely, while Charlie is having a great time in prison--no work to do and free food! "Can't I please stay longer?" he asks the warden on a title card as he is being paroled. He will get his wish when he inadvertently becomes the leader of a labor rally waving a red Communist flag.

Eventually, Chaplin and Goddard set up housekeeping together in a waterfront shack. She tags along when he gets a job as an all night watchman in a department store. Paulette tries on a fur coat and goes to sleep on a bed up on the fourth or fifth floor. Charlie will wake her before the store opens. But first she watches aghast as he roller skates blindfolded, oblivious to a giant hole in the store four or five stories deep! Then while Paulette sleeps, Charlie tries to be a good security guard on the first floor. There is a story robbery, but one of the criminals recognizes an old pal from prison so they leave Charlie alone. He gets drunk on a barrel of booze, then eventually falls asleep in the lingerie department under a pile of clothes. Unemployment again in the morning.

Finally, Charlie tries his hand, with major coaching from Goddard, as a combination waiter and singer in a fancy restaurant. This is the very first time the Little Tramp talks in movies, singing a gibberish song. But Charlie quits the job when Paulette is arrested for vagrancy. Eluding the police, the two of them head off into a sunrise and bright new future in one of the loveliest endings in all of modern movie history for me. Chaplin's swansong to The Little Tramp forever. Movie comedies just don't get much better than this Depression era gem.

I have MODERN TIMES as part of the two-disk Chaplin Collection authorized by the Chaplin Estate. It looks and sounds like a million bucks, but curiously seems to have been trimmed by a few minutes from the 87 minute original. (All of the Chaplins seem slightly trimmed--for heaven's sake, why?) Disk two bonuses that will take you a good two hours to see--thus a full evening for everything--include a 30 minute chat with two Belgium filmmakers analyzing the movie as they watch it, deleted scenes, the nightclub gibberish song done as Karaoke to try and understand what on earth Chaplin is singing, the classic theme song "Smile" sung by Liberace, a Cuban village seeing their very first movie (MODERN TIMES) with great excitement, U.S. Labor shorts (which I could not get sound on), and a huge 250 stills production gallery.

MODERN TIMES is, quite simply, one of the great comedies of all time and, arguably, Chaplin's most sublime masterpiece. It is sold individually, as a double bill with CITY LIGHTS, as part of one of two Chaplin archives boxed sets, and probably rentable from Netflicks. With so many wonderful Harold Lloyd silent comedies now available in restored 35mm archive prints, along with the same for Buster Keaton, Charlie Chaplin is getting ignored again. Do watch MODERN TIMES to see the great Charlie at his greatest. Or near greatest.

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It helps that Modern Times is one of Chaplin's best films, period, running a close second behind City Lights (I hope that's next on the re-release list). And happily, unlike The Gold Rush, which was ruined by awful sound choices, the Modern Times DVD offers a clean transfer of the film with all the beloved original elements intact as far as I could see and hear, plus a host of extras.

The film itself is the most briskly paced of Chaplin's feature-length films. And his writing is sharp, unhindered by the sermonizing which permeates his last works. The dilemma facing our Little Tramp this time is something all of us can relate to: For the first time, we see him thinking ahead, wanting to have a future, to form a family, and working towards that end. Chaplin's physical-comedy skills are at their peak: Witness the extended takes of the rollerskate scene, and the factory assembly line. Even if the 18fps (sometimes 16fps) film speed made everything look faster than it really was, it's still impressive physical co-ordination requiring flawless execution, since Chaplin rarely edits using coverage.

In Modern Times we see one of the first truly well-rounded Chaplin heroines. The radiant Paulette Goddard was Chaplin's best leading lady, her high spirits and lively presence being a much better foil for Chaplin than the starry-eyed icons of perfection that were Georgia Hale, Edna Purviance, or Virginia Cherrill. She just has more star quality and brings a quirkier, more animated personality to Chaplin's films, balancing them nicely.

And the gags -some of the best in the Chaplin canon. The eating machine always has me rolling on the floor; the nonsense song is terrific (the DVD offers a "karaoke" version which, though a novelty, does tell us finally what the lyrics actually are); and all the machine gags are fast-moving gems.

The bonus materials include a long outtake and several documentaries. "Chaplin Today" features guests Luc and Jean-Pierre Dardenne, the French filmmakers behind the film Rosetta, and though their film-historian banter is not entirely to my taste, they do bring up some insights that I hadn't observed about Modern Times.

In all, a great release, and a great DVD to have for movie nights. It's a wonderful presentation of a comedy classic.

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Modern Times is among the Best 100 American movies of all time (#81), and it is among the Best 1000 Movies on DVD by Peter Travers. I rate this movie 5 stars or 9 over 10. This movie is timeless, a masterpiece, a pleasure to watch and watch over and over again. It was the last silent movie Chaplin did and the last to feature the Little Tramp (beautiful ending with the two lovers walking arm and arm into a sunset.) The theme of the movie is how technology alienates the human being. Accidentally converted into a working class hero, Chaplin spends some time in jail, where he'd like to stay forever. There we watch one of the funniest scenes of the movie, the lunch with some "white powder". I couldn't stop laughing! In the times of the Great Depression, Chaplin portraits the unemployed and the hunger. Trying to find a steady job, he ends up in a Caffe where he waits on tables and sings. Yes! He does. The nonsense song (with Chaplin original voice in there) stands as one of the best moments in movie history. I can't quit this song off of my mind ... Paulette Goddard, Chaplin's wife at the time, appears here in what's considered her best and liveliest leading lady. This DVD is beautifully repackaged for the Chaplin Collection (a wonderful collection, thanks Warner!) It includes an all-new digital transfer and a soundtrack remastered in Dolby Digital 5.1 as well as original mono. The second DVD comes full loaded with many speacial features, like a documentary about "Chaplin today", deleted scenes, an introduction by Chaplin biographer David Robinson, a Karaoke of the nonsense song, the wonderful song Smile, sung by Liberace, a Behind the Scenes in the Machine Age 42 minutes documentary, and lots of more extras!

I recommend this DVD to everybody, you will not be disapointed, and I would say it's a MUST for movie collectors. A classic, a masterpiece, a timeless movie!

P.S. If you like my review vote YES. You can read all my other reviews if you wish to. I modestly write them to help people form an opinion about movies, music and books, but if nobody reads them (if you don't vote I do not know if you did) there is no point in writing them

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Next of Kin (2012)

Quick can you name a movie that has Ben Stiller, Patrick Swayze, Helen Hunt, Liam Neeson, Bill Paxton, and Adam Baldwin in it? Probably not, as most people can't, and what a shame. "Next Of Kin" is a fine portrayal of the "Eastern Mountain Way" as well as the love of family and the bond of brothers.

I enjoyed this movie greatly. Although the plot has been somewhat rehashed many times the performances here stir emotion. Especially Liam Neeson's. If not for his performance in this movie I probably would have given it 4 stars, but he shines brightly here. The loyalty and love of his character combined with the contempt and anger of his character, what a great performance.

When this movie first came out I didn't even know it. I don't know how it fell off the radar screen before ever being noticed but it is cerainly worth a look.

Buy it enjoy it, over and over.

In terms of just pure plot, Next of Kin is -in many ways -a typical example of the unconventional cop vs. the mob film genre of the 1980s...However, if Next of Kin is ultimately a genre piece, its still a better-than-average example of the what the genre is capable of. Certainly, its probably the only film ever made by Patrick Swayze that can legitimately be called underrated.

Plotwise, the film sounds almost like a parody. Patrick Swayze is a former hillbilly from Appalacia Country who has left behind his rustic family to become a big city cop and to romance sophisticated music teacher Helen Hunt. (Is there a reason why big city cops with simple backgrounds always seem to end up romancing music teacers in these films?) Swayze's younger brother Bill Paxton also comes to the city, to pursue a life of petty crime that ends up getting him killed by mobster Adam Baldwin which leads to yet another Swayze brother coming down to the city, this one played by Liam Neeson. As Neeson seeks revenge, Swayze is forced to return to his roots in order to avenge both his brother and protect his girlfriend.

Yet somehow, all of this works rather effectively on screen. The film is directed by Englishman John Irvin who has made a rather unsung career out of bringing a stronger-than-usual sense of characterization to genre films (the best example being the war film Hamburger Hill). Although Irvin's filming of the action scenes are a little pedestrian, he still has a strong visual sense and manages to vividly contrast the conflicting worlds of the country and the city. The film's supporting cast is well chosen and both the heroes and the villians all come to life with a surprising amount of dignity. At no point do any of the actors demean their roles by playing ...typical hillybillys or, for that matter, ...typical mobsters and that shows an unusual and admirable amount of integrity for a film of this sort. Paxton isn't on screen long but remains, as always, a likeable presence and Adam Baldwin makes a compellingly understandable and hissable villian. Michael J. Pollard shows up as a hillbilly and brings his trademark quirkiness to the proceedings while the role of the nerdy mob scion is played by Ben Stiller, of all people. Its a little jarring to see Stiller show up on screen (especially playing an essentially villianous role) yet he gives a strong performance without resorting to do any standard Stiller bits. Helen Hunt's role is ...typical but she's probably far warmer in this role than she's been in any of her prestige pictures. Certainly, the best performance in the film is given by Liam Neeson who dominates the proceedings with the grim sincerity he brings to his quest for revenge. This Irish actor also manages to perfectly capture the unique accent of the Appalacian region. As an actor, Patrick Swayze has always been limited and he's always been better at projecting sincerity than complexity. Luckily, his role in Next of Kin has been designed to require little more of him than sincerity and, if Next of Kin doesn't represent his best performance, its certainly his most likeable.

Next of Kin isn't a great film. As stated before, the story is a tad bit too predictable and that's only made more obvious when the story is populated by a better-than-average cast and directed by a truly talented director. However, this is a rare genre piece in which it is obvious that everyone involved actually put in their best efforts to make a worthwhile film and the results are both admirable and entertaining.

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I loved this movie before I knew who Liam Neeson, Helen Hunt, Ben Stiller, Bill Paxton were! I still love it today. My younger brother knew that I had been wanting to see it again and he gave me my own copy for my birthday. I don't know why Adam Baldwin is listed here as the star, though. Patrick Swayze and Liam Neeson are clearly the stars of this movie. If you live in the South, then you realize the closeness of these people and their desire to avenge their family is not too far fetched. There are so many interesting characters in this movie. I have always felt that one day someone would be digging around and unearth this old gem.

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Patrick Swaze is the big city cop from the backwoods whose younger brother is shot dead by the mob and he vows to track down those responsible.

However,when he takes his brothers body home to be buried,his elder brother,loose cannon Liam Neeson,is disappointed with the lack of direct action;and threatens to become involved.

Neeson does become involved with tragic results which brings a variety of strange hillbilly types into the big smoke to extract retribution.

Reasonable action thriller,but could have done with more of"the kin"and Michael J Pollard;now approaching the veteran stage;steals every scene he appears in.

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Damn good movie and entertaining, too. Being a Kentuckian, I liked how it showed the differences of the eastern Kentucky mountain people's environment, lifestyles, and their beliefs, which is still carried on to this very day, in contrast to the big city's(Chicago)smug, fast-paced attitude. The guy traveling in a converted school bus full of snakes was a bit hard to swallow, and how Liam Neeson's character could find his way around Chicago, and never having been there, is a mystery to me. Yes, there are many bow hunters in Kentucky!! They have a special time during deer hunting strictly for bow. And, yes, they are good with them! But, the movie as a whole is fun to watch with a big bowl of popcorn. Might not be suitable for small children due to language and violence.

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Rambo: Two Pack (First Blood II / Rambo III) (2010)

man, this's the greatest combo/two pack movies EVER!! it also the two greatest Rambo movies too. the first blood was slow and the 4th one was kind of lame. this 2nd and 3rd films features stallone in his prime when he's in incredible shape. it's actioned packed. the story is simple to understand ( hahah ) most important both of this films set in my home country, well part of, Thailand. so perhap U.S government should've sent stallone to vietnam instead the rest of troops. lol

To be honest I got this so that I would have the collection. It is classic 80's action/revenge movies at their very best, but in my opinion the first will always be number 1.

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2 blu ray discs for these 2 movies. EXCELLENT blu ray transformation with nice 5.1 sound tracks on both movies. These are 2 movies done when Rambo is at his peak condition physically. Not the current 2013 aging grey hair version of old man jokes. In the movies, you can see the green jungles and Rambo in his top shape (career-wise & physically). RECOMMENDED! Excellent 2 movie pack!

Read Best Reviews of Rambo: Two Pack (First Blood II / Rambo III) (2010) Here

Great double feature for my collection of Rambo and Stallone movies. Just watched all of the Rambo movies in sequence...even better all together

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Twilight's Last Gleaming (1977)

There are some political thrillers that become "classics" ("The Manchurian Candidate," "Seven Days in May," and "Fail Safe," for example) while others fade into obscurity. "Twilight's Last Gleaming," unfortunately, falls into the latter category, although it deserves wider recognition and viewership.

Burt Lancaster portrays a looney general determined to right a wrong committed by the U.S. government: reveal the real reason behind the War in Vietnam and America's cover-up of this vital information. Commanding three fellow "terrorists" (Burt Young, Paul Winfield, and William Smith), Lancaster takes over a missile silo with the intention of launching it if the government doesn't "fess up" to the American public.

Richard Widmark also portrays a general that must thwart Lancaster's efforts. Charles Dunning is a beleagured President that must decide whether it is essential for the country's future if the information is revealed. His Cabinet is made up of familiar character actors Gerald S. O'Loughlin, Leif Ericson, William Marshall, Charles McGraw, Simon Scott, Joseph Cotten, and Melvin Douglas.

The tension is high in this superior thriller, aided by a stunning Jerry Goldsmith score, split-screen camerawork, and tight direction from Robert Aldrich.

The shocking ending makes this a film deserving of discovery.

I haven't seen this movie since it came out over 30 years ago, but not from lack of trying. There are either legal issues preventing it's re-release or else, as this film itself wants to convince, the powers that be do not want anyone to see it.

Robert Aldrich had already made his great moral parable about the insanity of the Vietnam War with Ulzana's Raid (1972) and now, five years later, he was to team up with Burt Lancaster once again for a full frontal assault. The Lancaster-Aldrich team is right up there with the great actor-director teams of American cinema: Deniro-Scorsese, Lemon-Wilder, Dietrich-Von Sternberg, Scott-Boetticher. This time they add Richard Widmark as Lancaster's nemesis and then get some of the best character actors of the era to contribute some of their finest performances Roscoe Lee Browne, Joseph Cotten, Melvyn Douglas, Richard Jaeckel, Paul Winfield, a very young Burt Young, and especially noteworthy Charles Durning in what might be his best role as that of the very human President Stevens.

The story is totally improbable, the momentum unstoppable and the action breathtaking with the finest use of split screen ever seen in a Hollywoood movie (a technique Aldrich employed to good effect in The Longest Yard a few years earlier.)

I won't say this a a great movie, or even a good movie. I will say this is an important movie to see, made by America's greatest anarchist action filmmaker, and should not be missed, even though it's not possible to find. Call your congressman.

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I saw this picture with my father in the theater. Now I could kick myself for not buying it on video. This picture was probably lumped in with male/ testosterone action flicks and over looked by the public at the box office. The movie is a cat and mouse thriller with Burt Lancaster grabbing the White Houses' attention by controlling a missle silo/bunker complex. As a former Air Force General with high security clearance, he knows how to complete the mission. The film is a study on why a decorated General threatens to start WW III.

On the opposite side of the fence lies the President, played by Charles Durning whose aim is to stop him. The supporting actors are outstanding on all accounts, Richard Widmark, Paul Winfield, Burt Young, Melvin Douglas, to name a few. The actors making up the presidents cabinet are outstanding. The cabinet/advisors must decide is the General a mad man or can he pull off his threat of missle launch. What is his agenda?

The suspense builds thru the picture, can a missle launch be aborted by negotiation, stealth, or brute force. The ending is a shocker, uncompromising, a statement on what happens in a political chess match. The military advisor tells the president, the buck stops here.... you are responsible, even for past transgressions from a previous presidency.

WOULD SOME STUDIO PLEASE RELEASE THIS FILM ON DVD. THOSE IN THE KNOW ARE WAITING.

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I must be one of the few that thoroughly enjoyed this film from 1977. Burt Lancaster leads a team of disgruntled vets (Burt Young, Paul Winfield, and William Smith) on an assault on a missile silo, overcoming the personnel and, eventually, obtaining launch control. With his hands on the trigger of a Titan missile, former (and slightly deranged) General Dell (Lancaster) wants the President (Charles Durning) and his Cabinet to issue a statement admitting negligence in the involvement in the Viet Nam conflict. Such release would be devastating to the nation; thus Durning and company try to devise a plan to satisfy Dell, protect the integrity of the government, and not start a nuclear war.

A tense game of cat-and-mouse erupts between Lancaster, Durning, and Richard Widmark as the general in charge of "taking" Lancaster and friends.

Great performances from the principals abound; the film also features several veteran character actors in small supporting roles: Joseph Cotten, Leif Ericson, Charles McGraw, and William Marshall.

An effective Jerry Goldsmith score adds immensely to the unfolding drama.

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I don't believe it!!! Been waiting for this one for a long, long time.

A fascinating thriller starring Burt Lancaster as renegade General Lawrence Dell who escapes from a military prison and hijacks an ICBM silo with three compatriots played by Burt Young, Paul Winfield and William Smith. Their demands: 10 million dollars, Air Force One, and a hostage, the President.

An exciting political thriller from start to finish. This is a movie you can't miss. Richard Widmark and Charles Durning are just a few others in this stellar cast with great performances all around.

This is the movies first release on DVD and Blu-ray in the United States so hopefully it will be a good transfer. Previous versions have been released in Brazil but quality was equivalent to a VHS tape.

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Sling Blade / Monsters Ball (2013)

I purchased this DVD blue ray because these are two of my favorite movies and to be able to get both of these movies on one DVD was what I thought a great bargain. The price was very affordable also!

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Black Mask / Forbidden Kingdom (Two-Disc Edition) (2010)

great movies great price. I'm a Jet Li fan and i don't own many of his movies and they are not on netflix right now so 2 blue-rays for a great price was a no brainer

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Rec 1 and Rec 2 Blu-ray

The set comes with two blu-ray discs. The [REC] 1 & 2 case as you see in the picture on amazon is like the cardboard material. Its sturdy cardboard though. Keeps the discs in place nice and tight. Playable no problem on all Region 1/A (United States) blu-ray players. The picture quality is awesome! 1080p picture quality. They really up the definition in the blu-ray versions of [Rec] and [Rec]2. The sound is twice what it was on the dvd's. Really makes these horror gems all the much more scarier on blu-ray.

If your a fan of these two awesome films and have a blu-ray player this is a ABSOLUTE MUST BUY!

Not all movie producers are the same. The cinema world needs this type of genre to set the bar higher.

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this is one of my favorite movies of akk time. when you go to add cart it says ( rec 1 % 2 dvd blu ray ) but you are really getting the blu ray. this is a all reigion player so it will play on ALMOST any nly ray player, ENJOY!!!!!!!!!!!!!!!!!!!

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True, the case is nice and sturdy and it is all region blu ray -bla bla bla. I have been really looking forward to seeing this movie but I only had one issue. It is all in subtitles. If you dont mind reading your movie this is for you. I thought it would be dubbed but no dice. As far as the movie itself, I have not made it through yet, again the subtitles.

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Click (2006)

In this one Adam Sandler is self-absorbed architect Michael Newman who is married to the sweet and supportive Donna played by the beautiful Kate Beckinsale, of the UNDERWORLD films. He has 2 beautiful kids, Ben and Samantha, who he doesn't get to see much because he's working lots of overtime in an attempt to be made a partner by David Hasselhoff, his ungrateful boss. One night, tired, frustrated, unable to even figure out which remote will turn on his TV, he sets out to find a "universal remote." In an embarrassing production of product placement that would make a NASCAR driver blush, he ends up at "Bed, Bath & Beyond," specifically the "Beyond" room. Here he finds the resident eccentric genius employed there, called Morty, chiefly because Sandler loves having Christopher Walken, who plays the part, say "Morty." Morty gives him an unique experimental device to get his life under "control." Michael is now able to turn on any & all appliances with the a single "click." He gradually learns of the device's other functions: It can "MUTE" the bark of the family dog, PAUSE everything and fast forward through an argument with the Mrs. he can adjust his HUE as well. Wanting to learn more he visits "the Beyond" and Morty again. Morty tells Michael that he got exactly what he asked for "a remote to control his universe." Morty further demonstrates more features, including one that lets him flip through his existence at varying speeds. Michael is soon corrupted absolutely by the sheer power of the control, literally losing control. Before long he can't stop the remote from selecting what and when he will fast-forward, causing him to miss events he wants to experience, eventually leading the obligatory " It's A WONDERFUL LIFE" epiphany when does realize all that he's missed and sometimes it is and sometimes isn't a wonderful life, but that's okay, he gets the message and all is forgiven.

The film is light formula-fare with heart, like some of Sandler's weaker films, there are laughs to be found. Sandler is okay as the nice-guy with a crude streak. Hasselhoff is fun as the jerk boss. Some of the gags get repetitive and some aren't that funny the first time. Also an over-large amount of time is spent creating the progressively older Michael Newman.

Click is directed for Sandler's Happy Madison production company by Frank Coraci of the Wedding Singer, Waterboy and most recently Around the World in 80 Days (the Jackie Chan). And Sandler again uses Henry "the Fonz" Winkler (previously in the Happy Madison universe as Coach Klien, and as himself in Little Nicky) and Julie Kavner (best known as the voice of Marge Simpson) to play his unappreciated folks. If nothing else, Sandler is a loyal guy.

If you do not know who Adam Sandler is yet, then let me say "Wake up!" This is by far his best film yet, to go along with "Big Daddy," "The Waterboy," "Anger Management," and "Happy Gilmore." Oh, I was laughing so hard when I saw this in the big house. Not only is Adam Sandler great, but so is Christopher Walkin, who plays the guy who gives Adam Sandler this remote. Alright, let me brief you about this Blockbuster flick.

A guy who is down on his luck go to "Bed, Bath, and Beyond." There he goes to the way beyond section of the store, where he meets the creator of the universal remote control (played by Christopher Walkin) that is a remote control not just for electronics, but for everyday life. With this remote, one could mute sound entirely, skip a part of life (such as, let's say you are in high school. Every time it was test time, the remote would skip it for you. How it skipped it, I am not saying). All in all, it is about one lucky dude who found a very powerful remote (he got it for FREE).

So, get this film. You will not be disappointed, that is if you like Adam Sandler or if you just plain like comedy for comedy's sake. Hope I helped get you to laugh, because I sure did, as did the entire auditorium of the movie theatre I was at that day. Oh, and if you like this movie, check out "RV" with Robin Williams. Have fun and be ready to laugh out loud!

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The closest Adam Sandler has come to a great film to this point in his career is "50 First Dates." As far as I was concerned get rid of Rob Schneider as Ula and cut the vomiting Walrus and you would have a five star movie. "Click" is in the same mold in that it combines Sandler's romantic side with a unusual situation and still insists on adding raunchy humor (I suppose there could be worse things than your dog trying to have sex with a giant stuffed duck, but let us not go there). Consequently, "Click" is not an improvement on "50 First Dates," but I do not think that it constitutes a step backwards, which would be welcomed news.

Sandler plays Michael Newman, who has married beyond his reach the gorgeous Donna (Kate Beckinsale), and has two young kids who love him, his son Ben (Joseph Castanon) and his daughter (Tatum McCann), despite the fact that he is so busy trying to make partner at the architecture firm where he works that he is ignoring his family more and more each day. Every time he makes a promise to his family, he feels forced bo break it to satisfy John Ammer (David Hasselhoff) at work. Things are getting so bad that Michael suddenly decides that what he needs ia a universal remote, just like the O'Doyle's next door, so that at least he can turn on his TV instead of the overhead fan. So he heads off into the night and since Bed, Bath and Beyond is the only store opens, goes in to find his universal remote. What he finds instead in the Beyond part of the store is Morty (Christopher Walken), who indeed has a universal remote, and not just your ordinary universal remote, as I assume everybody knows from the previews.

I must say up front that I am pretty sure I could listen to Christopher Walken say anything, up to an including the instructions for using a universal remote or any other form of technology and be thoroughly entertained. I would also add that Morty is absolutely right about Donna's body. Anyway, with his amazing universal remote Michael quickly learns that he can use it to control his world and click away his problems, from muting his dog, fast-forwarding through fights with his wife, and pausing his boss so that he can slap the guy silly (although I think close-captioning would have been funnier for the scene with the Japanese businessmen at the restaurant). Then Michael discovers the catch.

It is not, as the trailer would lead you to believe, that the remote breaks. But rather, as Morty explains, that it functions like Tivo in that it pays attention to what he is doing with the remote and automatically does it again. So if you decide to fast-forward through an illness or foreplay with your wife, then that becomes the way it will be for the rest of your life. This is a fairly interesting idea given the premise of the film, and the only real flaw in it is that once you establish Michael is on "auto pilot" during the chapters of his life that are skipped, then I do not see how he could be so successful at his business given that he has to use the remote to save the bacon with the Japanese firm. But that is just because I pay attention to the rules of the game and like to take them to their logical extensions.

Sandler has gathered familiar faces for this film, with Henry Winkler playing Michael's father, Sean Astin as Ben's swim coach, and even a nice cameo by Schneider, whose understate performance encouraged my hopes for this film. Perhaps the biggest surprise here is that the raunchy humor got me to laugh out loud several times, even if a grown man striking back at the Eddie Haskell-wannabee who lives next door would be wrong, very wrong indeed (but still funny). However, my wife would like me to state in no uncertain terms that what I was laughing at was clearly guy humor, and I am pretty sure she rolled her eyes and shook her head more often than she joined in on the laughing (it was hard to tell, the theater was dark and I was trying to watch the movie).

Ultimately, the problem with the movie is the end, when Michael gets his second chance. That is because the screenplay by Steve Koren and Mark O'Keefe (the team who did "Bruce Almighty") invests so much in the big epiphany and final grace note at the end of the third act that they apparently have nothing much to come up with for the epilogue where we are assured Michael and his family will live happily ever after. "50 First Dates" had a great final payoff scene, and you can go all the way back to "It's a Wonderful Life" to see how well you can milk the return from Hell to the real world. Granted, you will not top the end of the Hell sequence, but then you are not supposed to. Still, there has to be a better payoff for what comes between that point and the start of the credits. I am still rounding up on this one, but I should have been in a position to round down. Final Note: Nice touch with getting Dolores O'Riordan from the Cranberries to show up to sing "Linger" live at the wedding.

Read Best Reviews of Click (2006) Here

What would you do if you could pause, rewind, fast-forward (basically all of the functions you can do with a DVD player) with your life? Would you rewind through prior events to relive the glory days? Or would you skip ahead to avoid waiting in traffic or enduring a fight, or would you pause or slow-down a moment to make it seemingly last forever. Wouldn't it be nice if we had such capabilities, just imagine what fun a person could have with that kind of power. In Sony Pictures hit comedy "Click" Adam Sandler gets to experience what would happen with that power first hand, and sometimes the outcome isn't exactly what he had in mind.

"Click" is the story of Michael Newman (Adam Sandler), a man without a lot of spare time on his hands. He has a hectic, very demanding job, a boss (David Hasselhoff) who is ungrateful for everything that he does, and a beautiful wife (Kate Beckinsale) and kids that deserve more attention than he is able to give. After feeling like life is going nowhere fast for himself, Michael visits a local store and meets a very odd man (Christopher Walken) who gives him what may be the greatest gift of all time, a universal remote. The difference between this universal remote and all others is that this one can not only control electronics, but everyday life as well. Soon, Michael is using the remote to skip arguments or boring conversations, speed up certain activities, even going back through his life to relieve the good times as a younger man. However, the remote begins to go haywire and Michael finds his life spinning out of his control, and the more he tries to fix things the worse they get. Now, he must try to regain what he's lost before it's too late.

"Click" is a movie that I wanted to see from the get-go. I thought it looked funny, it featured Adam Sandler, so I knew that was a safe bet, plus it had a great supporting cast, and what appeared to be a unique story that we all could relate to (meaning all of us that would like to have this type of control over certain aspects of life). When I finally got around to seeing the movie, I must say that it wasn't all that much like I expected. Sure, it was laugh out loud funny numerous times throughout the film, but there was seriousness to the story that was unexpected, yet a welcome addition at the same time. When the remote begins to mess with Michael's life, the movie shifts gears and becomes mostly a drama, revealing the consequences of rushing through life and how eventually it will just pass you by. It's not often that an Adam Sandler movie actually features a moral or message to the story, but this one did, and it didn't feel out of place at all.

I was really surprised that for an Adam Sandler comedy, it was actually very different from his standard fare, there were his typical off-color jokes and remarks, but his character also had a sincerity to him that was uncommon for him to play. Watching him mature over the course of the film was interesting, because it forced Sandler to play more of his dramatic side rather than his slapstick side that he relies on the most. I haven't seen Adam Sandler's more serious movies "Reign Over Me" and "Punch Drunk Love", so I wasn't too sure how all of the serious elements were going to end up playing out when I saw that was definitely where the story was heading, but he handled it remarkably well. The rest of the cast was a mixture of sweet and caring (Michael's wife and kids), to somewhat strange (Michael's parents), to downright kooky and possibly on the verge of insanity (Christopher Walken's character). Each actor/actress was equally entertaining, and delivered very fun, interesting characters that were always enjoyable when on the screen. My favorite supportive character had to have been Chris Walken's, and I was happy that the writers gave him more than just a cameo of screen time. I believe he literally stole every scene he was in, and he did it so effortlessly, which is how it should be done.

If you are a fan of Adam Sandler movies you should enjoy "Click", it does start out kind of slow, but after 10 minutes or so it really picks up, but there is some seriousness to it as well, so don't just expect to be laughing the entire time. But if you're not a fan of Sandler's films, and I know there are plenty of you out there, this is definitely one of his movies that I think you should see. It's a different type of Adam Sandler comedy, one with much more depth and originality than most of his efforts. Though not my favorite Adam Sandler movie, it definitely ranks up there around the top with "Big Daddy" and "The Longest Yard".

"Click" is rated PG-13 for language and sensuality.

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Click is an anomaly of sorts. It isn't quite a comedy, but it's got too many funny moments to be a drama. I guess it's a dramedy, which is important to know if you go into it expecting a lighthearted, fun, family movie. It is each of those things, but at different moments. Adam Sandler plays a workaholic architect who is so busy trying to get ahead at work that his family life begins to suffer. When he is offered a "universal remote that controls your universe," he jumps at the chance to have a sense of control in his chaotic life. The next thing he knows his life is a DVD complete with commentary from James Earl Jones that he can pause, rewind, and fast forward at his leisure.

The moral of the story is that you should be careful what you wish for because when you get it, you might not want it anymore. Overall, this movie was fine, but I didn't think it was stellar. It's along the same lines of Bruce Almighty and that movie about disappearing poop with Jack Black. If you liked those, or the general message therein, I think you'll like this one. I wasn't expecting the middle part of the movie to be such a downer, but if you go into it expecting the somber moments I think you'll enjoy it more.

Also, David Hasselhoff plays Sandler's boss, a completely self-absorbed misogynist. Seeing Mitch Buchanon on screen again makes this movie worth watching in and of itself.

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Kidnapped (1997): Standard Edition Remastered (1974)

This is a wonderful DVD from the folks who restored it in the 1990s. An excellent-transfer, great sound, and some wonderful goodies! Originally-released in a limited-run in 1998, it is available again for the true Bava-cultists (like me). You cannot go-wrong with this DVD, the reconstruction is spot-on. The score is one of the best in Italian-cinema, and it makes "Last House on the Left" seem a little-tame. Mario Bava shows us why he made all of his other horrors--life in Italy during his film-run (50s-70s) was rife with political and criminal-violence. Enjoy! This is the real-deal.

I'll admit that I've never seen films by Mario Bava. I've only recently gotten into Italian Cinema with the films of Dario Argento and other Giallo taken up my interest. Until now I had never tried any Bava. So hearing of this film and being intrigued with the premise I picked up the DVD.

The premise of the film is four criminals rob a pharmaceutical companies payroll during which the getaway driver is killed. The three remaining killers flee to a parking lot taking hostages, one of which they kill in order to escape. Afterwards in order not to be spotted by police in a familiar car they pull off and take more hostages this time a middle aged man and a sick child. At this point the films been a violent crime film. When it gets in the car the film is basically centered on the drive of the criminals and their hostages. Whats good in the film despite minor flaws is that even in its form (neither Rabid Dogs or the re-edited Kidnapped was completed with Bava's support due to circumstances which earned its "lost" status until recently) its a really well assembled suspense thriller building its tension slowly. As tensions in the car rise and victims plead for their lives even the criminals begin to turn against each other. One wants to rape the woman hostage, while another goes along with what ever happens while the leader is more concerned with just getting to their destination. There are moments in the film that to me were great in a transgressive way that newer films couldn't even come close to topping. And in the end, I don't want to ruin it but if you get into the plot as much I did it will definitely suprise you. I was totally blown away by the film. One thing also is the feeling of anger that seeps from every frame. This is a brutal film to watch at times with its portrayl of a world that is vain arrogant and rather brutal in considering the plight of the hostages (especially the child). To me its a film that in tone could almost compare to one of my favorites, Kurosawa's Ran.

Unfortunately I've only viewed the Rabid Dogs cut on the new Anchor Bay disc. It also contains Lamberto Bava's edit Kidnapped more in line with his fathers intentions which I will watch in the future but was turned off for the synthesizer score (I just love the harpsichord and organs blaring in Rabid Dogs even though admittedly the score is incesant) and didn't want to watch the film so soon after seeing it. Still this a definite recommend from me, worth viewing.

Buy Kidnapped (1997): Standard Edition Remastered (1974) Now

Note; this US Anchor Bay DVD has two alternate cuts, one finished by

Bava's son, called 'Kidnapped'. But almost all Bava fans and

professional critics prefer the rougher edged, less polished original

;'Rabid Dogs', so that's what I watched.

--vague possible mild spoilers ahead --

It's a film that is saved by the rare truly successful twist ending,

that changes everything you thought you saw. The acting is less than

great, and the film has a definite misogynistic tone (although everyone

in it is pretty awful on the humanity scale).

On the other hand, there's effectively high tension, as 3 murderous

robbers take two innocent people and a baby hostage. Especially

impressive that it never gets talky or visually dull, despite taking

place almost entirely inside a car.

But the over-acting and clunky dubbing (and writing) really hurt. Then

the end came and I was suddenly ready to forgive a lot.

Read Best Reviews of Kidnapped (1997): Standard Edition Remastered (1974) Here

Some films are just born unlucky. Mario Bava's 'lost' 1974 film Rabid Dogs is a classic case in point. Shooting started as A Man and a Boy with Al Lettieri and an extremely low budget: Lettieri dropped out after a week due to 'illness' and the money barely materialised only for the film to never get through post-production when the producer died and the film was seized by creditors for a quarter of a century. When co-star Lea Lander pulled together a deal to get Bava's rough cut restored, the only US deal she could get with it was with producer Alfred Leone, who, in a throwback to the old days when no foreign film could be allowed on US shores untouched, promptly re-edited, rescored and redubbed the film with new dialogue and added stock footage and new scenes shot by the director's son Lamberto Bava 'to complete it the way my old friend wanted it to be seen.' Sure... An attempt to make a more contemporary shocker in a more naturalistic setting as the European horror genre was hitting the skids, it plays a bit like an automotive addition to the Last House On the Left genre as the surviving members of a payroll robbery kidnap a female hostage and, later, a driver rushing his unconscious son to hospital to help them in their getaway. Cue much humiliation, boorish behavior, relentless nihilism and fatal divisions coming to the fore as you wait for the tables to be turned Tall-T style by the 'little man' (Riccardo Cucciolla, literally miniscule whenever seen standing next to the towering George Eastman). That it doesn't always do so in the most obvious ways and offers a remarkably passive hero is all to the good and Bava's confident handling never makes the fact that most of the film takes place in a car seem uncinematic harder than you might think.

Not that Bava Sr's cut is a lost masterpiece. Like most of his films, it isn't as shocking as his reputation implies: the violence is never especially convincing even if the film's mean spirit seems genuine enough. But the re-edited version, retitled Kidnapped, certainly makes it look like one. The new footage makes the final twist, already fairly heavily signposted if your suspicions are roused early even more obvious and a lot less bleak than in Bava's version. And while the image and sound are clearer, the constant irrelevant cutaways to police control rooms or new characters presumably intended to open up the picture simply act as irritants that dilute the drama and waste screen time without adding anything to the show. Even the new title sequence looks like something from a cheap 80s porno video.

Anchor Bay's Region 1 NTSC DVD includes both versions of the film, with audio commentary by Tim Lucas, featurette End of the Road Making Rabid Dogs and Kidnapped, and trailers for Bava films Black Sunday, Black Sabbath, The Girl Who Knew Too Much, Kill, Baby... Kill! and Knives of the Avenger.

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Already had a fair-quality gray-market DVD of this "lost" Bava classic (as _Rabid Dog_), but was delighted to find a more legit copy here at Amazon. Sure enough, it's a better print! As for the movie, if you're a Mario Bava fan, you know this is a gem. Definitely worth the price, all the more so compared to other versions out there.

The Cable Guy (15th Anniversary Edition) (1996)

Too, too bad that this marvelously wicked comedy didn't get the respect it deserves when it was originally released. Ben Stiller captured a unique modern nightmare: having the strained small talk we exchange with the cable guy, plumber or repairman inadvertantly turn into an invitation for a full-fledged friendship. Jim Carey's performance is a tour de force that works on multiple levels. Carey's notrious and spectacular over-the-top antics are beautifully combined with subtle emotional nuances. One moment it's so funny that you cry; the next it's so sad that you laugh. Carey conveys much more depth here than you've seen in his other roles without moderating his comic genius. Matthew Broderick plays the perfect straight man. Frequently the funniest moments are his horrified reactions to Carey's outrageousness. Look for hilarious cameos by Owen Wilson and the guy from "High Fidelity."

"The Cable Guy," as most know by now, was a major departure for Jim Carrey. The rubber-faced goofball of hits like "Dumb And Dumber" and "Ace Ventura: Pet Detective" was still present, but he was appearing in a radically different form. With Carrey playing a cable installer fixated on an unsuspecting customer, "The Cable Guy" is easily his darkest movie. However, I've got a soft spot for a good black comedy, and this one is about as black (and as good) as they come.

Although goofy behavior had been Carrey's trademark since his "In Living Color" days (remember Fire Marshal Bill?), "The Cable Guy" was the first movie in which his madcap antics hinted at something dark beneath the surface. Indeed, by playing such a twisted character, Carrey was finally able to let loose and reveal the full range of his comedic gifts (aren't bad guys always more fun?). In contrast to the likes of "Ace Ventura" and "Dumb And Dumber," which were basically just live-action cartoons (albeit amusing ones), "The Cable Guy" provides Carrey with a creepy, unsettling vehicle where he gets to show some real malevolence. When Carrey plays basketball prison-style while Filter's "Hey Man Nice Shot" plays in the background, it's both hilarious and disturbing at the same time. And even when Carrey hams it up, as when he does a vibrato-heavy rendition of Jefferson Airplane's "Somebody To Love" while a group of freaky friends dances around him, there's an undercurrent of the surreal.

In an equally dramatic departure from Carrey's norm, "The Cable Guy" even had a message mixed in with all its weirdness. It turns out Carrey's nameless cable installer, who gets his pseudonyms from old TV shows, was left by his mother to be raised by the TV, and has attachment issues stemming from his inability to relate to others. The plot is set against the backdrop of a former child star's trial for killing his twin brother, and director Ben Stiller (who also plays the murderous brother) takes several opportunities for pointed satire of our TV-addled culture. It's not until the end that the subject is addressed at length, but the pernicious effects of TV are a prominent theme of the movie. When the cable guy laments in his closing monologue that he learned about the facts of life from watching "The Facts Of Life," it's strangely poignant.

And how about a hand for Matthew Broderick as Steven Kovacs, the unfortunate object of Carrey's fixation? It's hard to believe this guy almost faded into obscurity in the five years or so after "Ferris Bueller's Day Off." If not for his classic turn in "Election," I'd say Steven was the role Broderick was born to play. At first Steven just regards the cable guy as a nuisance, but his annoyance over his new friend's increasingly creepy behavior grows as the film wears on until it turns to outright fear and desperation, and Broderick captures it perfectly. Few, if any actors, make a better hapless guy than Broderick, which is especially ironic given that he became a star playing the uber-cool Ferris Bueller.

Watching this movie, it's hard to believe it was such a letdown at the box office. I firmly believe entertainers should be rewarded for taking risks, but apparently Carrey's fans weren't quite ready for him to play such a troubled character in such a dark movie. That's too bad, because those who haven't seen this movie are really missing out. "The Cable Guy" doesn't go down as easy as Carrey's other comedies, but it's a lot more rewarding in the end.

Buy The Cable Guy (15th Anniversary Edition) (1996) Now

I'm with most other Amazon reviewers -I don't know why this movie got such a bum rap from most critics. I think it's because Carrey wasn't doing his usual Ace Ventura shtick which I personally don't care for (was not able to sit through either of the Ace Ventura movies). This movie was very funny, good dialogue, good characterization -the Stephen character was very real and so was the Cable Guy even though he was nutty. My least favorite scene was the one where he beats up Robin's date. Not because it was violent but because it was pretty pointless, didn't contribute anything to the plot, just not very funny IMO (though I see that some other people disagree). I also thought the karaoke scene dragged on a bit. But the whole Medieval Times episode was a scream! Ditto for the Porno Password scene and the basketball game and the scene where the Cable Guy visits Steve in jail, as well as the Menendez brothers-like trial subplot with Ben Stiller. The way the Cable Guy kept modeling everything in his life on TV shows and movies was an inspired touch -it may not be terribly profound or original social commentary but it was an interesting way of making the point. Finally, I thought the ending was just perfect. The Cable Guy is being airlifted to the hospital and the paramedic in the chopper says "Hang in there, buddy!." The Cable Guy asks, his eyes lighting up, "Hey! Am I really your buddy?" "Sure you are," replies the unsuspecting paramedic ... and we see the Cable Guy's face dissolve into a demented grin. Wow!

Read Best Reviews of The Cable Guy (15th Anniversary Edition) (1996) Here

Directed by Ben Stiller, "The Cable Guy" is an underrated film with many layers. Matthew Broderick's cable-challenged character Steven, and his crazy friend Rick, played by Jack Black, are trying solve his problematic relationship with his girlfriend. Jim Carrey stars as Chip the not so mentally stable Cable Guy, who puts in one of the most incredible, gut-wrenching performances of his entire career. His uncanny performance of "Somebody To Love" is like watching John Belushi's SNL duet with Joe Cocker.

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Jim Carrey is "The Cable Guy" in this dark comedy from director Ben Stiller. In one of his best (and underrated) performances, Carrey stars as a lonely, pathetic and very disturbed individual desperately in need of friendship and some very serious psychiatric care. Neglected by his mother as a child, and left in the care of the "babysitter" (the television) for nurturing, he has grown into adulthood as a man orbiting somewhere along the fringes of reality. Even his name is an enigma; using various aliases from the sitcoms he grew up with, he is "Chip Douglas" (My Three Sons) when he happens into the life of the unsuspecting Steven Kovacs (Matthew Broderick). Steven is coping with problems of his own; when he proposes to his girlfriend, Robin (Leslie Mann), she responds by kicking him out of their apartment. Steven rents a new place and, of course, has to get the cable hooked up. Enter the Cable Guy. Acting on the advice of his friend, Rick (Jack Black), Steven approaches Chip with the idea of setting him up with free movie channels for a fifty dollar gratuity. "Ever hear of anything like that?" he inquires. Chip responds with a feigned admonition about "Illegal cable," then readily agrees to "Juice him up." Unwittingly, Steven thereby forms a bond with Chip, who he later learns can be "His best friend, or his worst enemy." For comedy to work, it must be taken seriously; real laughs come from playing it straight, and Stiller is a master of this technic (As both actor and director). He is to be commended here for extracting a tempered performance from Carrey by reining in his natural tendency toward over exuberance (which has worked for him in other projects, but would have been detrimental here). There are some hilarious moments in this film: Chip throwing a Karaoke party for Steven; a scene that takes place at a Medieval Times restaurant (with a terrific cameo by Janeane Garofalo as their waitress); and a bit with ongoing news coverage of a murder trial in which Stiller plays twin brothers Stan and Sam Sweet. But there are just as many uncomfortable moments, which tend to leave the viewer somewhat uneasy, such as the scene in which Chip dupes Steven's family into playing "Porno Password." We feel Steven's discomfort as well as his frustration with his own inability to control what ultimately becomes an ugly situation. Or when Chip confronts Robin's date (Owen Wilson) in the restroom of a restaurant. There is an edgy humor to these scenes, but the underlying hostility has an unnerving effect. With a supporting cast that includes George Segal and Diane Baker (as Steven's parents), Andy Dick (as the Medieval Host), and Eric Roberts (as himself), "The Cable Guy" is a tense and entertaining film. Some Jim Carrey fans may be a bit put off by this one, though, for it is not the typical Carrey offering. This is a glimpse at the effects of a deranged mind. It is a dark and somewhat disturbing movie, and in the end, issues are left unresolved; but addressing Chip's psychoses was never intended here. This film was made, not to enlighten, but to entertain; and in that, it succeeds. If it is just laughs and light fare you're looking for, however, be advised: this is definitely not where you want to go.

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The Hangman (1959)

The Hangman was Robert Taylor's first independent film after leaving MGM. In later years, he would describe it as one of his failures. Like many Taylor movies, it's an unusual twist on a familiar subject. Mackenzie Bovard, a Deputy Marshal, is famous for his ability to catch criminals who are later hanged. Bovard is cynical and world weary with a poor opinion of his fellow humans. Pursuing a robbery suspect, he meets the young and lovely Tina Louise. Through his relationship with her Bovard gradually regains his faith in humanity and becomes a much warmer and more likeable person. This is far from a typical western--no fight scenes, no gorgeous scenery, no evil villains. As another reviewer noted, it's a drama set in the old West. It's about responsibility, right and wrong and personal development and growth. Taylor is excellent, as always, in his understated way. Tina Louise is good as a young woman who changes from a drab loser to a confident woman. Mabel Albertson is wonderful as a middle-aged woman who has the hots for Taylor (who can blame her?). Fess Parker, post Davy Crockett is effective as a town Sheriff and his laid back persona makes a good contrast to the driven, more intense Taylor. Perhaps not a classic but definitely worth watching and owning.

In addition to having a fine cast with a fine array of character actors, the script is uttertly marvelous. Tina Louise shows us what she could have done had she not been put into the sexpot roles that ruined her. What's utterly fascinating about the film is that although this is a hunt for justice, there' no 'bad guy,' with the exception of the outlaw jailed in the first minute of the film. A fascinating thing to see in a Western. If Johnny's an outlaw, then he's one we like, so do we really want to see him captured? This one was included in my recent book 'Head `Em Off At the Pass! 94 Westerns You Should Watch.'Head `Em Off At the Pass!: 94 Westerns You Should WatchWhat If Arnold Stang Played the Part?: Recasting 108 Classic MoviesHead `Em Off At the Pass! 94 Westerns You Should Watch

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Had never seen this western before.I was not disappointed.Great story,great cast,great acting.You just cant go wrong with a cast of stars as this movie has.Pedro Gonzalez Gonzalez(yes twice),Mickey Shaughnessy,Robert Taylor,Fess Parker,Jack Lord,Gene Evans,Lorne Greene,and the beautiful Tina Louise.87 minutes of western pleasure.....support your favorite atrists.

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loved it it was a great movie, funny and action packed and enjoyed it very much i would recommend it to anyone

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Love the old westerns, thanks for a great movie, I will be buying as they are provided from this source.

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Soldier (2011)

Soldier is a rare experience that is far more than the plot, which has been outlined by the editorial comments. This is a journey taken by a strong warrior into his own humanity. I cannot even count the number of times that I have watched this movie, but I know it is more than twenty. I see more each time.

Kurt Russell's extraordinary and powerful acting skills make Sergeant Todd real. Successfully creating a character without dialogue is an art -and he mastered it. This movie provides insight into today's violent world as well.

Todd has known nothing but war or training since he was born. He was conscripted in the hospital; he never knew love, or laughter, or how to play. He obeyed orders and did not speak unless spoken to. The perfect soldier could not have emotions. If the only way to kill an enemy was to kill innocent victims, then he did what was required.

Todd is the best soldier of the "old timers," and he has been bested a new, genetically engineered soldier. One of the most poignant scenes is on the world where he was dumped for dead. The survivors that created a life on Arcadia are nervous to have a soldier in their midst, and ask Todd why he is there alone. He stands, no expression on his faces, and says, "I was replaced by a better soldier, Sir."

Although he acknowledges that he is no longer good enough to be a soldier, as his body heals he works to grow stronger and returns to the training rituals that have ruled his entire life. As he sees the interaction in the group that saved him, he is conflicted by emotions that he never experienced. When asked what he thought about, he says, "Fear. Fear and training."

It is extremely painful for him to be exiled from these people because he is too strong, and his violent training is too dangerous. He does not understand what he feels. This is my favorite scene. He is alone in his exile, sitting in a concrete drainpipe with tears running down his face. He wipes the tears away, and with the skill of a great actor, Russell shows that he does not even know what they are.

The arrogant commander of the new soldiers considers Arcadia the perfect first "war." Anyone on the planet was considered hostile. Three soldiers attacked the small group, killing without provocation. They have no hope until Todd returns and saves the group. When he is asked what he would do, he says, "Kill them all, Sir." He will not let the group help him because "A soldier deserves a soldier."

Good writing means that the hero must have an enemy equal to his abilities, and this has great writing. In facing the final soldier, Todd's intelligence wins the battle.

I am passionate about this movie. The acting, plot, special effects, and depth earn five stars.

Victoria Tarrani

This is one of the great, unsung science fiction films of recent times. The story revolves around a future where soldiers are segregated and trained from the crib to be merciless, killing machines. Kurt Russel, in a great performance, plays one of these soldiers who are soon to be replaced by a genetically enhanced new breed of soldier. Sgt. Todd 3465 (Russel) is believed killed in a training exercise and disposed of like yesterday's garbage on a waste-disposal planet. He survives, finds refuge amongst a colony of planet refugees, and tries to fit in.

This is, on a very rewarding level, a tremendous action film. Russel's nemesis in the film, Sgt. Caine 607 (played by Jason Scott Lee) is an imposing presence, and the fight scenes between the two are excellent and convincing. The special effects and battle scenes are impressive as well, and really transport you to a harsh, bleak, metallic future.

On another level the film is about the discovery of emotion in the highly trained soldier as he tries to fit into a more normal society. Russel is simply outstanding in the roll, doing an incredible acting job. He speaks a total of about 20 words in the whole film, but his internal struggles are always clear and very moving.

This "learning human emotions" trick is one several science fiction films have attempted, and most are embarrassing and painful to watch, dripping with sugar and sap. "Soldier" excels in this department as Russel makes the shift from killing machine to feeling man in a subtle, believable way. The film is just very, very well done and well written. The acting is fine all the way around, and the dialogue is completely absent of those wince-producing moments films of this nature often have.

Over time, this has become one of my favorite movies. I have watched it several times with increased enjoyment each time. I have quoted dialogue from this movie on more than one occasion, particularly the moment when Sgt. Todd tries to express his feelings, and all he can verbalize is "fear . . . discipline."

This movie is carefully crafted, intelligent, and hugely entertaining from the opening credits onward.

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It's a 10. Superb acting by Kurt Russell; directed by Paul Anderson, genius behind _Blade Runner_. He captured the essence of dictatorship and its opposite: individualism. Initially the protagonist, Todd, follows orders, used as a means to the ends of the State, a fighting machine who's then discarded. But Todd survives being dumped on a heap of refuse on a desert planet, to make his way to a small settlement of free people. There he learns what it means to have selfish values and to love a woman. When the totalitarians return to threaten her, only Todd can destroy them. Fight scenes and interpersonal dynamics were masterfully done. This is not a simplistic action movie with bullets flying everywhere. This is action melded with intellectual strategy, melded with a deep philosophical message. A sci fi classic, right along with Blade Runner.

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Here's another movie that was marketed to the wrong audience and therefore died at the box office.I found Soldier to be a profound meditation on violence and beauty. Kurt Russell delivers yet another exemplary-but-unacclaimed performance. His Sgt. Todd is an Everyman who does his duty, no questions, and is tossed out with the rest of the garbage when the next new thing comes along.From that point, Russell's facial expressions combine with the sensuous camerawork of the cinematographer to provoke the questions: Do I deserve love, beauty, and community? and: When, if ever, is violence necessary?This is a flick I'd recommend to the content guardians who are knee-jerk haters of violence. Soldier uses violence appropriately, intelligently. It is a film for grown-ups. Then again, censors rarely get that point.Bottom line: When you watch this film, you have to watch everything that is going on. It's not just another action flick.

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I cant imagine why anyone wouldnt like this movie. I recently discovered it didnt do well in the box ofice. that was a surprise to me, I've liked this movie since the first time i saw it on TV and I think with creativity a sequal could be made. If you agree say this review was helpful to you.

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Pontypool

I'm kind of on the fence with this movie, honestly. This was definitely not your typical zombie movie, so please don't go into it expecting lots of blood and gore. Personally, I don't need a ton of special effects and non-stop action to make a movie enjoyable, but for some, this may be a deal breaker. Due to the setting being in a radio station, there was a lot of dialogue that at times I found to be a bit cheesy. Through the description provided by the callers, the viewer is able to visualize for themselves what is going on. I like that this movie makes you work your imagination in that regard. The reason behind the infection was really bizarre and I found it off-putting. The movie didn't make it believable and that kind of ruined it for me a little at the end. I'm glad I watched this movie, but it's not going to be my staple rotation.

"Just listen to me."

You wouldn't know it, but this little dialogue blip haunted me just long enough to know that, subsequent to viewing the trailer, McDonald's Pontypool would be an experience I would never forget. Just when cinema's zombie revival experiment begins to show signs of banality, we are given a gift from an ambitious director that, although certainly difficult to digest, is one the most compelling and original zombie in ages.

Working with truly terrifying source material, McDonald builds a fortress of tension out of, seemingly, nothing at all. Indeed, nearly the entirety of the film takes place within a radio station, and even then, within the confines of a modest sound booth. That said, it is a testament to the staggering talent of both the director and his team when I say that what is accomplished with so little is utterly unnerving. Even for minimalist cinema, this is a film that works with mere shadows, putting its faith in the audience to fill in the frightening details.

Pontypool is that rare horror film that grows more disturbing upon successive viewings. Given its plot, which I will absolutely not spoil, it is admittedly ironic that, the more you analyze and come to learn, the more creepy things become. It's a stunning achievement that I cannot applaud enough; it goes beyond mere psychological horror, nestling quietly in the voids of the uncanny and the abstract, and it will chill you to the bone.

Indeed, this film oozes a taut indy style that few mainstream features can replicate, all the way down to a genuinely sharp script that gives the impeccably chosen cast something intelligent to work with, especially Stephen McHaddy's, who's performance is the stuff of career breakouts.

It needs to be acknowledged that, yes, Pontypool is a zombie movie for people who don't want to watch the conventional zombie movie anymore at least those that aren't directed by Danny Boyle. And no, it doesn't necessarily require a patient or tolerant mind to enjoy the film. That said, this certainly isn't something that you would see greenlit by the heavyweight studios, and for good reason; it lacks the docu-mocku style that has become prevalent in the genre; nor is it a shock-fest; and it is completely devoid of recognizable names. But for those who have the opportunity to get their hands on McDonald's ingenious little gem, you'd be hard-pressed to find a better thinking man's horror film.

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Let me start by saying that I'm huge lover of zombies and as such I bought this film because the preview looked promising. I liked the movie and I'm glad I bought it, as opposed to renting it, because I'm not sure what just happened. (Also, I think I'd still be waiting for it from NetFlix) The filming quality is decent, as are all of the other elements of the film, but given the lack of a set variety it is apparent that this is a pretty low budget operation. If you want blood and guts this is not for you. This is one of the more thought provoking zombie films I've seen. (Whether it is due to confusion, true ingeniousness, or pretension, is up for debate.) I still don't really understand what causes zombies in this world. I would have given it four stars, but I know I tend to like things that many people don't care for. I recommend you see it if you like this type of movie, but you have to approach it with an open mind.

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** This review contains spoilers. **

Grant Mazzy is a shock jock who used to be big on the radio, but now is condemned to the purgatory of a small town local morning show. He wants to challenge people and incite a reaction like he used to, but his supervisor, Sydney Briar, is only concerned with the basics. Weird reports start coming in from various eye witnesses about riots outside of a doctor's office. Over time, the details come together and the picture starts to become clear: people have started to suddenly go insane and attack others. People are being eaten and killed out there. Their town has descended in to chaos and all they can do is try to report what they know, which isn't much. How long will they be safe holed up at the studio? What is really causing this frightening behavior in people?

I read the book this movie was based on and it was very strange and nonlinear. I didn't really know what to expect from the film version, but I braced myself for weirdness. The film is linear in its storytelling, but still has the ambiguity and odd feeling of the novel. The film is separated pretty clearly into 2 parts. The first part is simply establishing the characters and then throwing them into a crazy situation that they struggle to figure out. There are only three main characters: shock jock Grant Mazzy who is desperate to keep some of his edginess in a run of the mill job, Syndney Briar who is Grant's supervisor and sympathizes with him but also wants to keep the necessities in her show without alienating her audience, and Laurel-Ann Drummond who is the idealistic technical assistant and slightly enamored with Grant. The radio show goes on like normal for a little while until one of their reporters calls in terrified of a large crowd of people outside of a doctor's office, attacking and eating each other and gibbering incoherently. Then, thing hit close to home when their studio is attacked on all sides and Laurel-Ann becomes infected. They experience the horror first hand and try to not contract the disease themselves.

I really like the new concept of zombies in this film. The disease is a virus transmitted through speech and only exists in the English language. It manifests in three stages. In the first stage, the person gets stuck on a word and keeps repeating it over and over without even really realizing it. The second stage is where their ability to speak coherently at all fails and they get frustrating at not being understood by others. The third stage manifests in violence when the frustration gets to be too much to bear and the person with the virus has to attack and eat other people, usually one specific person whose speech they mimic until their victim is dead. The most frightening version of this in the film is when Laurel-Ann becomes infected and goes through all the stages in front of them. The way she continually throws herself against the glass of the sound booth to get at them with no concern for her own well-being is more frightening than a horde of zombies trying to get into the studio.

Three things worked extremely well for me in this film. One is the part where people are calling in and relaying the horrors they have seen to Grant. It's horrifying to hear and feel their terror without seeing what is causing it. The visuals we as the audience can conjure up in our minds are much more frightening than anything any filmmaker can put on the screen. This scene is quite disturbing and more effective than I thought it would be. The second is the claustrophobic setting. Except for the very beginning, the entire film takes place in the radio studio building with only 3 characters being the main focus. The studio itself is fairly small and gets even smaller when parts of it are inaccessible due to zombies. It makes it seem like their whole world is reduced to that small building (or just parts of it) because the world is no longer safe and the danger will eventually make its way to them. The third is the disease itself. It's so unique and weird, but is used as a commentary for our society. People in this film turn murderous when not understood, but language in American society is becoming more and more distorted and less important. The vast majority of people would rather watch a film than read a book and abhor watching foreign films because reading subtitles is too much of a chore. Language to a lot of people is reduced to 140 characters tweets, Facebook updates, and text speak. Discourse and real language is no longer a priority to our society when Jersey Shore is one of the most watched shows on TV.

I really like Pontypool. It is an unexpected film that is a great addition to the zombie genre. Stephen McHattie, Lisa Houle, and Georgina Reilly give great performances that really set this film apart from the shambling masses of zombies films. The only thing I didn't like about it was the very ending scene after the credits. It just served to confuse the audience. The story is undeniably unique and may not be for everyone, but I would encourage any zombie fan to give it a try.

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The film spends the first five minutes explaining where the word "Pontypool" comes from and I still couldn't tell you right after I heard it. Grant Mazzy (Stephen McHattie) is a fallen from grace radio newscaster who likes to philosophize his broadcasts to the dismay of his small Ontario town employer Sydney Briar (Lisa Houle). Laurel-Ann Drummond (Georgina Reilly) who screens calls and runs the boards likes Mazzy's style and sides with him in minor disputes with Sydney.

As Mazzy starts his broadcast the town goes viral in an "Impulse" (1984 Meg Tilly) type of way. What I disliked about the DVD cover description is that it gives you the cause of the infestation, which takes away from the fun of trying to figure it out. The production is shot rather modestly inside a radio station. This could become a zombie play, although the infected people are not true zombies even by our expanded movie definition.

The production has a unique plot and well played. It would definitely make for a conversation piece of anyone's zombie collection.

PARENTAL GUIDE: F-bomb, no sex. no violence. Some Blood.