Command Performance (2009)

Dolph can definitely act and direct.This is even better than Missionary Man.I like the idea that an old burn-out rocker can "get it together",take charge,kick butt and get the girl.Melissa Smith was SMOKING HOT!My Italian blood pressure was off the charts. My testosterone level was thru the roof for days!I liked the way she looked at him in the beginning-with admiration and sensual interest.It is never too late for old warriors(like me) to get the girl.My copy did not have any extras,and I would have liked to see how the film was produced,with interviews,etc.The music thruout the film was great and made the movie.I hummed Melissa's opening tune "Lost in Love"for days!The one liners Dolph had were great!Remember"Watch the hair ,dude!"when he fought the first man in the restroom? Get this film ,you will love it and be surprised how far Dolph has come in the movie industry.

I would say this is easily on of Dolph's best movies. Its a decent although, predicable die hard clone, but for lovers of action movies, it gets the job done. Once the carnage starts up, it never really stops, and true, Dolph only dispatches 11 bad guys, most are quality and entertaining. If you hate 80's action, and tough guys, then find another movie. I though the film had a nice mix of humor and action. To all the Dolph naysayers out their, you just wish that you could go shirtless for a whole movie when your his age. The man has still got it.

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Good, old school action. Some righteously cheesy one liners, delivered like only Dolph can, a bit of weed and a bunch of dead Communists.

What else do you need to know?

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It has been a while, and I mean a while, since I've checked out anything that has Dolph Lundgren as the main star. However, there was something about Command Performance that made me want to see it, so I gave it a chance, and it turns out that it actually isn't half bad, and probably one of the best things that Dolph has ever starred in. Dolph (who also directs) stars as Joe, an aging drummer in a band that is opening for a huge American pop princess (Melissa Smith) in Moscow, when out of nowhere terrorists make their presence felt. Before you know it, things basically go into Die Hard mode, but what stops Command Performance from turning into a yawn-fest are some well assembled action sequences and even some surprisingly decent acting. Lundgren is enjoyable as he can be, and former Pussycat Doll contender Melissa Smith is a sight to behold. All in all, you'll certainly see better action flicks than Command Performance, and you'll certainly see worse ones too.

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Dolph delivers the goods with Command Performance! Great Action Movie.

Written, Directed and Lead by Dolph. Dolph shows he is also an accomplished drummer.

Dolph is the smartest Action Star on the Planet (Master Degree, Speaks Several Languages, Multiple Martial Arts Titles, Drummer, Writer, Director, a total Bad-Ass Swed) One of my favorites.

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Les visiteurs du soir (The Criterion Collection) (1942)

As a huge fan of the works of Marcel Carne and Jacques Prevert, it is unfortunate to learn that other than 'Children of Paradise', none of their works are available on DVD. However, it is at least some consolation when you find that they are still in print on VHS. Considering that one of the finest films of all time, 'L'Atalante' by genius Jean Vigo has gone out of print on video, and that no one has bothered to put it back on the shelves, I must say that for such old French classics such as this one to still be around is a fact worth commending.

'Les Visiteurs de Soir' literally translates into 'The Visitors of the Evening', but the English world has taken the liberty of calling it 'The Devil's Envoys'. This remarkable gem, a remnant of the early 1940s, is French romanticism at its best. While the original tale is a fable that children will delight in, the film-making team also saw the story as a way to make a point about the political establishment at the time. Marcel Carne has repeatedly won my respect as a film-maker, and though his crowning glory remains 'Les Enfants du Paradis', this little known film remains perhaps his most sly attempt at movie-making. Almost every sentence is a statement of political defiance, and every frame of the film is bathed in the unnaturally brilliant light that Marcel shot his movies in.

'Les Visiteurs de Soir' looks older than it actually is. Perhaps this has something to do with the horrendous transfer that this particular edition is inflicted with. There are patches where it seems the film has burned away gaping holes and scars are evident, which leads one to wonder what condition the master film is actually in. However, that minor technicality apart, the entire story reads like an adventure worth taking, although the actual transfer from page to screen is something that works in a way quite unexpected.

This is a much slower film than 'Children of Paradise'. To be honest, the only thing the two films share in common is Arletty. Here, she plays one of the Devil's Envoys, sent to a town to teach/convert/berate/observe/spoil its' inhabitants. She arrives with a male partner, and is soon dining with lords and baronesses. The dialogue is simply stunning. Arletty's performance as an androgynous being is played up and she remains a cool and aloof creature for much of the movie. However, it is the other envoy, the man, who is more affected by his new surroundings. Played by the beautiful Alain Cuny, the male envoy is a being who has never experienced the love of a human being, and his desire for the lovely Marie Dea is what forms the crux of the film.

It is at this stage that the devil enters. Played by Jules Berry as a crass old ugly sort of monster, he is an exaggeration of everything evil. He finds pleasure in the unhappiness of others, he is thrilled when people relinquish their control to him. When Marie Dea's pure and unblemished love for the male envoy seems beyond his control, the devil is not pleased. He does everything in his power to win her soul, and this becomes his prime challenge.

As I had mentioned before, this entire storyline is filled with political innuendo, and it doesn't take an expert in European history to figure out what is actually going on. When the devil, in rage, finally turns the lead couple to stone, another shock awaits him. Needless to say, the film ends with the devil being defeated, but the lead couple pay a price as well. And the point is made that even though the couple has lost the battle, they have won the war. Very much like the ending of 'La Vita E Bella'.

Characters are very well etched. The Devil plays the face of Germany and the German Occupation. The Devil's envoys play the young German soldiers who go in with a policy, yet return with different ideals. The French play the french, all for liberty, equality, and fraternity, and the neverending struggle to achieve all of these goals.

I especially liked Arletty's character, even though she almost disappears for the second half of the film. The most visually appealing thing about this movie is the lighting. Every frame could be an exercise in film-making the bright hues of the French morning are all lovingly captured, and the close-ups of the lead characters are so beautifully filmed. The screenplay is flawless, though at times you wish they could be a little less obvious in their message.

'Les Visiteurs de Soir' will probably never be as important as 'Les Enfants du Paradis' or the other Carne classic 'Le jour se leve'. It had its own time and place, and its' meaning was probably more relevant in the 1940s than it is today. However, there is also something timeless about its' texture and quality. This is a movie I could sit through over ten times and never be bored. As with every Carne film, it helps to be a native or taught French speaker to truly appreciate the nuances of the dialogue the yellow subtitles on this edition are especially hideous, both in the way they've been translated and their appearance but it doesn't take much to be swept in by this delightful treat of a film. I would highly recommend it to anyone who loves old French movies, and in particular, the works of the masters such as Carne and Francois Truffaut.

If you liked this, you'd love 'L'Atalante' by Jean Vigo, 'Le fille sur le pont' by Patrice Leconte, and Carne's 'Les quai de brumes'. I'd also like to bring your attention to the fact that many of Carne's works are now available on DVD from Amazon's French website, although this catalog does not yet include 'Les Visiteurs de soir'.

A relatively little-known but fascinating movie. Made during the German occupation of France, the film is set in the Late Middle Ages and deals with two envoys of the devil, Gilles and Dominique (Alain Cuny and Arletty, wonderful both) that arrive posing as wandering minstrels at the castle of a Baron where preparations for an upcoming wedding are being made. Their intention is to create havoc by breaking the hearts of all involved. These envoys have extraordinary powers to achieve these goals, like slowing time to a stop so that they can work on their targets at ease. Eventually, the very devil shows up at the castle in disguise. One can argue that the devil in the movie stands for Hitler and the Nazis and so forth, but the film works even if you don't try to watch it as a metaphor for the contemporary events of the time. The movie is memorable and evocative, with many great scenes and a great ending.

Buy Les visiteurs du soir (The Criterion Collection) (1942) Now

Forget the inferior VHS version that Marc Cabir Davis describes in his 2002 review here. The now 70-year-old film has undergone a meticulous digital restoration for its debut on DVD. One can again fully appreciate the superb black and white cinematography. The soundtrack has had an impeccable 24-bit remastering, and the new English subtitles are well translated and easy to read on the screen. Also included in the new DVD package is an informative 2009 French documentary on the making of this film in 1942 under Nazi occupation and the Vichy government. In addition, there is a booklet with seven pages of text by film critic and author Michael Atkinson and seven pages of photographs from the film.

As for the film itself, see the aforementioned Davis review. I had to dock it a star because it so obviously suffers in comparison to its successor, Carne's ultimate masterpiece, "Les Enfants du Paradis" ("The Children of Paradise"). After a brilliant start (through the whole banquet sequence), the film gets progressively bogged down in its convoluted plot (that takes too long in resolving itself), becoming overly talky and a bit tedious in the process. However, the ending is so iconic that much of this can be forgiven. Also worth noting is the comment by the great French film critic Georges Sadoul, with which I would concur, that some of "the fantasy is rather forced." However, for appreciators and students of French cinema, this is a film that should not be missed, given its historical context. It launched a trend of other notable French films under the Occupation that, beneath a veneer of ostensibly escapist fare that eluded the Fascist censors, contained a subversive subtext of a yearning to be free from the forces of oppression.

Read Best Reviews of Les visiteurs du soir (The Criterion Collection) (1942) Here

"Could you be the cause of all these troubles?"

"What do you expect? No-one loves me. I amuse myself as best I can."

Overshadowed outside France by both that other Medieval romantic fantasy and its director's Les Enfants du Paradis but revered in its homeland as one of the great films of the war years, Marcel Carne's Les Visiteurs du Soir has been particularly hard for non-French speakers to see for years: not released on video and unseen on UK TV for three decades, it's only with Criterion's largely unheralded DVD and Blu-ray release that many will have got the chance to finally see his tale of demons and marvels. While it doesn't cast as magic or as poetic an ethereal spell as Cocteau's La Belle et la Bete, it's still an impressive fable whose added resonance for a Nazi-occupied population is easy to see even if Carne and co-writer Jacques Prevert always insisted that no anti-Nazi subtext was intended, the Medieval setting simply the easiest way to get around the German censors.

The plot is simple: two minstrels arrive at a castle, whose occupants are celebrating the betrothal of the Baron's daughter initially unaware that the two visitors (Arletty and Alain Cuny) have been sent by the Devil to sow discord by loving and destroying them and leaving the Devil to pick up the tab. Not that they don't have plenty of raw material to work with: despite the jollity of the banquets and the lack of work for the executioner, the castle is almost underpinned by sadness. The Baron (Fernand Ledoux) is still mourning his lost wife, the servant girl all too aware that her plainness ensures the page she loves won't even look at her and the groom (Marcel Herrand) is more interested in songs of hunting and killing than of love, confused by his bride-to-be Marie Dea's kindness towards unfortunates and dismissing her dreams because "Dreams are dangerous and useless. I never dream myself." For all the elegance and fairytale settings, it's a cruel world where love is a weapon to make people tear themselves apart: "It isn't worth a single tear. It's nothing but a story invented to amuse the Devil." It's a game the envoys have played so many times they're working from the same script, telling each new victim "As soon as I saw you, I knew why I'd travelled so far. I thanked Heaven for leading me to you."

Yet the envoys aren't ethereal symbolic figures but have their own tortured dysfunctional relationship of recriminations and mockery, revisiting their failed and false romance on their victims. Arletty enjoys her work, particularly if it means leading men to their death or to the very place she has come from, but Cluny is increasingly tortured by the deal he has made with the Devil, even more so when he genuinely falls in love with the bride-to-be. From then on the film becomes a battle for hearts and souls as Jules Barry's Devil enters the fray, appearing everywhere at once to mislead, corrupt or gently scold the mere mortals. It's easy to see why so many saw him as Hitler incarnate, making empty promises and offering those who collaborate with him every comfort but never able to still the pure hearts that defy him. He's a cheerful soul, certain of his eventual victory and uncomprehending of the notion of resistance, but thanks to Jacques Prevert's dialogue he doesn't get all the best lines most of those, surprisingly, go to the lovers, true or false.

It's a surprisingly lavish production for a French wartime film, Trauner's design and Roger Hubert's photography giving it a deceptively simple and attractive look for a film filled with betrayal, hopeless longing and torment. It generally favors simpler special effects than you might expect from a period fable, but at their best, such as when the envoys stop time to steal a tryst with the groom and bride-to-be, they're quietly effective. At times the film threatens to lose its grip and some of the dungeon scenes with a distressed Cluny stray perilously close to bad acting, but the spell is never broken and its easy to see why the film found such a special place in French cinema with its own brand of dark magic and cruel love. Oh, and look out for a young Simone Signoret and Alain Resnais as extras in the banquet scene.

Aside from the customary booklet there's also a 37-minute talking heads documentary with friends of Carne and Prevert and film historians that provides much information and anecdotes about the film's tortuous development Carne had been having trouble finding a project that would pass the German censors after getting out of his contract with the German-backed Continental Films while Jacques Prevert and composer Joseph Kosma had been collaborating on an unrealised version of Puss in Boots and its difficult production, which was complicated by wartime shortages (fabric for the costumes was almost impossible to find while the food in the banquet scenes had to be sprayed with toxic chemicals to stop the starving extras eating it), Vichy bureaucracy (because it was shot in both Occupied and Unoccupied France), anti-Semitic laws (both Kosma and production designer Alexander Trauner had to use fronts because it was illegal for Jews to work in French films) and scheduling (Jules Berry was making three films at the same time, shooting one in the morning, one in the afternoon and another in the evening and couldn't remember his lines), and surprisingly rapturous reception from both right and leftwing critics.

It even covers the problems of exhibiting films in wartime newsreels were shown with the lights on and a gendarme in attendance to stop the audience booing the Nazis, while only a limited number of tickets were sold to ensure that the nearest air raid shelters didn't get filled up, making it's hugely successful run it was the biggest French hit of the war years all the more remarkable. The documentary is not particularly strikingly made, but it tells the stories in a pleasingly straightforward fashion and puts the film in its historical perspective even if the transfer is obviously taken from a video master. The film's original French trailer fares worse in the picture quality stakes, looking like it was mastered from a juddery dialup internet download, but the transfer on the film itself is a beautiful restoration job with clear, sharp detail, plenty of depth and no obvious signs of digital tinkering. However, do be aware that the Blu-ray version is Region A-locked.

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Les visiteurs du soir (titled The Devil's Envoys in America) was the fourth collaboration between director Marcel Carné and screenwriter Jacques Prévert, released a few years before their masterpiece Children of Paradise. Being a big admirer of that film, as well as their other collaborations Port of Shadows and Le Jour se Lève, I had eagerly awaited this film to receive a proper release and was pleased when Criterion added it to their collection this month. With the Nazi's occupying France during this timeframe, it's said that Carné set out to make a straight-forward film that would avoid any trouble with the censors. Upon its release the film was met with acclaim with many seeing it as an allegory for the Occupation, a charge Carné fervently denied. While memorable and beautiful to look at I find Les visiteurs du soir inferior to their other collaborations, possibly because of the constraints they imposed on themselves by purposefully and carefully making a film that wouldn't upset the censors. As a result, there seems to be less freedom than in their earlier and subsequent collaborations. Their films fall under the category of poetic realism, with the poetic nature coming largely from Prévert's knack for writing beautiful, poetic dialogue. Much of the poetry here comes from the images in the film rather than words.

The story opens in May, 1485 where the Devil has sent two of his envoys to drive humans to despair. The envoys Gilles (Alain Cuny) and Dominique (Arletty) arrive at the castle of Baron Hughes (Fernand Ledox) dressed as minstrels as the castle celebrates his daughter Anne's (Marie Déa) engagement to Renaud (Marcel Herrand). The two wreak havoc by enticing those in the castle; Gilles first seduces Anne, while Dominique entrances Baron Hughes and Renaud. Things go according to plan until Gilles actually falls in love with Anne, provoking the Devil's wrath and causing him to appear at the castle to ensure that the happiness of those in the castle is truly destroyed. The Devil, as played by Jules Berry, arrives halfway through the film and this is when it really gains traction.

Shot in Nice, with uncredited art direction by Alexandre Trauner (a Hungarian Jew, whose involvement was hidden by Carné); the sets are a grand achievement. In creating a storybook world Trauner really captures a far away time and place. Of course the film is also gorgeously shot by Roger Hubert, who would go on to beautifully shoot Children of Paradise as well. The acting is terrific, with Berry giving the stand-out performance as the Devil. His maniacal energy towers over the latter hour of the film and he outshines nearly everyone in his wake. It's a mannered yet showy performance that is tremendously effective.

As stated earlier, I found the film slightly inferior to Carné and Prévert's other collaborations and much of this stems from the script that Prévert co-wrote with Pierre Laroche. Much of the dialogue revolves around declarations of love and chit-chat about love and there are times when it grows repetitious. Children of Paradise featured dialogue in the same vein and Prévert succeeded at crafting much more beautiful and memorable dialogue about that subject in far fewer words. This opinion may reflect more on my own bias than the actual quality of the film, but I was slightly let down by how unscathed I was by the dialogue here when their other films have affected me so profoundly. It was the poetic beauty of the dialogue in addition to the beauty of the images that made their other collaborations so compelling.

Regardless, Les visiteurs du soir is another triumph from Carne and Prévert's magical partnership and it's presented here in all its glory with a beautiful transfer from the Criterion Collection. The crisp elegance of the black and white photography was enough to make me swoon even when the dialogue and story failed to. Those who already deeply appreciate Carné's films will probably rank this highly, but those who are unfamiliar with his work should familiarize themselves before trying this film. Still, for any complaints I may have, it's hard to deny what a breathtaking film it is.

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Fistful of Dollars (1964)

I think people are missing the point of this film when they focus on the action sequence. The underlying theme of the entire movie is one of self sacrifice for what is right and just. It is wrong to conclude that main the character (clint eastwood) pits the two gangs against each other for the money. If that is the case, then why does he give it ALL away to Marisol, to whom he owes NO obligation or favors, at the risk of his own life? Fortunately for the viewers, Marisol does ask why. His answer is "..because...I used to know someone like you..and there was no one to help.." (probably referring to his own mother whom he was powerless to rescue from the raping bandits). That one line says EVERYTHING about his past, his motivation, and the theme of the movie. The director goes to great length to convince the viewer the "man with no name" has no morals. In fact, he seems downright evil and greedy, as he constantly says "I don't work for cheap" and seems to be ready for hire for any sordid duties asked of him for the right price. Only in the very brief and defining moment of the movie (when he rescues Marisol, her son, and her husband) we see him as he truly is. Unlike most westerns, the man does not waste words preaching righteousness, he lets his actions speak for themselves. It is the moral subtlety of this movie which makes it great.

In the small dusty border town of San Miguel, two gangs of "criminals and smugglers" are both trying to take over the town and be the "bosses". Out of nowhere enters our hero, the very dangerous(but very cute) gunman with no name(Clint Eastwood). In this first of the trilogy directed by Sergio Leone

Clint decides to play the rival gangs against each other, first working for one then the other. Why? Because there's money to made here. In the process, there are deadly shootouts, Clint saves a family,gets his face bashed in (I hated that part) and well I wont give away the end.

This film was followed by "A Few Dollars More" and "The Good, The Bad and The Ugly". All three a must see's for the Eastwood fan. This one was based on the Japaneese film "Yojimbo" and was also the basis for the more recent "Last Man Standing" starring Bruce Willis.

Billed as "A New Breed of Western" (more commonly called spaghetti westerns, although it was shot in Spain), it is a cinematic treat you wont want to miss. The actors performances are terrific and the scenery stunning.

The DVD(by MGM) is a must have. The picture is crisp, the colors are sharp and the widescreen excellent. The sound is Mono,(only reason I gave it 4 stars instead of 5) but it still sounds good, the horses and guns are crisp and the dialouge is fine.(The film is nearly 40 years old )

Not a whole lot of extras, but for me This movie was the extra!

What the DVD has is the Original Theatrical Trailer, Scene Selection, and a very informative booklet that talks about the making of the film. It also has subtitles, English and French which could be helpful for hearing impaired viewers, and a standard film format on the other side for those who might prefer it to the widescreen.

If you have never seen it and you like westerns, you'll love it. If you have already seen it and know you love it, you will enjoy the DVD.

thanx-Laurie

more clint stuff:

Paint Your Wagon

Music for the Movies of Clint Eastwood

Eastwood on Eastwood [VHS]

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(This review refers to the new 2-disc "collector's edition" released in 2007.)

A Fistful of Dollars kicked off a new era for the western, a tried and true--and, by 1964, almost exhausted--cinematic genre that needed a fresh start. Audiences had grown cynical and tired of the white-hat/black-hat simplicity of most western classics and, as with the waning war-film genre, were looking for something different.

Enter Sergio Leone and A Fistful of Dollars, a gritty "Italian western" shot in Spain on a shoestring budget and starring an up-and-coming--but still virtually unknown--television actor named Clint Eastwood. The movie was a huge international hit, launched Eastwood into stardom, and spawned two subsequent "Man With No Name" westerns and dozens of imitations.

MGM's new release of this classic "new western" is outstanding. In recent years, I've been pleased every time MGM has issued a new release of a classic from its library, as every new edition has improved vastly upon those previous.

Picture quality: Excellent anamorphic transfer, diligently tidied up and restored. Outstanding.

Sound quality: Includes the requisite original mono track and an excellent new surround-sound mix.

Special features: Very good. An informative commentary track by film historian Sir Christopher Frayling is accompanied by a second disc including several nice featurettes, none of which are boring and none of which are so long that they wear out their welcome. I watched most of them while getting ready in the morning.

If you've been waiting for a good edition of A Fistful of Dollars, this is it.

Highly recommended.

Read Best Reviews of Fistful of Dollars (1964) Here

Astonishing remake of Akira Kurosawa's YOJIMBO, FISTFUL OF DOLLARS, directed by italian director Sergio Leone, deserves to be in every movie lover's library. In Toshiro Mifune's role, Clint Eastwood gave a performance that established him as one of the greatest american star of the next forty years.

With an international cast of german, italian, spanish and american actors, FISTFUL OF DOLLARS could have been only an ordinary B-movie of the early 60's. On the contrary, this movie has become the symbol of the revival of a dying Hollywood genre the western and will be followed by dozens of imitations until the definitive burial of the genre by Clint Eastwood with the masterpiece UNFORGIVEN.

The villain, played by Gian-Maria Volontè, is so terrific that Sergio Leone will hire this wonderful italian actor to play the role of Indio, the bad guy of FOR A FEW DOLLARS MORE, with the result we all know.

I was a little bit anxious before playing the DVD ; the bad quality of the image of FOR A FEW DOLLARS MORE was still on my mind. But, don't worry be happy, the copy was in almost perfect state and the transfer well done. Subtitles and a trailer as bonus features.

A DVD for your library.

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I had been waiting a long time for this to finally be released and in DVD format I was not disappointed. Picture quality was excellent. Sound quality was ok but I wish it would have been made in Dolby Surround 5.1 channel. It was in Dolby Mono. Still, this is a great film. A classic action western.Clint is the best in these films,and his Dirty Harry movies. It's what made him a superstar. And with DVD technology, it's like as if this was a new movie. Simply amazing! If you love Westerns and Clint Eastwood, then this is a must buy for the collection.

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The Fall (+ BD Live) (2008)

I remember the days when I had stories read to me. I remember how it made me feel. Me and about twenty other kids would gather at the teacher's feet, and I would actually imagine the story unfolding as she read aloud. I think we all have those memories buried somewhere within, those wonderful moments when the spoken word transcends mere speech and becomes a definite vision. Tarsem's "The Fall" works in much the same way, not only for the characters, but also for the audience; reality and fantasy are interchangeable, not separate. People from our world appear in the story, and characters in the story are broadly drawn from the people in our world. It's much like the whimsical dreamscape of "The Wizard of Oz," in which Dorothy awakens in Kansas and realizes that the Scarecrow, the Tin Man, the Lion, and the Wizard were actually people she knew, therefore with her the entire journey.

But the dreamscape of "The Fall" is much more compelling than anything conjured out of whimsy. It's a character-driven fantasy that uses both its brain and its heart, with a story so compelling it doesn't let us escape. We don't much want to, especially if we hold true to the power of imagination and the hope of redemption. Paradoxically, it takes the imperfections of human existence to reach these perfect ideas; the characters of this film are flawed and vulnerable, far from a series of walking clichés. Many are manipulative and selfish. The main character is innocent, but at age five, she's also incredibly naïve. She sees and hears everything going on around her, and while she doesn't understand most of it, you can tell that she's trying to. Her name is Alexandria, and she's played by Catinca Untaru--she was so receptive to the material that I never once believed she was acting. She was living it.

Taking place in 1920s-era Los Angeles, "The Fall" actually opens with the aftermath of a bad fall, and we see a man and a horse pulled from a lake, having tumbled off a railroad bridge. Soon after, we meet little Alexandria, an immigrant worker hospitalized after breaking her arm picking oranges. Always with a box full of things she likes, she travels the hallways and wings of the hospital, mentally gathering the sights and sounds. One day, she wanders onto a lower floor and meets Roy Walker (Lee Pace), a bedridden, emotionally broken Hollywood stuntman; after some initial banter, Roy begins telling Alexandria an epic story of five men seeking revenge.

Over the course of the film, we see that the characters of Roy's story are reflections of the people in or around the hospital: a one-legged actor becomes Luigi (Robin Smith), a master of explosives; an orderly becomes Charles Darwin (Leo Bill), a naturalist who travels with a monkey, searching for an elusive breed of butterfly; the hospital's ice delivery man becomes Otta Benga (Marcus Wesley), a former slave; an orange picker becomes the Indian (Jeetu Verma), who lost his intended so horribly, he vowed to never stare at another woman; Alexandria's dead father (Emil Hostina) initially becomes the Masked Bandit, but he's replaced by Roy when Alexandria says her father shouldn't be in the story. With the help of a tree-dwelling mystic (Julian Bleech), the five bandits journey across exotic lands to find the ruthless Governor Odious (Daniel Caltagirone), drawn from the hospital's Dr. Sinclair.

As the story progresses, we quickly realize that the characters aren't the only things mirrored from reality--the entire plot is a stylized reinterpretation of Roy's recent life. To say more would give too much away, but here are a few things to consider: (1) Roy periodically pauses the story and has Alexandria steal medicine for him; (2) he closes his eyes at one point and tries to guess which of his toes she's holding on to, and we're not sure if she tells him a lie; (3) he gets increasingly unwilling to see the story through to the end. Even when Roy's situation is finally explained, we still wonder what would possess him to do the things he does. For him, telling Alexandria a story is not his way of escaping into fantasy, but of gaining the upper hand. And yet we deeply care for him; we believe that a decent soul lies beneath the anguish, waiting for the right time to emerge.

At the same time, we're taken aback when Alexandria wishes to never get better. She seems to have formed a special bond with Roy, most likely because she doesn't know she's being manipulated. She probably doesn't even know what manipulation is; she does what she's asked without stopping to consider why she's doing it. With her, it's not about being sneaky but about experiencing life, and this is despite the limitations of young age and the confines of hospital walls. Keep in mind that we never see her playing with the other children in the pediatric ward; we suspect that she imagines things at a much more mature level, considering how well developed her communication skills are. She doesn't always have the words, but she somehow finds a way to get her point across. This kind of character development is rarely seen in today's movies; most are bogged down by predictable plotlines and mass-produced special effects. "The Fall" is a refreshing exception to the rule--a visual masterstroke with an engrossing character-driven plot. It's definitely one of the year's best films.

The wordsmiths of Amazon have enlightened us all much better than I could at what a masterpiece this film is, so the obvious question for me was how the transfer would sustain. Without any hesitation this BD and film mandate ownership; I feel comfortable in saying that no other film (as a whole presentation) comes close in color, detail, clarity or saturation than Tarsem's preserved vision here.

I have been playing it in the store for several days on the HD display, and without exception it captivates the attention of everyone, even at the slower scenes.

The two documentaries on the BD (directed by Tarsem patriot Nico Soultanakis) prove there is something to be said for no talking heads or glossed over narrations in making behind the scenes films. Both are 30 minutes long and are produced identically to the main film, so expect lots of jumping around (literally) and heartfelt moments. The picture gallery is exclusive to the BD and contains 71 beautiful pictures of the cast and filming locations. The two deleted scenes were amazing (only a minute long) in scope and would have been great to see in the film.

The quality of the transfer is superb, and even the "night" shots on the island sequences looked perfect. Outside of the black and white intro, the heroes traveling through the badlands-style mountains tested the contrast/clarity the best (especially the deleted sequence of the same scene).

I hope the small volume of negative reviews and other detractors on the Net and elsewhere do not keep one from seeing this incredible film.

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This little sleeper (and I use the word with a shiver) succeeds in more ways than I could have imagined.

Its visuals captivated, especially in the first half. Whoever composed the imagery had a knack for the very plain and very dramatic the kind of thing you might call elegant, if it didn't knock you on your butt. Even if the rest of the movie wandered, that would have been enough for me.

But it didn't wander. It starts with a chance friendship between a man and a cute little girl. Mutual confinement in the hospital made it possible, a happy child's natural friendliness and trust made it work, and the others around (staffers and other patients) made it as safe as that simpler time would suggest. The man promised her stories, and spun tales of wonderful people and dramatic deeds for her. And, as the stories moved forward, her small and real person appeared within them. Maybe the fantasy wasn't real, but it contained scraps of reality and became real for her.

Behind it all, the man lay in smiling despair not dishonest, but too defeated to let an unhappy look invite unwelcome concern. All he wanted was for his pain to end. Think about that: in a world with miracles every day, love in so many unexpected places, an infinity of hopes and possible futures, and people with hopes and feelings of their own, he wanted one thing. The pain to end, no matter what. If magic comes from power, that's a dark magic with huge power.

See it through. No linear telling will capture this story. Its emotional tone runs across a gamut that some viewers won't recognize well, knowing what it means has a serious cost. It ranges up and down, it presents itself in simple images with dramatic color and composition, and ends with the lines blurred between fantasy and reality more than ever.

-wiredweird

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Imagine a cross between "The Princess Bride," "Pan's Labyrinth," and "Spirited Away." Now add even more stunning imagery that evokes the most beautiful Dalí paintings, and some excellent acting performances and direction, and you will come close to "The Fall."

I saw this movie a few days ago, and it has instantly become a favorite of mine. I won't go into a synopsis of the story here, as you can find that elsewhere; instead, I'll let you know about some of the things that make this film truly special. First, Catinca Untaru's performance is one of the best and most realistic from a child that I've ever seen on film. Surely a lot of this must be attributed to the director. When she appears on screen, it feels as if we're watching sincere interaction with a child rather than a child actor who has ever seen a script.

Visually, of course, this movie is one of the most amazing I've ever seen. I would actually consider ordering prints of some of the stills from this film to hang on my wall--it's that beautiful.

While you can definitely follow the story if you aren't giving it your full attention, focusing on the details of the story is rewarded throughout with some very subtle storytelling that rings completely true to the perspective of a child's imagination while being told a story.

The relationship between Alexandria (the little girl) and Roy (the stuntman telling her the story) is complex and heartbreaking at times. Their interactions allow them to reveal their characters very naturally, and you end up loving them with all their faults.

I don't understand why this movie has an R rating, though. There is some violence, and some of it is a little graphic, perhaps. There is no profanity (that I can recall) or nudity. There are some "adult themes" I guess involving morphine, though I won't go into the specifics here.

I also don't understand some of the reviews I've read online. It seems that most reviews I've seen have either loved or hated this movie. Obviously, I get the ones that love it. I just don't understand that ones that pan this movie--it almost seems like some of those who have reviewed it badly must not have been watching the movie or paying any attention to it at all (if that's the case, then why review it?).

Anyway, give this movie a try if you're looking for something helps you recall your own childhood imagination.

Edited later to add: I just watched the film again and was reminded that there is a bit of graphic violence and a curse word or two. I suppose this is why it got the R rating.

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A troubled young man, recuperating from a suicidal stunt and a broken heart, meets a precocious little girl with a broken arm. He begins to tell her a story, but is secretly intending to use her to get morphine that will allow him to take his own life.

The Fall is one of those rare films that is both a unique work of cinematic art and a crowd-pleasing gem. It is both beautiful to look at and has depth that is not apparent on a first viewing. For beauty and depth and for its approach to its theme The Fall deserves to be compared to Pan's Labyrinth, and really deserves the level of acclaim that film received. The film is an intensely personal project undertaken by its director Tarsem, who spent his own money over several years to make it, after studios refused to participate.

Critics, however, including those who have reviewed it here, have been divided on the overall merits of the film. Everyone agrees it is pretty, sometimes astonishingly pretty. Some critics think that the story is a bit lame -that the story serves merely as an excuse to present breathtaking visuals. If that were true, it wouldn't be so bad, but not as good as it could be. I think such critics are missing the point.

What makes the film so remarkable to me is the interaction between the overall story and the story within. Just as, in The Princess Bride, it was the interaction between the story and the "metastory" that added to the charm and allowed the audience to suspend disbelief, it is the interaction between scenes in the hospital and scenes in Alexandria's imagination that add to the charm of this story. There are, however, significant differences between the approach of these two films.

As the man tells little Alexandria his story, it comes to vivid life in her imagination. It is very much a child's story -told at the level of a six-year old girl whose world is already a combination of make-believe and reality, who has not fully distinguished between lies and truth. That fact alone may account for some of the reviews that treat the story as "hokey" and "undeveloped" -it is supposed to be an improvised tale told to a gullible girl. That makes it very different from, say, "The Princess Bride" where the story within the story is supposed to be written down. What makes this film so rich, however, are the ways in which elements from the everyday life of the girl are integrated and transformed into the imaginative world of the story she hears. In fact, the film makes clear that what she sees as she listens is quite different than what he intends: he speaks of an Indian and a squaw, for example, and she envisions a man from India in a turban and a woman with a veil. As he tells the story, he makes mistakes and forgets things or includes elements she doesn't like and part of the delight of the film is the playful interaction that develops between them as she interjects and he alters his story and the characters of her imagination look confused for a moment.

What makes the story rich in my mind, and not at all simplistic, is that this naive little girl comes to see gradually that he is telling his own story and struggles with him to ensure a happy ending. I saw this film twice in theaters and it was even better the second time -it is definitely one that I will treasure as part of my dvd collection.

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Red Riding Trilogy (2010)

I bought this 3 DVD set subsequent to reading a rave review if it in the New York Review of Books. I can echo the enthusiastic comments; this BBC (Channel 4) drama is great viewing. Be warned that these gritty, sombre, uncompromising episodes (with three separate directors) are not pleasant viewing and will not appeal to those seeking a "nice night's entertainment".

The 3 episodes are separate but interlinked. The plot mainly revolves around corruption in the Yorkshire police force but interweaves the hunt for the Yorkshire Ripper (born in Red Riding)and a child murderer. It takes some concentration to understand the roles of the different participating characters and, on occasions, the speech of the actors. The plot becomes clearer as time progresses.

This is British drama at its intelligent best. Great acting, directing and well filmed. This recent production will grip the viewer's interest from beginning to the end. Just be warned not to expect a traditional happy ending.

It's not often that I watch British movies, so I was surprised at just how good this made-for-TV film was. English writer David Peace published a four-edition book about serial murders and police corruption in Britain. The books were adapted into three movies for British television, and while the crimes that take place are real, the stories are fictional.

What attracted me to the 1980 installment in the trilogy was that it starred British actor Paddy Considine, who I became an instant fan of after watching PU-239 (The Half Life of Timofey Berezin). Paddy is terrific as Peter Hunter, a police officer brought on to help with an unsuccessful investigation of a serial killer.

What I liked about the film is that it wasn't particularly fast-paced nor suspenseful like some American crime dramas, but a slow, building tension that really delivered by the film's conclusion. The cinematography was great, with cold and rainy scenes giving it a bit of a film noir vibe. I absolutely loved the movie's score, which was haunting and beautiful.

Remember, this is a made for television movie, not a big-budget blockbuster. So if you're expecting a movie in the vein of Seven, that's not what you'll be getting. What you can expect is amazing acting by an experienced cast, bubbling tension, and a surprise ending.

As far as Red Riding 1974 goes, I've been a fan of British actor Sean Bean since his breakout role as IRA soldier Sean Miller in Patriot Games. While he doesn't get much screen time in this particular film, he's representative of the top-notch casting. The film has an incredibly experienced cast of talented British actors, which makes 1974 a real treat. The standout performance in this film is definitely Rebecca Hall's portrayal of Paula, the mother of a slain child. While she didn't get to demonstrate her acting chops in Frost/Nixon (as love interest to David Frost), she's given plenty to work with in 1974.

Much like Red Riding: 1980, the film stars very slow, and patiently comes to a rolling boil by the conclusion. I also loved the lighting used as the film progressed, particularly a dinner party scene with shades of Eyes Wide Shut. What's interesting is that the movie was shot on 16mm film that was often used in the 70's, so a genuine period vibe is established. 1974 isn't the same quality as Red Riding: 1980, but a film you should check out if you like conspiracy movies.

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I have eagerly awaited the arrival of the "Red Riding" trilogy on DVD for some time. Something about the concept and execution of this project appealed to me in theory, and I must say that I was not let down! An ambitious British TV adaptation of several David Peace novels, the trilogy is filmed as three separate works with three separate directors. Several characters overlap and unify the films which center on a rural police force that has its own way of getting things done. Hard-edged and brutal, each chapter set in a different year (1974, 1980 and 1983) can stand alone--but together, this is a remarkable and affecting piece of work.

In "1974," Andrew Garfield (soon to be Spider-Man) plays a fledgling crime reporter hoping to make his name investigating a trio of local child murders. An affair with one victim's mother and some misdirection from local law enforcement lead him to confront a prominent citizen. He soon becomes the hunted as he doesn't know when to stop his search for the truth--and he may have to pay the ultimate price. In "1980," Paddy Considine plays a by-the-books cop brought in to re-investigate a serial killer case that has gone on for far too long. When it appears that one of the victims is not a part of the chain, this leads to another line of inquiry that may implicate several officers in police misconduct. And in "1983," David Morrissey (who has played a small role in the other films) steps to the forefront as lead inspector when another child abduction echoes the case that was solved in "1974." Reopening the case upsets old festering wounds and soon the truth about the crimes, cover-ups, and corruptions of the last 10 years come to a heated conclusion.

Garfield and Considine are terrific in "1974" and "1980" respectively. Each represent the moral center of a conspiracy that neither can control--and each is ultimately undone by the pursuit of truth. Both of these strong films would rate as 4 stars for me. It is in "1983," however, where things really start to get tied up and the knowledge of the previous films really enhance the series overall. Morrissey is absolutely devastating dealing with his own past corruption. As the facts about the child abductions and murders start to become clear, and several minor characters step up in surprising ways, the "Red Riding" trilogy becomes an extremely powerful examination of redemption. The 5 star finale left me thoroughly upset and disturbed--and the haunting tone of the film's final sequences will stay with me for a long time. An absolute recommendation, this is thought-provoking and adult entertainment--an experiment that worked exceedingly well. Two good films and one great one are made even better when seen in their totality! Don't miss it. KGHarris, 9/10.

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I was checking out the Movies on Demand last night on cable and discovered that the IFC, "in theaters now," film trilogy "Red Riding 1974," "Red Riding 1980" and "Red Riding 1983" was being offered, on DVD as the entire trilogy, and on cable as invididual films. Although I am not a fan of serial killer films, except, of course, for "Silence of the Lambs," I do like noir both in literature and movies. So, I gave "Red Riding 1974," a shot and wound up sitting through all 3 films in a row a nightmarish triple feature finally getting to sleep at around 4:00 AM not something I usually do. The experience was somewhat like looking at a car crash terribly upsetting, but I was unable to look away.

These three films are not for those who want to be entertained. I really cannot remember one moment of levity during the entire time I watched. This first movie in particular has an enormous impact, as it is the introductory piece and I never saw what was coming until it arrived no usual police procedural here. There is violence, however not for the faint of heart. As I wrote, I like noir, yet this film makes some of my favorites blanch in comparison! But I remained riveted...and I am no masochist!!

I would like to write about each film separately, but there is not a place for me to review them one at a time so I will try to give the reader a synopsis of the trilogy. Please understand that by doing this, my review will be unusually long, but hopefully informative.

The "Red Riding" set is based on author David Peace's quartet of novels truly grim whodunits, complicated by greed, corruption, conspiracy and local politics. The movie is set in gloomy, and seemingly always rainy, northern England, in Leeds, Yorkshire. The mean weather gives the viewer a feeling of foreboding throughout...and rightly so. Cynical, alienated young Eddie Dunford, (brilliantly portrayed by Andrew Garfield), has just been named crime correspondent for the Yorkshire Post. He is ambitious and this is his first major assignment. The new job happens to coincide with the death of his father, but his family obligations take a back seat to his zeal to succeed. He wants to become another Woodward or Bernstein, even as the Watergate scandal is erupting back in the colonies. Yep, Eddie really wants to earn his investigative journalist stripes fast and he is willing to take risks to do so.

Dunford's grim assignment involves the disappearance of 10-year-old Clare Kemplay. "Clare is ten years old. She is fair and has blue eyes and long straight hair." The last time Clare was seen, the day before Eddie gets the case, she was wearing an orange waterproof anorak, a dark blue turtleneck sweater, "pale blue denim trousers with a distinctive eagle motif on the back left pocket and red Wellington boots." Throughout the movie the figure of the little girl appears in sudden blurs with her orange jacket and red boots bright against the northern gloom. Spooky and so sad. Meanwhile, a jaded group of reporters takes bets on whether the child's body will be found by Christmas.

The images of the girl that the viewer sees are the same images that are seared into Eddie's mind after he looks at photographs of the crime scene. He is determined to stick with the case even after he is warned away...heavily-handed warned away.

Dunford's investigation uncovers 2 other similar incidents of young girls who disappeared in the vicinity and met violent ends both cold cases now. He strongly believes there is a connection between the murders, especially when Clare's strangled and mutilated corpse turns up. No spoiler here. This is usually how disappeared children are found...when they are found. Dunford is determined to solve the murder and also find out who, if anyone, is set on suppressing evidence. He looks to those with power, those in high places, which is where his clues lead him. As Eddie follows his leads he enters a dark, dark world.

In all three films the visuals, the camera work, are extraordinary and really help to set the disturbing mood. The choppy camera movement parallels the choppy dialogue, which is a bit difficult to understand because of the actors' thick Yorkshire accents. I was watching so intently that I literally forced myself to be patient until I could understand much of the local dialect. The photography, especially of the northern rural scenery and urban city-scapes, is exquisite at times you can almost see every blade of grass blowing in the wind, and the angular compositions of buildings, streets and alleyways great landscapes, remsembling good paintings!

None of these films are linear. All three are really complex and frequently frenetic. There are flashbacks, flash forwards and black-outs. Minor characters in the first offering, remain so far in the background one barely notices them, become major characters in later films. I strongly advise watching all 3 movies in order. I don't think I could make sense of them viewing them separate and apart.

The cast in "Red Riding 1974": Sean Bean as a local and very powerful businessman, Anthony Flanagan, as a good friend of Eddie's, and Rebecca Hall as Eddie's lover who is also the mother of one of the dead girls, (years after the fact), do a superb job. They really seem so involved like actual people not actors. And Tony Mooney and Sean Harris play a couple of cops I would never want to run into! The director really captured the feel, the ambiance, of the early 1970's. I was amazed at how easy it was to be transported back in time.

The film was adapted into three feature-length television episodes which aired in 2009. The three segments, (1974, 1980 and 1983), are directed by three different filmmakers. Julian Jarrold, ("Becoming Jane"), is masterful here, in the 1974 version. The screenwriter is Tony Grisoni. Peace's literary quartet is turned into a trilogy. I have no idea why the screenwriter left out one book, unless he combined it with another.

"Red Riding 1980" is perhaps my favorite in the trilogy. The characters here are more developed, and since Part One provided such an excellent background, the storyline is easier to follow. I also became more accustomed to the northern English accent, thus understanding the dialogue was no longer a problem.

The setting is the same, Leeds, Yorkshire, and just as dismal and depressing as the scenario in "Red Riding 1974." Many of the characters reappear here, as they also do in Part 3, and the theme of heinous crime, local politics, corruption and conspiracy permeate this episode also. Here the backdrop, however, does not deal with a series of child abductions and murders, but centers around the "Yorkshire Ripper," (an actual character), and a series of prostitution murders and mutilations.

The local residents are justifiably horrified at the murderer's five year reign of terror. He had killed thirteen women and left seven for dead. The police haven't come up with anything close to solving the crimes and the city's inhabitants are outraged. Stores close early and women are afraid to go out during the day, let alone at night. Assistant Chief Constable Peter Hunter, (Paddy Considine), is brought in to take over the case, infuriating the corrupt and complacent Yorkshire police. Hunter immediately establishes a superior team of 2 other excellent investigators, Manchester detectives John Nolan, (Tony Pitts), and Helen Marshall, (Maxine Peake), to work alongside him. The married Hunter, who has earned a reputation for being "squeaky clean," slipped up once and had a brief affair with Dectective Marshall, his employee, which will come back to haunt them both. These three are to review all previous material concerning the "Ripper," and investigate the ability and motivation of the West Yorkshire Constabulary to solve the murders. Is there a cover-up here? When a friend of Hunter's suddenly becomes the subject of an investigation, and then Hunter becomes the subject of another 'inquiry,' things really begin to happen and the the plot picks up pace. James Marsh, (Academy Award Winner in 2009 for Man On Wire), is the director and again, Tony Grisoni adapts the screenplay from the novel.

Part 3, "Red Riding 1983," directed by Anand Tucker, ("Hilary & Jackie"), is the final act of the British crime trilogy. A ten year-old schoolgirl, Hazel Atkins, has gone missing on her way home from school. The press compares the disappearance to that of Clare Kemplay, found brutally murdered in 1974, almost a decade before. The case remains unsolved. Detective Maurice Jobson, (David Morrissey), is finding he has a conscience, at long last! He can no longer bear the shame of witnessing the web of deception created by the West Yorkshire police, with cover-ups spiraling uncontrollably. The bleak scenario is heightened, and it is in this final film that the material from the first two episodes become unified with the thrid.

This last film is as dark and desperate as the others. The storyline involves a male prostitute, a corrupt lawyer/solicitor, and a debased policeman. The reoccurring characters are all so human complex people with complex motivations. Many of the same people from the first two episodes return. Again, the violence is quite explicit. There is redemption here, and the viewer reaches an awareness of the ugliness which can lurk beneath the appearance of normality at least I became aware of this. There is a line which is repeated a few times in the trilogy, "the North, where we do what we want," which manifests the three films.

Director Tucker deserves much crdit for tying up this finale neatly no loose ends here. While in the first 2 films there was time to develop plot and characters, here the primary business was to create a believable ending, and in this, "Red Riding 1983" succeeds.

"Red Riding 1974, 1980 and 1983" are phenomenal films. I really want to stress, for those inclined to watch this is not an easy experience but for me it was worth the ride. Highly recommended for people who love the VERY noir. All three motion pictures are produced by Revolution Films. The trilogy has already been released to theaters in the US in February 2010.

Jana Perskie

Nineteen Seventy-Four: The Red Riding Quartet, Book One (Vintage Crime/Black Lizard)

Nineteen Seventy-Seven: The Red Riding Quartet, Book Two (Vintage Crime/Black Lizard)

Nineteen Eighty: The Red Riding Quartet, Book Three (Vintage Crime/Black Lizard)

Nineteen Eighty-Three: The Red Riding Quartet, Book Four (Vintage Crime/Black Lizard)

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I love this series. I own the original UK version. But I must admit. If you have not read the original novels--you will be adrift. Not through lack of film/adaptation quality--but through accents which render much of the dialogue un intelligible to US audiences. Accents are sometimes so thick (especially first segment 1974) that plot development is a Muddle. I can only hope that Blu Ray of this incredible series includes English subtitles--to make the series right. Not the first time that BBC series left off the obvious-subtitles. But this time--so necessary. Whether Rankin/Peace or other same such--no one should think that we USA'ers can understand dialects--even tho we have read the originals.

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Sin Nombre

Sin Nombre (Cary Fukunaga, 2009)

It was early in the year when some critics (most notably Turner Classic Movies daytime host Ben Mankiewicz) started proclaiming Sin Nombre the best film of 2009. (I just checked Huffington Post for his year-end list, and yes, it's still at the top of the list.) And Sin Nombre, the first feature-length film from Cary Fukunaga, is a very good film, but the best of 2009?

The story focuses on two teenagers, Honduran Sayra (Never on Sunday's Paulina Gaitan, a Mexican actress) who comes to Mexico to be reunited with her father, and Mexican gang member Willy (Provocacion's Edgar Flores, a Honduran actor--see what they did there?--in his second film role). Sayra and her father want to hop a train to America to start a new life, while Willy and his friend Smiley (Kristian Ferrer, recently of Days of Grace) are just trying to get along gettin' along as members of the infamous Mara Salvatrucha. Or they are until an incident of shocking violence leads Willy to reconsider his place in the world.

The film's trailers, and many of the reviews, focus on the train journey, which is a bit disingenuous (and something of a spoiler), since the train journey occupies, at most, the final third of the film. Sayra and Willy's stories don't come together until then, which gives the first part of the film something of a disjointed feel. Not bad, mind you, just disjointed, as the movie ping-pongs back and forth between them. It's all very well-done, very solid filmmaking with a compelling pair of stories and a lot of heart, but I can't help comparing it to Cidade de Deus, which did much the same thing with a much smaller budget and a stable of amateurs. Again, it's not that Sin Nombre is a bad movie in any way. In fact, it's a very good movie. It's just not Cidade de Deus, though it comes close. *** ½

First time director Cary Fukunaga rode the rails himself in preparation to tell this heartbreaking story of a family on their way to the United States by hitching on top of a dangerous train. The narrative flows between the life of Mexican gangster Willi, whose secretive relationship with a city girl puts a rift between him and his "homies," and an introduction to Sayra, whose father has just been deported from the U.S., and plans to take her back with him to the family he has in New Jersey. A series of tragedies bring them together and force them to go on the run from Willi's former gang. The pacing is intense, and yet in the editing there is ample exploration of the setting, of the atmosphere and flavor, and a very strong sense of the wide variety in the geography and local culture encountered on the trek from the southern border of Mexico to Texas. It is beautifully shot, and brilliantly cast. The lead actor in the role of Willy (Edgar Flores) does such a remarkable job that it is hard to imagine he is playing a part -even more astonishing given that this was his very first role in film. Paulina Gaytan as Sayra is equally convincing and compelling. This is a very impressive debut film -and I have every expectation that we will continue to see excellent work from director Cary Fukunaga in the future. Highly recommended.

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A lot of gangster movies are romanticized or just over the top. This was not one of them. A simple, wonderful, and horrifying gangster movie about the issues going on in Mexico and South America. Watch it watch it watch it.

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What a powerful story. A window inside the lives of people who are trying to make a better life for themselves, and of those who have no respect for life at all. Tender moments take over, and love and bonding defeats a harsh and dangerouse world. Unforgettable acting performaces!

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I was interested in purchasing this movie due to the fact that I had seen previews at a theater and it looked quite captivating. When it was released in video, I tried renting it for 2 months and it was never available so I just assumed that it was a popular movie. I decided to purchase it and the movie was different than what I had expected. It was a love story but moreso it had a twist that was quite a realistic plot about gang life of the MS-13 El Salvadoran gang and the gang culture and about what happens when you try to leave the gang. It also depicts the illegal immigrant way of life and the dangers encompassing their escape to the U.S. The story ending was very sad, almost depressing, but it leaves the viewer with the hope and anticipating that the young lady will be able to start a new life of freedom and opportunity.

Delicatessen (StudioCanal Collection) (1991)

"Delicatessan" is simply one of the funniest films I've ever seen. Directed by Jean-Pierre Jeunet, who also gave us the equally quirky and delightful "City of Lost Children," the film begins in a post-apocalyptic and dying world in which nothing grows and ends in a reborn one where blue skies and fruitful earth has returned. The action takes place in a half-ruined apartment building whose residents are kept from starving by the Sweeney Todd-like practices of their landlord, a butcher. But the butcher's daughter, wonderfully played by Marie-Laure Dougnac, and the ex-clown who comes to work for her father, put an end to the nefarious practice.

The visuals of the film are incredible. To underscore the theme of butchery and meat-eating, the very walls of the apartment building, in both color and texture, look vaguely like meat. Long drainage pipes, which the camera frequently follows from the inside, look like esophagus and stomach passageways and intestines.

The visual surreality is matched by the surreal characters: a rich resident named Aurore whose Rube Goldberg-complicated attempts at suicide all end in failure; a resident who lives in the basement, regularly floods his dwelling to cultivate mold, slime, and snails, which he then devours with gusto; two roommates who make those little cans which, when turned upside down, emit a lugubrious "moo"; a family with demon kids and an aged grandmom who eventually gets turned into pate; the butcher himself who loves his work; the clown who cames to dinner; and a bunch of revolutionaries who call themselves the Troglydites and are as inept as a bunch of Keystone Cops.

An incredibly rich, hilarious, satisfying film. Easily 5+ stars.

You probably know him best for "Amelie" and "A Very Long Engagement," one an adorably surreal little love story, and the other a sepia-toned story of a girl looking for her lover.

But Jean-Pierre Jeunet did an entirely different kind of comedy in "Delicatessen," a wicked black comedy that deals with... um... er.... cannibalism. As in, people eating people. The resulting movie is a truly twisted, dark story populated by the strangest, oddest characters that the writer could possibly have imagined -cannibal butchers, rebel vegetarians, and ex clowns. And hoo, is it funny!

It's the postapocalyptic future, where food is so scarce that grain is used as money, and meat is completely gone. The setting is an apartment building run by a local butcher Clapet (Jean-Claude Dreyfus), who feeds his tenants in an unusual way: he hires assistants, then turns them into tomorrow's din-din. His newest assistant is the gentle vegetarian ex-clown Louison (Dominic Pinon).

But the butcher's plans get thrown for a loop when his cello-playing daughter Julie (Marie-Laure Dougnac) falls for Stanley and (unsurprisingly) wants to save her love from a fate worse than entrees. So she contacts the vegetarian resistance -the sewer-dwelling Troglodytes -and tricks them into invading her father's house, on the night when he plans to slaughter Louison. Then things get really weird.

Okay, let's get this straight: cannibalism is not funny. It's sick and evil and grotesque.

But comedies about cannibalism CAN be very funny, if done well -and "Delicatessen" is done very, very well. It manages to be a funny comedy in the tradition of Terry Gilliam, with the warped direction, surreal direction and strange settings, as well as some deeply, horribly funny characters. What was later precious in "Amelie" is weirdly ominous here... not that that's a bad thing. It's quite suitable, actually.

It's also a challenge to create such a dark, bleak setting and somehow inject lots of dark, offbeat comedy into it. For example, one sex scene is juxtaposed against various activities (carpet beating, cello playing) -all in the same rhythm. It's a moment of pure comic skill. But at the same time, Jeunet slips a bittersweet love story into the middle of the strangeness, relying on Pinon and Dougnac's strong chemistry and relatively innocent characters.

The oddities of the characters in this little hotel are what take this dark comedy to the next level: a tough postman, a pair of brothers who make "moo" boxes, and an aristocratic old lady who goes to great -and unsuccessful -lengths to kill herself, Rube Goldberg-style. Julie and the innocent Louison are the bright spot of normalcy and love, but the Troglodytes are a bit over-the-top. Really, must they be THAT dumb?

"Delicatessen" is an acquired taste. Okay, now that I've got that out of my system, here's the real end of the review: Jean-Pierre Jeunet's dark comedy is a bit hard to swallow at first, but the wickedly funny characters and offbeat script will win you over.

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You probably know him best for "Amelie" and "A Very Long Engagement," but Jean-Pierre Jeunet did an entirely different kind of comedy in "Delicatessen," a wicked black comedy that deals with... um, cannibalism. It's a twisted, dark story populated by the oddest characters that the writer could possibly have imagined -and man, is it funny.

It's the postapocalyptic future, where food is so scarce that grain is used as money, and meat is completely gone. The setting is an apartment building run by a local butcher (Jean-Claude Dreyfus), who feeds his tenants in an unusual way: he hires assistants, then turns them into tomorrow's din-din. His newest assistant is the gentle vegetarian ex-clown Louison (Dominic Pinon).

But the butcher's plans get thrown for a loop when his cello-playing daughter Julie (Marie-Laure Dougnac) falls for Stanley and (unsurprisingly) wants to save her love from a fate worse than entrees. So she contacts the vegetarian resistance, the Troglodytes, and tricks them into invading her father's house, on the night when he plans to slaughter Louison.

Okay, let's get this straight: cannibalism is not funny. But comedies about cannibalism CAN be very funny, if done well. And "Delicatessen" manages to be a funny comedy in the tradition of Terry Gilliam, with the warped direction, surreal direction and strange settings. What was later precious in "Amelie" is weirdly ominous here... not that that's a bad thing.

It's also a challenge to create such a dark, bleak setting and somehow inject offbeat comedy into it. For example, one sex scene is juxtaposed against various activities (carpet beating, cello playing) -all in the same rhythm. It's a moment of pure comic skill. But at the same time, Jeunet slips a bittersweet love story into the middle of the strangeness, relying on Pinon and Dougnac's strong chemistry.

The oddities of the characters are what take this dark comedy to the next level: a tough postman; a pair of brothers who make "moo" boxes, and an aristocratic old lady who goes to great -and unsuccessful -lengths to kill herself, Rube Goldberg-style. Julie and the innocent Louison are a bright spot, but the Troglodytes are a bit over-the-top. Really, must they be THAT dumb?

"Delicatessen" is an acquired taste. Okay, now that I've got that out of my system, here's the real end of the review: Jean-Pierre Jeunet's dark comedy is a bit hard to swallow at first, but the wickedly funny characters and offbeat script will win you over.

Read Best Reviews of Delicatessen (StudioCanal Collection) (1991) Here

Delicatessen (comedy, romance, fantasy)

Directed by Marc Caro and Jean-Pierre Jeunet

Starring Dominique Pinon, Marie-Laure Dougnac and Jean-Claude Dreyfus

Lionsgate Films | 1991 | 99 min | Rated R | Released Sep 14, 2010

Video:

Video codec: MPEG-4 AVC

Video resolution: 1080p

Aspect ratio: 1.85:1

Audio:

French: DTS-HD Master Audio 2.0

German: DTS-HD Master Audio 2.0

Spanish: DTS-HD Master Audio 2.0

Subtitles:

English, Dutch, Finnish, French, German, Japanese, Norwegian, Spanish, Swedish

Discs:

Single 50GB Blu-ray Disc

The Film 4/5

Delicatessen is an unusual film. If you have seen any of Jean-Pierre Jeunet's other works, you'll have an idea of what to expect. There are no jokes, but there is a lot of weird visual humor. It's like meeting a French version of Quentin Tarantino or David Lynch.

The plot, such as it is, is set in an apartment complex above a delicatessen. The butcher, Clapet, hires people to do odd jobs. We are never told what year it is, but the action takes place in a post-apocalyptic world where food is scarce. Clapet's motive for hiring people is to kill them and feed their body to the building's inhabitants. The movie's opening scene shows one such murder.

A new man arrives to apply for the now vacant position. He's Louison (Pinon), an ex-circus clown. He has no money so pays for his taxi with his shoes, and then wears clown shoes for the remainder of the film. Clapet hires him. Pinon has appeared in every Jeunet film in the past 20 years and seems perfectly at home with the director's quirky style.

The building is falling apart and Louison has plenty of work. He is generally well-liked and soon attracts the attention of the butcher's daughter, Julie (Dougnac). An unlikely romance blooms between the two and she begs her father not to kill Louison. She wears glasses and can barely see without them, but takes them off for her first date with Louison. The results are hilarious. She tells him that people in the building get eaten, but he has fallen asleep and misses the warning.

If you have seen the trailer, you'll be familiar with a sequence in which the butcher has sex on a squeaky bed. We are shown various odd characters engaging in weird activities, and they all synchronize their actions with the sound of the springs squeaking. I don't think I have seen anything else like it.

Sound travels through the building's pipes and is used to develop parts of the plot. In an early scene, the camera takes us through a pipe to show where it leads. Very Lynchian.

Jeunet is original, creative, weird and genuinely funny, in a dry sort of way. The overall mix is unique. The film plays more like a series of vaguely connected scenes than a fluid story, but each element has something interesting. I couldn't take my eyes off the screen.

Video Quality 4.5/5

The world of Delicatessen is filled with mist and grime. Outdoor scenes are deliberately murky and the image looks a little soft and noisy, but such scenes are infrequent. Detail is strong in the remaining scenes and shines during the frequent close-ups. Jeunet's films have unusual color palettes too. For example, Amelie is full of greens and reds. Delicatessen has a reddish-brown tint and it fits the atmosphere well. Apart from the few misty shots, the overall quality is excellent for a film with such a low budget.

Audio Quality 4/5

The French DTS-HD Master Audio 2.0 mix does its job well. Dialogue is clear and it's easy to hear frogs croaking and water rushing, as well as the unusual musical duets performed by Julie and Louison. The score has a distinctly French feel to it and adds something to the overall mood. Subtitles are displayed in white text and appear inside the frame.

Special Features 4/5

There's plenty of background information to be found for those wanting to know more about the film:

Making of: Fine Cooked Pork Meats (13 minutes)

Trailer and Teaser (4 minutes)

Main Course Pieces (65 minutes)

Audio Commentary (Jeunet's comments in French with optional subtitles)

Jean-Pierre Jeunet's Archives (9 minutes)

What is Delicatessen? Is it a comedy? A romance? Fantasy? Horror? It's a wonderfully unique mess served up as only Jeunet can. If you are already a fan of his work, this fits right in. For those new to it, this is a good place to start. I prefer Amelie and A Very Long Engagement, but Delicatessen has a lot of replay value and I'm happy to have it in my collection. Give it a try if you don't mind foreign language films.

Overall score 4/5

Want Delicatessen (StudioCanal Collection) (1991) Discount?

This is it! As delirious as Amelie made me, as visually stunning as City of Lost Children was, this was the first Jean-Pierre Jeunet (and Marc Caro!) movie I ever saw and it's still my favorite. Darker in tone than any of his other films it's still packed with hilarious moments and every scene is impeccably and sumptuously shot with colors so luminous you're TV will thank you personally for buying this movie.

The central joke in the film, that others seem to miss, is that the characters aren't driven by hunger. Yes, it's set in some undisclosed time of bleak social collapse where meat is very, very scarce. Yes, an enterprising butcher uses certain tenants to do little jobs around the apartment building he owns before chopping them up and selling them to his other tenants (who are all in on it by the way). But the tenants buy the meat with dried grain and corn and beans. Not just a handful of grain, but quite a bit. More grain than meat. Think about that for a second. They're not starving. They could easily use that grain to make a myriad of meals, but instead they use it to buy meat. Not because they need it, but because they want it. Then, out of the swirling ever present fog, stumbles an unassuming, down on his luck ex-clown looking for work and everything goes to hell. Well, mostly everything.

I can't recommend this movie enough. If you're tired of the bland Hollywood fare at your local Cineplex and want something with a little more... flavor... check this out. You won't be disappointed. And don't worry, it may seem like I've given away quite a bit of the movie in this review, but I haven't. You learn everything I've mentioned in the first five minutes or so of the film. The rest of the movie just sort of careens wildly out of control from there.

Oh, this is just a review of the film by the way; I haven't seen the region 1 DVD of the film yet (because it wont be out until May) so I don't know what it's like, but if it's as good as the region 2 DVD, it'll be well worth the cash.

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The Room Blu-ray

Finally! I thought everybody betray me when it didn't come out years ago when it was supposed to. We are expecting!

The Room is a timeless classic, and easily one of the most fascinating movies of all time. Visionary director/writer/producer/actor Tommy Wiseau stars as tragic hero, Johnny, in this unique tale of a man's world falling apart within "a special place, a private place, a place where you can be safe". It's not just a room, but THE ROOM!! . It begs the questions: "Can you really trust anyone?" and of course, "How is your sex life?"

Having met, acted, and even tossed a football around with Tommy, I can attest that he is a truly wonderful man, worthy of your support. The Room was meant to be seen in high definition, as it was one of the earliest films to be shot with an HD camera. The difference is clear on blu-ray, and considering that certain segments were shot with a 35mm camera the comparison is now noticeable. The sound quality is also improved, and certain lines are given more clarity, some can be heard for the first time. The soundtrack, with its unforgettable theme and original R&B love songs ("You Are My Rose"), sounds better than ever!! As the ultimate (and long-awaited) edition of the film, this is a must buy for diehard Wiseau Film fans as well as newcomers to The Room.

The most controversial aspect of this release is its cover art. I'll admit that the new case is a slight disappointment (the simple black and white photo was iconic). However, the new art highlights an important part of the film's legacy. The setting of San Francisco is a critical element of The Room, as it is the beloved home the characters we all know and love. The Room is mostly praised for its characters, making fans forget that the cinematography was also handled beautifully. To me, the new cover art reflects the classic scene transitions.

As an American, I recommend that all Americans (and people around the world) see The Room. This film may not please everyone, but those who enter the room, will leave forever changed. To enthusiasts, the question of purchasing this blu-ray should be non-existent. To newcomers, I urge you to give this movie at least two chances, because the first time may be too much to handle. The Room boasts some of the most wacky characters, over-the-top acting, and insanely quotable lines to ever grace American cinema. Most people fail to see the brilliance of Wiseau's direction until their second or third viewing. You'll laugh, you may even cry, but no matter what you will gain a new perspective on filmmaking. Tommy poured his heart into this masterpiece, and his devout fans love him for it. "If a lot of people love each other, the world would be a better place to live"

Buy The Room Blu-ray Now

Haha! It really is a good blu-ray. Will you marry me? Hahaha! I thought I would take her up on it! Hahaha!

Read Best Reviews of The Room Blu-ray Here

I immediately started laughing at the first sight of the menu screen, this is a must buy for every human on the planet. New interviews, new extras. Oh, and yes, you really can tell a difference between this and the normal DVD version. The video really does look quite a bit better. If a lot of people buy this Blu-ray the world would be a better place.

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This movie will change your life, pure and simple.

The story, the direction, the pacing, the acting, the sound track, the special effects, the lovemaking, betrayal, and human drama playing out on the big or small screen truly has not been seen like this ever before. Nor will it ever again.

Though in some ways Birdemic rivals The Room in the special effects and story elements, it cannot approach the level of character-driven nuance exemplified by Wiseau's creations. Some will claim that Manos has performances that eclipse The Room's, but Manos had considerably more pedestrian dialogue, not achieving the lofty, nearly poetic writing of Tommy Wissaue. Others will claim that Santa Claus and the Ice Cream Bunny is even more astounding than The Room, but that is a snuff film and if you're caught watching it you should go to prison.

There are timeless characters in here, so clearly drawn as to become neo-archetypes for the 21st century. From the paragon of humanity (Johnny) to the ultimate betrayal of all his friends and family to whatever Denny is, The Room offers not just a glimpse into the cacophony of creativity that is Wisaeu's mind, but a full-on nearly full-frontal view.

The set design is incredible with ground-breaking techniques used to simulate San Francisco (a scale model of the Golden Gate Bridge was built for some of the establishing shots) and this was the first film to be shot on 48 DPS and in hi-def 3-D. So take advantage of this Blu-Ray offer and make sure you use a 3D capable TV.

The blocking is one thing that never ceases to amaze me. Every scene was obviously story-boarded several times in advance and Coppola, Spielberg and Tarantino could learn a thing or two from what Whyso chooses to do with his characters in a scene (take for example the tuxedo scene where the characters each march to a predetermined position as if they were in a bad middle school play and then stand there woodenly reciting their dialogue, this is Wisaeau's brilliant take on contemporary culture transforming even the affluent of our society into nothing more than caricatures of humanity, standing stock-still to deliver their address to their peers).

I could go on and on, but I really must recommend this movie to everyone except for children and pregnant women. Children should not see it because of the rather graphic nature of this movie's reality. It is just too raw and too real for an undeveloped mind to process. Pregnant women should stay away because the sheer sexual shockwave of Tommy Wisaeu's lovemaking on screen might cause a miscarriage.

Like I said, your life will be different after you see this movie. You will never look at film-making (or even lovemaking) the same way again. Although Transformers 2 is considered its big-budget Hollywood spiritual sequel, do yourself a favor and check out the movie that began it all.

Put your expectations in your pocket, put doggy in his kennel and bring some spoons. And enjoy.

Halloween H20: 20 Years Later (1998)

Attention Amazon.com customers....

1. Avoid this release like the plague. This Blu-ray Disc only has the movie and nothing else. LITERALLY! No subtitles, no trailer, no anything.

2. The picture is subpar for a high-definition transfer. Not to mention, it's not in the original aspect ratio. H20 was filmed in 2.35.1. This version's ratio was changed to 1.78.1.

3. The audio is pathetic. You don't even get surround sound. You get a pitiful DTS 2.0 Stereo track. The DVD at least offered us a 5.1 mix. I thought Blu-ray Disc was supposed to be an upgrade from DVD?

Save your money and avoid this title. Echo Bridge has a reputation for butchering films and they did themselves justice with this one. Until we as consumers stand up and quit buying this garbage of a release, they will never give us the quality that we deserve. The links below will give you a little more information concerning this release.

Certainly, after watching "Halloween: The Curse of Michael Myers", I had little interest in ever seeing Michael Myers again, who over the course of six films had transformed from a mysteriously eerie serial killer into a monolithic, robotic Druid(!) henchman. Amazingly, the next film in the franchise would redeem the "Halloween" name, a rarity for a sequel so late in the series. In fact, "Halloween H20" is probably the best sequel in the Halloween series (I confess to having a soft spot for "Halloween 2", but I freely admit that the film is problematic). Simply put, "H20" is the sequel fans had been waiting many years to see... even if some (like me) didn't know it.

The decision was made for "H20" to ignore the last series of sequels and act as a direct sequel to "Halloween II"; it was a wise decision, freeing the series from the various inane story lines and C-List characters that accumulatively dragged down the series over the years. Pleasingly, "H20" manages to both scare and entertain in a way that I thought just wasn't possible for the film series anymore. Finely directed by old school slasher film director Steve Miner (doing a better job with "H20" than he ever did on any of his 1980's "Friday The 13th" films), the film is smartly cast, has good production values, and is a blessed with a tight, straightforward plot. Jamie Lee Curtis gives a great lead performance, and the ending is the most satisfying of all the Halloween films (and that includes the original).

Special bonus points for "H20": it's the first sequel since "Halloween II" to get "The Shape" right! Armed once again with a creepy William Shatner-esque mask (which is actually achieved through a combination of 5 different masks and some CGI effects), a lithe build and quick, methodical body movement, "The Shape" is looking and acting more like his old eerie/ghostly self than he has in years. Certainly, this is a welcome reprieve from the graceless, hulking, albino-masked mongoloid that brutishly skulked around in the last few film sequels.

"Halloween: H20" isn't perfect; the characterizations (with the exception of Curtis's role) are drawn rather sketchily, the plot is a little too minalmist, and the music score is far more "Scream" than "Halloween" (literally, as parts of the score is actually taken from the "Scream" film!). Still, "H20" is a must-see for any self-respecting horror fan, and is well-made enough that (just as was the case with the first film) even non-genre fans should enjoy it; a four-star film (out of five).

Recently, there has been a lot of rancorous noise regarding U.S. distributer Echo Bridge's recent budget Blu-Ray release of "Halloween H20", which can either be purchased alone or as a double feature with the awful "Halloween: The Curse of Michael Myers". Primary criticisms from early reviews have been the following: "H20" has had its original aspect ratio changed; only a Dolby 2.0 lossless soundtrack is included; the print is of poor quality; and there are no extras of any kind.

Regarding the Echo Bridge Blu-Ray release, even at a price of $9.99, this is one sucky presentation of a quality film. Blacks range from dark gray to crushing, detail fluctuates between soft and mediocre, colors look flat, the print is dirty, and DNR, edge enhancement and compression artifacts all pop up intermittently throughout the film. Also, the film's original theatrical aspect ratio has been altered from 2.35:1 to 1.78:1 (although nothing has been cropped, as the film was shot in Super 35, which allows for aspect ratio changes on a film without losing any picture). Unfortunately, the open matte presentation does indeed alter the cinematic feel of the picture, throwing composition off in many scenes, and giving the film an overall TV movie-like feel that was clearly not intended by the director. Finally, the Dolby 2.0 lossless soundtrack is adequate for a surround track, but why is this here on a Blu-Ray, when perfectly good DTS-HD 5.1 and Dolby Digital 5.1 soundtracks exist elsewhere? Overall, with a sub-par presentation and zero extras, the Echo Bridge Blu-Ray release of "H20" screams "cheap cash-in", and will certainly disappoint fans of the film, which is why the Echo Bridge Blu-Ray presentation of "H20" earns a one-star (out of five) review.

This is not my first disappointment with an Echo Bridge Blu-Ray release. My first was merely weeks ago, when I picked up Echo Bridge's recent Blu-Ray release of "From Dusk 'Till Dawn"; just as was the case with "H20", the Blu-Ray was pretty crummy looking, even for its price. Frustrated and disappointed with that earlier release, I took a chance and ordered the Canadian Blu-Ray release of "From Dusk 'Till Dawn" from Canadian distributer Alliance (who has a dodgy reputation when it comes to Blu-Ray releases), and I'm glad I did, as the Alliance Blu-Ray was superior to the Echo Bridge release in every regard. Feeling encouraged, I decided to give the "Halloween Triple Pack" Blu-Ray release from Alliance a shot (which I picked up from Amazon.ca for $30.00, including shipping). This is a case of a gem sandwiched between two turds, as the best of the Halloween sequels ("H20") is unfortunately bookended between the two very worst sequels ("Curse" and "Resurrection"). It is on the strength of "H20" alone, that I decided to splurge on the Canadian import.

So, was it worth the trouble and cash to purchase this import? Certainly, for me I feel it was. Although "Halloween: The Curse of Michael Myers" and "Halloween: H20" are presented in 1080i (only "Halloween: Resurrection" is shown in 1080P), the picture quality of all three of the films look respectable, certainly heads and shoulders above any DVD release. The aspect ratio for "Halloween: H20" is indeed in its original aspect ratio of 2.35.1 ("Halloween: Resurrection" is also shown in its correct aspect ratio of 2.35.1, while "Halloween: The Curse...", originally released in 1.85:1, is shown in an incorrect aspect ratio of 1.78.1). Sharpness is good, colors are accurate looking and blacks are strong for all three films. There doesn't appear to be any edge enhancement or DNR.

Is "H20" on the Alliance triple-pack presented better than the Echo Bridge release? Yes, it is. Although far from great-looking, the "H20" print on the Alliance release isn't quite as dirty-looking as the Echo Bridge Blu-Ray. As stated earlier, H20's original theatrical aspect ratio is left untouched, restoring the film's cinematic look that was lost on the Echo Bridge release. For certain, it would have been nice if Alliance cleaned up the print for "Halloween: H20" (which unfortunately looks the shabbiest of the three films on the disc), but all things considered, "H20" looks better than the Echo Bridge presentation, even in 1080i.

On the other hand, the audio on the Alliance release "H20" completely blows away the Echo Bridge release. In fact, the audio for all three films sound quite good, with each film given a solid 5.1 DTS-HD Master audio soundtrack, complete with strong surround effects and good bass.

For hardcore U.S. fans, the Alliance triple pack is indeed worth picking up. Now, make no mistake about it, all of these films can (and should) be presented in a far better manner on Blu-Ray than what is on this triple-pack disc, with a nice remastered 1080P picture and special features galore. Yet, for what it is, hardcore fans should be mostly be pleased, as the presentation for all three movies is more than watchable.

However, for casual U.S. fans, in spite of my poor review, I do think they'll be better served with either the $9.99 Echo Bridge stand-alone Blu-Ray release of "H20", or the $16.00 Echo Bridge "H20"/"Curse of..." Blu-Ray double feature. The fact is, I simply can't justify casual fans shelling out 30-plus dollars for one good film and two awful ones, especially given the weak video presentation of "H20" on the Alliance Blu-ray. Casual fans likely won't mind (and may even prefer) the screen-filling open matte presentation of Echo Bridge's "H20" Blu-Ray release, and will probably feel satisfied enough with the Dolby 2.0 lossless soundtrack.

The sad reality is, this is probably as good as it's going to get for these films on Blu-Ray in the Region "A" market... at least for a while. Hopefully, Echo Bridge's distribution rights while expire sooner than later for these "Halloween" films, and they'll see a better presentation down the line. Needless to say, I'm going to take a pass on future offerings from Echo Bridge.

Buy Halloween H20: 20 Years Later (1998) Now

Echo Bridge's release of Halloween H20 is severly comprimised and should be avoided.

First, this release is not in the original aspect ratio. Originally released theatrically at 2.35:1 (per imdb), this Blu-ray includes a cropped 1.78:1 aspect ratio

Second, the only audio option is a DTS-HD 2.0 stereo mix, as opposed to the 5.1 mix included as part of the original dvd release from December 1999! Additionally, there are no subtitle options for the hearing impaired.

Lastly, there are no special features whatsoever.

So, let's see, no OAR, comprimised audio, no subs, no special features.

Remind me again why anyone would by this rush cash grab by Echo Bridge?

Read Best Reviews of Halloween H20: 20 Years Later (1998) Here

Best Buy has these on sale now so I have it prior to the release date. Avoid it no matter what.

I already have the Candian triple feature blu-ray with this movie, but I was intrigued when I read that in this release the black bars at the top and bottom of the screen are removed to actually show more picture. It was cheap and I'm definitely a cult fan, so I grabbed it. Yeah, not worth it. It makes it look bad...too much sky above people's heads in lots of shots and things like that.

The picture quality is overall atrocious. It looks like a DVD print with a noise reduction filter applied to it. Some parts make you feel like your player or tv is messed up because of flicker or jitter, but no, it's just a horrible transfer. Definitely NOT 1080P even though it says it is. It also says the audio is "2.0 STERE"...great attention to detail guys.

I'm going to jump on the bandwagon and say hold out for a better release or get the Candian triple feature...it's much better quality and true to it's claim of 1080i.

Want Halloween H20: 20 Years Later (1998) Discount?

The "Halloween" saga has always been a favorite of horror film fans. It began with a ground-breaking, terrifying original, and moved onto "Halloween II" which continued the story on the same night as the original, making it the perfect companion piece. While not as relentlessly terrifying as the original, it is a scary movie.

Then came "Halloween 3" which had nothing to do with the rest of the series. It could have been an all right movie if they had left off the "Halloween" title. But it raised so many fan expectations that it fell very short.

"Halloween 4" brought Michael Myers back, and returned to the suspense of the first two films, heralding the 10-year-old original. "Halloween 5" was a step down in quality, with a good first 20 minutes, and suspenseful second half to make up for the "stupid teenagers and sex" sub-plot. "Halloween 6" was on the same level as the fifth one--entertaining in parts, but it was so choppy, you could hardly tell what was going on a lot of the time.

Then it came full-circle. 20 years after the original film came "Halloween: H20--Twenty Years Later", bringing everybody's favorite horror heroine, Laurie Strode--played by Jamie Lee Curtis--back to the screen. It bypasses films 3-6, and becomes a direct sequel to the first two. It is an excellent film, very scary and suspenseful, while not falling too much into the trappings of "Scream" rip-offs. With Jamie Lee Curtis and Michael Myers going face-to-face 20 years later, it brings a successful resolution to the saga.

"Halloween: The Homecoming" is supposed to be coming out soon, and I'll probably see it, just because it too has JLC and Michael Myers. But I have a feeling that it is going to be about as good as "Halloweens 3, 5, and 6", which is not very good. "Homecoming" will negate the whole effect of H20's brilliant climax in which Michael finally meets with his death, and I think it should stay unreleased. If you want to experience the true story of Halloween, watch "Halloween", "Halloween II", and "Halloween H20". This trilogy of Michael Myers and Jamie Lee Curtis is super-scary and brings the terrifying story to a satisfying resolution.

It begins 20 years after the first two films, and Nurse Marion from the first two finds her house broken into, with files on Laurie Strode missing, before Michael Myers kills her. Then Michael heads out to California, where Laurie is living under a different name, with her teenage son John, and running a prep school. But as Halloween draws closer, Laurie must finally face her demons, and goes head-to-head with her masked brother for a final showdown that has an unexpected, yet completely satisfying conclusion--bringing the story of Michael and Laurie to a close. The acting is excellent for a horror film, and it is a beautifully made film. The music, which hints at John Carpenter's original themes, is very creepy. The direction is quite good as well. It is certainly the best of the "Halloween" sequels, follwed closely by "II".

The DVD is an awesome widescreen version. But there is no commentary as mentioned on the box, and no theatrical trailers. But there is a neat documentary on the making of the film. And the picture and sound quality is excellent. Buy H20 now, before it's too late! You won't regret it. Now you can see how the horror saga really ends.

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