Basket Case Trilogy 'Limited Edition Steelbook | Basket Case / Basket Case 2 / Basket Case 3: The P

This is a beautiful set from top to bottom. My friend found it and bought it from Kim's for $70 (and I would have done the same had they had 2). The next day, I ordered this set from amazon.co.uk, because, after conversion rates and shipping, it came out to just under $36 dollars. I suggest you all do that as well, because this set is worth it, and it's worth the 2 weeks wait to save $20.

Seriously, go out and buy this now. You won't regret it.

Well, here it is the ultimate "Basket Case" collectible. All three films on region free Blu-ray discs looking and sounding the best they ever have, plus a comprehensive documentary (almost 80 mins), a suite of extras collected from previous DVD releases of the first film (commentary, outtakes, trailers, photos), a look at UK horror movie posters and an Easter egg featuring an FX workshop tour all wrapped up in metal box with great new cover art. Wow-factor: 11 out of 10. The first movie is a genuine low-budget horror classic, and the glossier sequels make for cheerfully demented viewing. Plus, Belial fans should note that a potential "Basket 4" is hinted at in the documentary, so buy this now and stay tuned for more mayhem.

Buy Basket Case Trilogy 'Limited Edition Steelbook | Basket Case / Basket Case 2 / Basket Case 3: The P Now

Dr. No (50th Anniversary Repackage) (2012)

A landmark film in many respects, "Dr. No" (1962) introduced Ian Fleming's 007 to cinema audiences. Despite the author's initial objections, Sean Connery defined the character of James Bond with his remarkably self-assured performance. Ursula Andress' iconic beauty and Joseph Wiseman's restrained villainy were equally memorable. Thanks to the contributions of director Terence Young, set designer Ken Adam, editor Peter Hunt and composer John Barry, the 007 style was immediately established in this Jamaican adventure. Producers Harry Saltzman and Albert R. Broccoli should be applauded for getting the most out of their limited budget. "Dr. No" succeeds as an unpretentious spy thriller minus the gadgetry and gimmicks in later Bond outings. The film's impact on popular culture cannot be underestimated.

My comments apply only to the newly released Blu Ray version.

I will not review the film it's self since everyone has no doubt seen it at least once.

I have waited 2 years for the Bond films to be released in a HD format, and the waite was worth it.

The picture quality of this old film is simply awesome. The color saturation, the "depth" and contrast are very film-like.

I felt like I was discovering the film for the very first time.

Watching it on my 60'' display, it looked like I was seeing a brand new, fresh from the lab, film print in my own living room.

And it gets better, I am told (but havent viewed my copy yet) that Thunderball looks even better.

If you are a Connery James Bond fan, and own Blu Ray, this is a no-brainer.

Highest possible recommendation, and Amazon has it for a good price.

Buy Dr. No (50th Anniversary Repackage) (2012) Now

Outside of Bond fandom very few people know that Sean Connery was actually the second actor to play the character of James Bond. In the 1950s there had been a television production based around Ian Fleming's first spy novel "Casino Royale" in which American actor Barry Nelson had played 007 as a US spy with Clarence Leiter as his British counterpart. Fast forward to the early 1960s and work is once again getting underway to bring the fictional spy to the screen. Cast in the lead role is what one UA executive referred to as a "lorry driver" and with a small budget (a measly $1 million) there seems to be little hope for the fledgling franchise. Yet when Doctor No (the final choice for the first of the series) hits screens it changes the film industry, sending reverberations the likes of which are still being felt today. Staying largely faithful to the Fleming book of the same name (something that was not to last) the rather modest movie set screens afire, helped enormously by the performances of Sean Connery and Swiss beauty Ursula Andress. In fact for many, Andress is the quintessential Bond girl, establishing one of cinema's most iconic images as she emerges from the sea in a white bikini). Right away the trademark violence is evident as three assassins murder a British operative and his pretty secretary in Jamaica. The break in communication has the British nervous and they send for their top agent. Switch to a smoky casino in London. And we see the back of a man, his hands moving his cards about the table and then taking a cigarette out of its case. Lighting it he is fully revealed and the trademark line "Bond, James Bond" is heard on cinema screens for the very first time. Arriving in Jamaica Bond learns that the missing operative was investigating the mysterious character of Doctor No who operates from a private island named Crab Key. Determined to learn the truth he arranges to sneak onto the island with his colleague Quarrel to discover the truth behind the disappearance. Taken on its own Doctor No is a nice, taut, suspenseful movie with some wonderful performances from its leads. New York actor Joseph Wiseman is particularly chilling as the title character with his metal hands (some disfigurement or quirk has since become a necessity for Bond villains). Taken as the initial outing in a franchise the movie is a low-key effort that ably sets the stage for the films that were to follow. Today this movie rarely tops people's lists as a favorite in the series, but that is largely because in the ensuing years the Bond series came to mean spectacle and special effects, often at the expense of good storytelling. Initially released on DVD in the cardboard snapper cases with only Bond trivia to complement it, in 2000 MGM did the movie justice by reissuing it as a special edition with improved video and audio and a nice collection of extra's. For the time the Bond special editions were considered the "cream of the crop" as far as DVD releases were concerned. Here we have an audio commentary which is comprised of spliced together interviews from earlier many behind the camera had since passed on including director Terence Young. An easy movie and DVD to recommend.

Read Best Reviews of Dr. No (50th Anniversary Repackage) (2012) Here

This review refers to the MGM Special Edition DVD od "Dr. No"....

How dissapointed was I, when I saw this transfer of this great classic by MGM to Dvd?..REALLY dissapointed. If you already own the VHS..hold on to it for a while longer, even if you see it come on TV you will probably get a better picture and sound quality then you do with this package. I'm not saying it is not a viewable film, just that when you get a DVD, especially one from a production studio like MGM, you expect better. The film itself seems to be in pretty good shape. Even the colors are good. But the picture seemed grainy and the sound was the worst.

With all the great action and music in this film it should have been at least in stereo, 5.1 would be even better. The dialouge was less than good. I had to keep back tracking to hear what I missed and had to keep turning the volume up and down. I've seen alot better on transfers of films much older than even this one is. And there's more...now this may be just my copy, but there was alot of pausing and skipping thoughout the film. I have recently purchased a new DVD player that is pretty state of the art, and any DVD that ever skipped on my old player does not skip now..except this one....Please MGM...try again with this one.

Okay, okay, so now that I got that off my chest... I Love "Dr. No!" The first(of 20) in the 007 series(based on the novels by Ian Fleming), made in 1962 is exciting , full of action and lots of fun. Sean Connery in his first of 7 Bond movies sets the bar for all the ones to follow. And I must also mention that Ursula Andress likewise sets the bar for the "Bondgirl".

We meet James for the first time, where else..at a gambling table, looking dapper as ever in his tux, where he immediatly catches the eye of a beautiful woman who cannot resist him. Although he must leave immediatly on his first assignment, he does have a few minutes to spare for the lady. Then off to beautiful Jamaica, where the movie is filmed and the action begins.

James begins investigating, the murder of the agents stationed there and all roads lead to the manical Dr No(Joseph Wiseman), who has secluded himself on a small island and is killing anyone who gets too close. Dr. No is messing with the U.S. Space Program and must be stopped before he can strike.

Once James does get himself onto the Island, he first meets 'Honey Ryder"(Andress), who is a vision as she makes her entrance emerging from the water like some beautiful mermaid. Together they fight off the army of Dr. No's guards,and thwart the impending disater.

You'll meet "M"(Beranrd Lee) and "Miss MoneyPenny"(Lois Maxwell) for the first time in this one. "Q" and all his gadgetry have not made into the story yet. There are the great cars and car chase scenes. You'll get that "Bond" feeling immediatly as the theme begins. And don't forget to look for Jack "Book-em Danno" Lord.

A great start to a great series.The DVD does come with some great extras. I especially enjoyed the featurette about Sean Connery fitting into the mold of the first 007, which was made at the time of the filming of Dr. No.(see tech info for complete list of bonus material.) If your a huge fan and cannot wait for a better DVD to come along then go ahead and have that first vodka martini with James and here's hoping for a new restoration. Enjoy....Laurie

Want Dr. No (50th Anniversary Repackage) (2012) Discount?

Outside of Bond fandom very few people know that Sean Connery was actually the second actor to play the character of James Bond. In the 1950s there had been a television production based around Ian Fleming's first spy novel "Casino Royale" in which American actor Barry Nelson had played 007 as a US spy with Clarence Leiter as his British counterpart.

Fast forward to the early 1960s and work is once again getting underway to bring the fictional spy to the screen. Cast in the lead role is what one UA executive referred to as a "lorry driver" and with a small budget (a measly $1 million) there seems to be little hope for the fledgling franchise. Yet when Doctor No (the final choice for the first of the series) hits screens it changes the film industry, sending reverberations the likes of which are still being felt today.

Staying largely faithful to the Fleming book of the same name (something that was not to last) the rather modest movie set screens afire, helped enormously by the performances of Sean Connery and Swiss beauty Ursula Andress. In fact for many, Andress is the quintessential Bond girl, establishing one of cinema's most iconic images as she emerges from the sea in a white bikini).

Right away the trademark violence is evident as three assassins murder a British operative and his pretty secretary in Jamaica. The break in communication has the British nervous and they send for their top agent.

Switch to a smoky casino in London. And we see the back of a man, his hands moving his cards about the table and then taking a cigarette out of its case. Lighting it he is fully revealed and the trademark line "Bond, James Bond" is heard on cinema screens for the very first time.

Arriving in Jamaica Bond learns that the missing operative was investigating the mysterious character of Doctor No who operates from a private island named Crab Key. Determined to learn the truth he arranges to sneak onto the island with his colleague Quarrel to discover the truth behind the disappearance.

Taken on its own Doctor No is a nice, taut, suspenseful movie with some wonderful performances from its leads. New York actor Joseph Wiseman is particularly chilling as the title character with his metal hands (some disfigurement or quirk has since become a necessity for Bond villains). Taken as the initial outing in a franchise the movie is a low-key effort that ably sets the stage for the films that were to follow. Today this movie rarely tops people's lists as a favorite in the series, but that is largely because in the ensuing years the Bond series came to mean spectacle and special effects, often at the expense of good storytelling.

Initially released on DVD in the cardboard snapper cases with only Bond trivia to complement it, in 2000 MGM did the movie justice by reissuing it as a special edition with improved video and audio and a nice collection of extra's. For the time the Bond special editions were considered the "cream of the crop" as far as DVD releases were concerned.

Here we have an audio commentary which is comprised of spliced together interviews from earlier many behind the camera had since passed on including director Terence Young. Added to that is a documentary on the making of the movie including on-camera interviews, some archival and some new and a documentary on the aforementioned director. Rounding out the set us the usual collection of promotional material.

An easy movie and DVD to recommend.

On a sidenote work is currently underway by Lowry Digital to restore this movie, if audio and video is of primary importance to you then you might want to wait until that is released in 2006.

Underworld (Unrated) (2003)

Boiled down to the fine little dish of steak tar-tar that it is, "Underworld" is the answer to the two horror flick questions you had as a kid:

1) If Dracula and the Wolfman went mano a mano and fang-to-claw, which one would do the thrashing?

2) If Dracula and the Wolfman checked into a cheap motel, got roaring drunk on a case of Night Train, and had a baby, what would it look like?

You get the answer to #1 early and often, which is pretty much what this Transylvania Station is all about. And by the end of "Underworld" you get #2 as well---and trust me, when it's hopping about like an ugly green Mini-Hulk (right down to its one-size-fits-all-monster trunks) you'll wish you hadn't.

You want to know what you're getting when you lace up your thigh-high attitude boots and strap on that trenchcoat for a little midnight fun in Len Wiseman's uber-stylish little monster mash "Underworld"?

Think West Side Story: only here, instead of the Jets and the Sharks angling for a rumble on the other side of the tracks, we have Vampires and Werewolves. Oh, and in "Underworld" nobody breaks into song. Both sides just want to rumble, and the girls just wanna have fun. In the meantime, while not the sharpest stake in the vamp-hunter kitbag, "Underworld" finds its groove, and serves up a bloody two hours of unabashed techno-cool that drinks you dry, trashes the apartment and howls at the moon.

We get dropped into the middle of a war that Celine (the impossibly tasty Kate Beckinsdale)---our supple full-body-suit clad vampiric Death Dealer and narrator---tells us has been "raging for centuries."

On one side of the tracks: the sneering, brutally hip Euro-trashy leather-trenchcoat & hip-sunglasses wearing uber-high-maintenance Vampires. They have posh high-rent neo-Victorian digs, drive around the streets in Jaguars and Maseratis, and have managed to switch up the silver bullets in their glocks and MP-5 submachine guns for something more lethal: liquid silver nitrate, which makes it tougher for their hairy buddies to pull the bullets out. Advantage: Vampires.

On the other side of the tracks: the Salvation Army surplus-wearing tear-your-scalp-off-and-wear-it Werewolves---erm, I mean Lycans, short for Lycanthropes. The Lycans are strictly low-rent, hang out together in what looks like an abandoned public lavatory, and take a bath once every full moon whether they need it or not. Whereas their blood-sucking cousins from the East Side look like they'd be hanging at crazy underground raves when they're not boring each other to tears talking like the Merovingian, the Lycans are strictly the mosh-pit set. Oh, and from what I could tell, there's not a single werewolf girl. C'mon guys---haven't ya heard of "Ginger Snaps"? Bummer. Advantage: Vampires.

That said, the boys have been pumping the rent money they've saved up into super-science research, giving them bullets that encase super-photoelectric magnesium charges (perfect for giving that oncoming vamp a little taste of Club Med sunlight). They also have the upper hand in figuring out how they can mix the bloodlines, bringing the war between Vamp and Lycan to an end. Advantage: Lycans.

And finally, mixing it up with our fanged-kissin' cousins, we have perplexed med student Michael Corvin (played by the annoying Scott Speedman who cashes a check) stalked by Lycan heavies and tagged by Selene, who wants to know why the werewolf army is so eager to get their hands on him.

And that, pretty much, is "Underworld": two hours of movie built around jaw-droppingly gorgeous set-pieces and bouts of total war between locked-and-loaded squads of Things that go Bump in the Night.

Just a note: you'll want to get the Unrated Extended DVD: it fleshes things out, beefs up some supporting characters, and ends with an extended battle sequence---and it's loaded down with plenty of extras you can sink your fangs into.

Plus, the sleeker transfer shows off Wiseman's technical mastery in spades. Wiseman uses sound-stages and CGI to anchor the film's look, and tethers all of it to the fog-shrouded cobbled streets and ancient alleys of Prague: the City itself takes on a bleak and brooding character. The movie looks gorgeous: whether it's the gloomy red-velvet and dark mahogany halls of the mansion, the sleek, sterile Underground, or the industrial ruins of the Lycans, Wiseman and cinematographer Tony Pierce-Roberts make every scene tell. The sequence where a locomotive full of vampire diplomats chugs into a deserted rail-station---with the baying of werewolves in the distance---is jaw dropping.

"Underworld" also gets the most out of its talented stable of actors. There are three centers of gravity in the film: Beckinsdale, who doesn't need her bodysuit to command her lines (though I'm glad she wore it). The Lycan overlord Lucien (the gifted Welsh actor Michael Sheen) steals every scene he's in, and brings complexity and command to a role that could have been a throwaway in lesser hands. Finally, there's the Vampire King Viktor, played by the great Bill Nighy (who also played Shaun's Jag-loving stepdad in "Shaun of the Dead"). Nighy is a kind of demonic embodiment of immortal Puritan rage, and acts like a champ through all that make-up.

Even the supporting actors turn in strong roles: Shane Brolly (Kraven) whines and pouts and lisps and turns in a convincing performance as a spineless worm; Sophia Myles (Erika) comes off as a naughty little vampire cat-girl; Kevin Grevioux owns this film and puts the smack down as Uber-Werewolf Raze; and Hungarian actress Zita Gorog rocked my world---without uttering a single line.

In the end, this batwinged black-lipstick wearing looker of a flick charged into the goth club of my choice, served me an extra-bloody steak tartar , smacked me around, bought me drinks, and talked Shakespeare after. Would a Lycan by any other name be just as hairy?

Blade was interesting, but to me it failed emotionally. You just do not connect with the film on the personal level. The effects were super, but that was the main impact..."wow what amazing effects". You feel like breaking out in a chorus of Peggy Lee's Is That All There Is. Special effects alone cannot make a movie great.

Underworld makes that jump, great FX work, but also gives you characters you really care about, ones that you really love to hate. A strong plot line designed to hook you and keep you, just does that. With the emotional involvement, there is a greater impact, a movie that will demand repeat viewing. Instant Cult Status.

The movie grabs you from the opening and never lets up with the pace. Firm direction and with a driving score, the movie reaches for perfection. You have a 1000-year-old war between Lycons and Vampires, and it's all coming to a head. It's a well thought out and executed premise and Kate Beckinsale shines! She is an amazing talent. I first adored her work in Cold Comfort Farm as Robert Post's child Flora. When you compare that gentle, deft bit of humour with this kick a*** vampire hunter, it proves what an overlooked talent she is. With Van Helsing out now (and I am sure this movie led to her landing the role), she is finally getting a spotlight she so well deserves.

A gloomy, atmospheric ambiance to the whole movie is maintained all the way through, adding a strong foundation for the otherworld premise. I am sure some will nitpick things, as all vampire film faces, but kudos for the vibrant energy and sheer edgy feel to the film.

It leaves you hanging, clearly open for a sequel...one can but hope it maintains this high quality.

Kate rocks...you don't need to know anymore! It has about 13 minutes of footage not in the original. A great battle scene and some backstory on Michael. Rounds out the film nicely without dragging it down. A great pounding soundtrack, too!

Buy Underworld (Unrated) (2003) Now

I had been looking forward to the release of this movie all summer long, and it was a great movie! It was just a little different from what I had thought it would be.

The movie, as most of you probably know, is about a war that has been going on between werewolves and vampires. And it is THIS that is the primary focus of the plot (as opposed to the vampires and werewolves themselves). The werewolves have been researching their bloodlines and discovered a human who shares a common ancestor with both the werewolves and the vampires. The werewolves seek out this human, and this is noted by Selene (Kate Beckinsale), who decides to make it her mission to discover the importance of this particular human.

Unfortunately, the writers decided not to delve too deeply into vampire and werewolf lore. I was pretty disappointed by the fact that the supernatural abilities of these supernatural beings were not really emphasized. Instead, the writers chose to merely stick guns in the hands of the vampires and werewolves. In addition, the mythology was slightly different from what I've read and seen before in previous vampire and werewolf books and movies. I don't necessarily have a problem with that, but if you are going to change things from what people are used to, then it should be explained in slightly more detail.

Another thing that was a little disappointing were the effects. The previews led me to believe that the movie would be comparable to the "Matrix" in that department. Unfortunately, the best effects (with the one exception of the werewolf transformations) were all shown in the previews.

All of this aside, the movie was still pretty incredible. The plot was exceptional, which is not necessarily always the case with most action movies, and the action kept me entertained throughout the movie's entirety. The make-up and costumes were also outstanding, as was the acting. I actually saw this movie twice, and the second time around (once I got over the intial let-down of it being slightly different from what I expected) it was MUCH better. I anxiously await the sequel (and based on how the movie ended, there WILL be a sequel) as well as the DVD release!

Read Best Reviews of Underworld (Unrated) (2003) Here

This movie really looks great on Blu-Ray with an AVC encode and the PCM lossless audio is excellent. By the way this movie is also region free (Regions A, B & C) so people can import this if they want to.

Want Underworld (Unrated) (2003) Discount?

I'm so glad I got this extended unrated version. I have the original widescreen DVD that came out first, but with this copy there were so many extras that I decided to grab it also. After watching both of the versions I've decided I'm going to keep both as they have different commentary tracks. The commentary on the extended version with Len, Kate and 'Speedman' was quite funny.

I usually would be very annoyed with having to own more than one copy of something to get all of the extras, but in this case I wasn't too urked, considering the great deals I got on both DVDs.

I picked my extended one from best buy for only $15, and it came with a movie ticket valid for up to $10 off of one ticket for Evolution (only at best buy). I believe the other one was around that cost also.

If you're a big fan who owns the original DVD of the movie I would definetly recommend getting this version too.

I already know what will happen once Evolution comes to DVD: I will run out and buy it immediately, only to buy the new extended, unrated version a year later. ;-)

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Operation Condor 2: Armour of God (2012)

This is an awesome Jackie Chan movie.This is one of my favorites. Even though they released this as a sequel to Operation Condor. Although this was the first movie and Operation Condor was the sequel.

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Mutiny on the Bounty (1935)

Charles Laughton gives the standout performance in this classic retelling of the Bounty mutiny. Gable appears properly confounded and gives a believable and sympathetic rendering of Fletcher Christian. The movie holds up remarkably well despite some awkward editing and gaps in the story line. Still, at 133 minutes it is a relatively long film but it never drags. In spite of allegations made in other reviews there are no "white girls in blackface" or "boats in a bathtub" scenes. True, navels are concealed but the two female leads are obviously and revealingly topless in several scenes. As for "toy boats in a bathtub" there is only one sequence that obviously utilizes a model and it isn't all that obvious. Laughton is the luminary here and his Bligh stays with you. In fact it has stayed with the culture for sixty-five years. His performance is without fault and repeated watchings bear this out. A couple of sequences bear a closer look: The mutiny montage is startlingly effective and intense. It is a realistic portrayal of sudden violence; short, confusing, and graphic. The Sunday morning prayers on deck sequence is poetic and approaches the sublime. The ship's sails gleam translucent in the sun, the Union Jack floats majestically in the breeze, sunlight reflects brightly on faces as the Captain invokes God's blessings on the voyage. The extreme contrast of light and dark in the black and white print and the metaphorical contrast of good against Bligh, the epitome of evil, is subtle yet effective. It is a beautiful few moments. In every way but gloss this film is superior to the 1962 version. The 1984 "Bounty" with Mel Gibson is a fine film but it fades in the memory. This version lingers in the subconsious.

Based on the then-popular novel by Charles Nordhoff and James Norman Hall, the 1935 MUTINY ON THE BOUNTY is among a series of legendary films of the 1930s that have been repeatedly celebrated for cinematic achievement. And small wonder: the film has a host of powerful assets.

The single most obvious among these is the star power involved: led by two Oscar-winning stars, the critically formidable Charles Laughton and the incredibly popular Clark Gable, the cast reads like a Who's Who of mid-1930s male actors ranging from leading man Franchot Tone to the memorable character actor Donald Crisp. In a visual sense, the film is also a knockout: filmed on location in a full-size replica of the Bounty, it set a new standard for capturing the sea on film. And the story itself is powerful, the tale of the battle between the cruel and autocratic Bligh and the humane and populist Fletcher Christian. Taken together, it makes for a powerful ride.

Still, some viewers may not find MUTINY ON THE BOUNTY all it is cracked to be. Then as now, Hollywood was less interested in getting the facts right than in telling a good story--and from a factual point of view the film is perhaps twenty percent accurate and eighty percent nothing more nor less than historical tarradiddle. That is no real hinderance per se; after all, we're not watching a documentary. But seen from a modern standpoint the cast now feels somewhat problematic.

Charles Laughton was so critically well regarded that he received star billing over Clark Gable for the film, and seen today his performance is easily the single most powerful in the entire film. Autocratic, brilliant, and immediately and increasingly unlikable, he drives the film from start to finish--and it is here, really, in which most of the film's historical accuracy resides. The rest of the cast, however, is extremely Hollywood. Clark Gable, Franchot Tone and all the rest give an excellent show, full of power and drive--but you never for a moment forget that they are indeed Hollywood stars and not members of the British Navy.

This is very much a "big" film in the MGM tradition, often brilliant, often memorable, and often setting new standards for the motion picture industry. And when regarded from that point of view it is extremely, extremely entertaining. But it may also be a film whose power has slightly faded with the passing of time.

The DVD package is slight and less informative than simply entertaining, including trailers, a scrap of newsreel footage, and (most interesting) a short documentary on Pitcairn Island as it existed about the time MUTINY ON THE BOUNTY was made. Although the picture and sound have not been restored per se, both are best-possible-quality short of digital restoration. Recommended to fans of classic 1930s Hollywood.

GFT, Amazon Reviewer

Buy Mutiny on the Bounty (1935) Now

This film doesn't seem to meet the criteria of what we call a great movie: it won't lift your spirit and soul, it doesn't really give us any lasting food for thought, it probably won't make you laugh hysterically( although I thought the swinging lantern bit was pretty funny), it probably won't really make you weep. So why is this such a respected movie?

It is a rolicking adventure of the sea. Everyone knows there were enough of those made in the old days. So why does this one stand out?

It's the acting. The rich man's son is extremely well portrayed and his speech at the end is well rendered. The entire cast is outstanding, making even the nobodys of the ship endearing and enduring. Clark Gable(no mustache?!! Horrors!) gives a deep introspective portrait of Fletcher Christian as a man that has been pushed and pushed and pushed again.

Laughton gives a Bligh that is truly one of the best villians ever to grace the screen. Gable and Laughton play off each other marvelously. As Gable reacts to Laughton's brutality, making the audience wonder what exactly will push him over the edge.

In short, what made this adventure movie so lasting? What made it a classic? I'll tell you. It's the deep introspective character development seen here. Highly recommended.

Read Best Reviews of Mutiny on the Bounty (1935) Here

OK, while miles ahead of the 1960s remake, ruined by an over-the-top performance by a very miscast Marlon Brando, this version still does not tell the true story of the HMS Bounty and its ill-fated voyage. (See James A. Michener's "Rascals in Paradise" for a historically accurate, but brief, picture of Bligh and the mutiny.) The movie stays close to the novel by Hall & Nordhoff and uses a fictious midshipman, Roger Byam, as the main character and we see both Christian and Bligh mostly through his eyes.

The acting by Gable and Laughton are, of course, excellent and the film shows the money spent by M-G-M wasn't wasted. The Bounty, itself, was a beautiful replica and the filming at sea--especially during storms--is hair-raising. In short, if you are after historically accurate drama--then this isn't your film, but if you want an entertaining, thrilling sea adventure from Hollywood's golden age--then by all means take a chance with this great picture.

Want Mutiny on the Bounty (1935) Discount?

This film has never escaped my top ten favorites list. The only film in history to have 3 leading men nominated for best actor. While Gable is perfect as Fletcher Christian and Franchot Tone gives a superb performance as a midshipman, it's Charles Laughton's Captain Bligh that sets this film apart. You'll want to mutiny too. The ensemble cast is also memorable (unlike later films), each playing off Bligh's totally disgusting presence. Stolen cheeses, rancid rations and repeated lashings drive a crew collected by press-gangs to solicit 1st mate Christian to end their misery. And he does, casting Bligh adrift and taking the Bounty to Tahiti where half-naked island girls and a perfect tranquil life compare to Bligh like heaven to hell. I shed a tear every viewing during Tone's 'lift their hearts' speech at the end. This is a must see classic in every sense. Highest recommendation (for all but the youngest children)

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Forbidden Zone (Arrow Video) (1982)

This movie is weird, period. It's got an Eraserhead vibe (probably from the black/white), and I pick up Un Chien Andalou, probably from having no idea what's coming next. The dark frame corners of the B/W stock also evoke the early parts of The Wizard of Oz, conjuring dread and foreboding. Other than that, leave your film references behind, and set your mind for new experience.

You've got to watch this film at least twice, ideally a couple weeks apart, before you decide that it's the worst film you've ever seen (a typical first reaction). Now, the weirdest movie you've ever seen--yeah, that's a spot-on description-but it's not the worst, by far. Save that crucial tag for Madonna's desecration of Swept Away, John Wayne in The Conqueror, Caddyshack 2.

I saw this B/W classic for the first time in a 1984 university film class. The prof warned us that it was racist, misogynistic, anti-Semitic, violent, vulgar and scatological (her words). And she was and remains exactly right. I sat through the 73-odd minutes of this thing (shown on film, no less), and when it was over I wasn't quite sure what I'd seen. I remember a strange and heavy feeling of dread and confusion that hung with me for a few days, like I'd seen something deeply disturbing but couldn't yet make sense of it. But I'd also laughed, hard, at a number of the scenes in the film.

It wasn't until a good ten years later I got my hands on a bootleg VHS copy, and I bought my own copy (signed!) from the Richard Elfman web site two years ago. It was only on second and subsequent viewings that I figured out exactly what the story was, and then really started to see the subtlety of the film, to appreciate and enjoy it more.

It opens in the kitchen at breakfast, with the family in intentionally awful stage makeup, sitting in mismatched chairs on a set with ultra low-budge hand-painted elementary school play backdrops. The psychotic mom gets knocked cold by dad when she talks too much. Then they have to tie up Grandpa before the kids go to school. And that's in the first couple of minutes.

Then school, where the scenes are pure nightmare, just chaos, with the grotesque images of the teacher and students, hideous caricatures of kids that I knew, and you'll recognize as well. Then in the middle of this highly disorienting scene comes the "Alphabet Song/Swinging the Alphabet," with the "F" and "G" verses corrupted thoroughly and hilariously.

Then we descend to the underworld and by way of introduction to the Sixth Dimension, watch two guys in jock straps sing a goofy song in a boxing ring, followed by a frog-headed guy doing some soft-shoe, and a seriously creepy version of "Bim Bam Boom."

The crass racial and ethnic stereotypes flit in and out, amateurish, really, in their insertion, and having little relation to the movie itself. Right at the beginning there's a black-face guy, described as local pimp Huckleberry P. Jones, with his bad suit and boxing gloves, no less. The Hercules patriarch has a horribly dubbed Yiddish accent, and we even run across Jewish money lenders down in the Sixth Dimension. I don't really get their placement or function in the film, other than visual distraction, or misfiring attempts at comedy.

And some violence. A guy gets shot at school, although it's pantomime-corny. There is some serious fisticuffs, but it's also hammy. A knife goes right through a thigh, but it's a cheezy effect. But when Grandpa Hercules fights the gorilla he ends up literally bashing its head into ground meat, and that's a pretty disturbing close-up, even in B/W. The queen gets shot, somewhat graphically, with a little bit of blood. The two queens end up at the bottom of the pit, their bodies run through with steel blades. And Squeezit loses his head, although he doesn't really die, and the head even sprouts wings to flit around as a cheezy Sixth Dimension mascot.

And some nudity. The excruciatingly nubile Princess wears nothing but tight high-rise briefs, pumps, and gloves for the entire film. There's a wacky kind of topless cattle drive of young ladies, comical and erotic in its own strange way. There's a lot of comically strange/strangely comical frottage going on, mostly Flash and Gramps grabbing various Sixth Dimension denizens. Nothing graphic at all, but the MPAA would call it sexual content.

And fun with trivia: 1) Uber-nerds will recognize the Forbidden Zone theme as that from the short-lived Dilbert TV show from a few years back; 2) Music nerds also will recognize an original recording of "Pico and Sepulveda," which was for many decades the backing/theme song of the Doctor Demento radio show (The Very Best of Dr. Demento).

Lastly, get that soundtrack (Forbidden Zone). If you like a good mix of music, you'll love the CD. If you're expecting raw Oingo Boingo, you'll be disappointed. Sure, they're there, but not in the kind of depth and orchestration you're probably looking for. There's a couple old-timey tunes ("Bim Bam Boom," "Some of These Days"), lots of Danny Elfman's original score, and the sorrowfully too-short "Squeezit The Moocher." For whatever sad reason, "Pico and Sepulveda" is not included in this release.

Bottom line: This is just one of those cult films you have to be able to say you've seen. If you're looking for slick production and deep, deep artistic symbolism and staging, you'll be hugely disappointed. You may not like it at first, it being more confusing than anything, but if you've got an open mind and tend toward black humor, and if you watch it more than once, you'll enjoy it. If you're looking for something seriously off the wall, a film like none other you've ever seen, then this is the one you've been waiting for.

It's a good day when "Forbidden Zone" gets a DVD release! Better yet, this is a valuable addition to the Fantoma disc, and not really a substitution.

I don't normally purchase or even watch colorized versions of black and white films, but Richard Elfman seemed to make a compelling case that he intended "Forbidden Zone" to be released in color. I certainly do not begrudge the man for making a living, and he honors our pocketbooks by making the new release different enough to warrant a look.

In the color version, one notices details that aren't as readily apparent as in the original black and white version. The sets seem to be made of cardboard and butcher block paper that is clear in the original version, but is blazingly obvious in the colorized version.

Colorization aside, how is this version different? This DVD is lacking the commentary of the original release, the documentary and the isolated score (this is bad.) On the plus side, the new DVD has a DTS 5.1 track, and a promo for a Japanese audience. However, the deal-maker is the pop-up trivia that is truly interesting although somewhat redundant of the previous DVD director's commentary.

The colorization is quite good (who knew French's bathrobe was yellow), and adds to the surreal quality of the picture instead of being a distraction.

I don't normally like double DVD releases, but in this case I will make a strong exception. Recommended!

Buy Forbidden Zone (Arrow Video) (1982) Now

Once upon a time, way back in the 1970?s, there was a magical land called Southern California. It was in this place that two brothers, Richard and Danny Elfman, devised an avant-garde musical comedy troupe, called The Mystic Knights of the Oingo Boingo. In 1980, they decided to form a loose story based around some of their performance pieces and make a movie. That movie is the legendary Forbidden Zone. Since my fourteen-year old vhs tape of this movie is rotting on the shelf as I write this, I couldn?t be happier to see its release on dvd.

Okay, the film is a certified nut case of a movie, filmed over the course of maybe a week in and around the LA area. It?s in black and white, not because of any artistic vision ? it was just cheaper that way. But it works ? the film is a (tribute, send up?) of 1930?s era musicals, with standout music by Josephine Baker and Cab Calloway and centers around the Hercules family and the strange portal to the 6th Dimension that exists in their basement. The world this takes place in is filled with strange imagery, amazing music, and more oddities than a sane person could hope to count. We have a human-size dancing frog, jockstrap-clad Kipper Kids, Herv? Villechaize as the king of the 6th Dimension, a chicken-boy who is able to communicate telepathically with his transvestite brother, Joe Spinell as a drunker sailor, classroom violence, a Jewish wrestler fighting a guy in an ape suit, and Danny Elfman playing Satan while singing ?Minnie the Moocher.? You get the idea; this is not a normal film. Although it borrows from the works of Olsen & Johnson (Hellzapoppin? & Crazy House), this is still a truly unique cinema experience.

The advance word from Richard Elfman is that this dvd will have a re-mastered print of the film, deleted scenes, interviews, and archival footage! For any fan of Danny Elfman, Oingo Boingo, or just incredibly strange films made by talented people, you simply can?t miss this one.

Read Best Reviews of Forbidden Zone (Arrow Video) (1982) Here

Forbidden Zone could be the most eye-openingly bizarre film ever made, surpassing even Eraserhead. The fact that it is cheaply made and often inept is most definitely an asset in a world this surreal conventional filmmaking techniques would seem out of place. In any case, there is no question that anyone interested in underground movies needs to purchase this. Its dismissal by critics and its unpopularity have both been unfair hamperings on its reputation. In actuality, its artistic vision is as singular and imaginative as Eraserhead's, or any cult classic for that matter. Rarely has cardboard been the vehicle for such a visionary production design.

There is so much to take note of but I would single out the 'Bim bam boom' musical number with the mumbling boxers, the inexplicable antics in the classroom, and Danny Elfman's totally suave appearance as Satan towards the end as truly classic moments in the world of cult movies. They manage to be disturbingly surreal and amusingly silly and cartoonish at the same time. I want to extend my recommendation beyond the intellectuals and outsiders; even more conventionally-minded people may be taken in by Forbidden Zone's utter loopiness and triumphant imagination.

Want Forbidden Zone (Arrow Video) (1982) Discount?

This is an awesome find and collector's dream. The film, about a porthole to the Sixth Dimension and a most unusual family's discovery of it, is a bizarre low budget delight in b&w featuring original music by Oingo Boingo and vintage music by Cab Calloway and Miguelito Valdez. Another reviewer pretty much summed things up but I'd like to mention that if you're a fan of the late, great Susan Tyrrell, she's on fine display here. She plays the wicked Queen of the Sixth Dimension and sings a great song "Witch's Egg" which she also helped compose. Herve Villechaize is the King ("He's a little man but he carries a big stick"), Marie-Pascale Elfman, Viva, Toshiro Baloney and the Kipper Kids also star. This little gem is obviously not for everyone, but if you've never seen it it's worth a look. For fans of "Forbidden Zone" it's debut on DVD is a celebration. I've had the soundtrack on a Varese Sarabande CD for some time and my VHS tape is long gone. I'm truly looking forward to this release. Enjoy.

Godzilla vs. Biollante (2012)

Greetings,

I am still giving this item 5 stars for the honesty and professionalism EBHE has had with the fan community. however there is a caution: from 10/18/12-

"We have to go to manufacture today, and we don't have Miramax/Toho's blessing to include Ed G's commentary yet. We have initiated Plan B, which is releasing the discs without the commentary. I don't have much more for details right now, but I can tell you that if you are dying to buy Godzilla vs Biollante with the Ed G commentary, DO NOT buy it on release day. We have the replication masters ready to manufacture with the commentary included, but we are not allowed to use them until we get approvals. My apologies for getting your hopes up. I kept forging ahead hoping that Toho would get their approval to us at the last minute, but it hasn't happened."

So while this will have other Toho approved extras, it will NOT have the english commentary on release day. If you are planning on purchasing this item soleley for this purpose, please refrain. Many fans appreciate that sicne this item is so inexpensive they will purchase one in each format (waiting on the commentary to get the other). Echo Bridge has assured the fan community that there will be a public announcement made once the commentary has been approved, and a clear indication on the packaging as well (not like the recent MB fiasco with Godzilla vs Megalon).

Godzilla 1985 started a revolution. Evil Godzilla returned! The way he was meant to be. In the next installment of the evil 'zilla series, it is a few hours after Godzilla's deadly attack on Japan. A team of scientists collects some Godzilla cells from a scale found in the rubble. A spy from a terrorist nation tries to steal it. A few confusing moments later, we are thrown 5 years into the future. A scientist who lost his daughter in a lab explosion is experimenting with genetic mutation. He blends the Godzilla cell with a rose-bush cell. The result: A mutated, radioactive plant growing at an alarming rate. Shortly thereafter, Godzilla awakens from the volcano we saw him fall into in Godzilla 1985. When he attacks Tokyo and destroys Biollante, we find that Biollante is not just a monster, but actually holds a closer relationship to the professor than he thinks. Later on toward the end, after Godzilla does his rampaging, Biollante returns, a terrifying sight to behold. Biollante is one of my favorite 'G' enemies, as it is terrifying to look at and is very large and intimidating. The movie tends to drag at times, but the fights are well worth it. And if you are a 'G' fan to begin with, you appreciate these movies no matter what. The soundtrack is also very good. Definitely worth buying for G fans!

Buy Godzilla vs. Biollante (2012) Now

I wish I would have reviewed Godzilla Returns way back when I recieved that one. Now I have a chance to talk about both, sort of.

This is a direct to Japan version of this movie, with no English track or titles. Fortunately there is an option for English subtitles. And for me, that's really enough. This is a well done movie and now that I look at it, one of the best from the Heisei Godzilla series. It has great elements of classic sci-fi as well as a very sincere feel, similar to the origional 1954 Gojira. The scientist father character is compelling with his duel wreckless and wise natures. He's a character who learns from his mistakes, and actually lives long enough to pass this wisdom to others. His is a great, tragic character arc. This is the first movie to use Godzilla's standard Heisei look, and I think it's pulled off quite well here. He's a slow, lumbering character, but the point is, it doesn't matter how slow he is or if you can spot him. Because you can't stop him! Te close ups of his face are fantastic. I really like the detail on the fleshy tongue. And Biolante is one of the great classic, tragic monsters. She's dangerious, deadly, devious, but has the trapped soul of a lovely girl.

As for the DVD itelf, it's pretty basic. There are vew special fetures or options, but as this is the only official DVD release for this film, that automatically makes it the best. The video quality is somewhat lacking too, but nothing you're not used to if you grew up watching these movies on TV as a kid. But I can see this being somewhat of a dissapointment for many, as there is no English dub. Again, that's fine by me, but it is a little harder trying to watch this with friends who refuse to watch a movie with subtitles. But to be honest, the 80s/90s series had some pretty weak English voice talent, and hearing the origional actors is kind of nice. Also there's a bonus special feature at the end, after credits. It's about a 40 minute behind the scenes spot, that shows quite a bit of detail on making the film. This is a rare thing for 80s films in general, so it's kind of nice. Again, it's a little tough going with no English to stand on, but the behind the scenes visuals themselves are nice! I still with whatever studio holds the American distribution rights would hurry up and for this thing over already! Or better yt, give it to Classic Media so they can do what they did with the Godzilla movies they release!

Read Best Reviews of Godzilla vs. Biollante (2012) Here

I own all the Godzilla DVD's and consider myself obsessed a tad but Megalon,1985 and Biollante I had on imported DVD's. I was so happy to hear about Biollante being released on DVD it's been way too long. This year has been great for Godzilla fans we finally got Megalon on DVD and it was a very nice transfer it had great video quality and now we will be getting Biollante. Now in terms of quality of the movie it's one of the better Godzilla movies very unique and of course any Big G fan will get it right away. This also means all that's left is Godzilla 1985 to be officially released on DVD lets hope we get that real soon that would be great news for all Godzilla fans.

Update: while I'm very happy to get an official release on DVD the quality is not the best it's probably the worst transfer of any Godzilla on DVD and the sound is horrible it's 1.0 mono for The English Dub. Again I am obsessed and love Godzilla and would recommend it for the collection but the bootlegs are almost better quality.

Want Godzilla vs. Biollante (2012) Discount?

The answer to the title question is Biollante (plant). A dr. creates a giant plant using Godzilla's cells. Like every other Godzilla movie, Godzilla battles Biollante. Biollante battles Godzilla in his Rose form. Godzilla beats Biollante and Biollante seems to die (yeah right). Godzilla does some damage and about thirty minutes later Godzilla battles Biollante final form. They have a pretty good fight, but in the end, Biollante forces Godzilla to retreat from battle. Biollante then turns into cells and they go up into space. It is a direct sequel from Godzilla 1985. I like this movie alot. I wish it were out on DVD.

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Fighter, The (2013)

"The Fighter" is easily director David O. Russell's most conventional film to date. Russell has been out of the film world for a few years after the mixed reception he received with the release of 2004's "I Heart Huckabees," an underrated film that may have tried a bit too hard. But when Russell burst onto the scene with the subversive "Spanking the Monkey," the exquisitely madcap "Flirting with Disaster," and the audacious "Three Kings"--I knew that I would follow this guy wherever he led! Well, he's back. "The Fighter" comes straight from the underdog sports genre of filmmaking, and in its plotting stays true to the course you would expect. But thankfully, there's a bit more to this appealing tale that's as much about brotherhood as it is about prizefighting. Sold by an A-list cast (the acting awards and nominations have already started rolling in), "The Fighter" manages, for the most part, to transcend the usual cliches with its focus on family.

Telling the true life tale of Micky Ward's unorthodox, and extremely bumpy, road to capturing the world light welterweight title--"The Fighter" appeals to the same everyman underdog sensibilities that countless films have already tapped. Mark Wahlberg, in a refreshingly understated way, lends a calmness to the center of the picture. The rest of the cast, for good and bad, go for broke in large showy performances. Christian Bale, gaunt and tweaking, plays Ward's brother. A former boxer and Micky's trainer, Bale is hapless and helpless as a habitual crack addict and a lowlife criminal. The drama between Bale and Wahlberg is easily the strongest element in "The Fighter" with Bale being both invaluable AND utterly destructive to Wahlberg's career prospects. Wahlberg is continually overshadowed within the family by his needier brother who tasted greatness before completely falling apart.

Make no mistake, in my opinion, "The Fighter" belongs to Christian Bale in perhaps the finest performance of his career and of the year. Stripped to skeletal proportions, Bale inhabits every moment with a desperate intensity. But despite everything, you understand why Wahlberg can't turn his back on his brother. Amy Adams displays a pleasing toughness in a change of pace role as Wahlberg's girlfriend. And Melissa Leo has been garnering a lot of attention as the brothers' mother. Unfortunately, the film is not without its shortcomings. For my taste, Leo is a bit over-the-top as is much of the other family dynamic. There are many sisters on hand, none of whom are developed, and so when the whole clan gets together--those scenes tend to veer over the line of believability.

I can easily overlook these false (and noisy) moments, however, to admire the interplay between the brothers. Every quiet moment is worth it. It's easy to lose Walhberg in all the larger than life shenanigans, but were it not for his simplicity--""The Fighter" might have pushed into overwrought melodrama. As is, he perfectly balances with Bale's manic energy. And I have to say it again--Bale is stunning! For this alone, "The Fighter" stands apart from every other film selling a similar story. Bale, Bale, Bale!!!!! KGHarris, 12/10.

The Fighter has been a must-see film of mine ever since at least the end of October. Not only did the cast look to function as one strong, cohesive unit, Christian Bale looked to transform himself yet again and had gotten completely absorbed in his role as Dicky Eklund. From just viewing the trailer, Bale seemed to give a performance that reminded his fans just how talented he can actually be. The Fighter also seemed to have a lot of emotion and heart; two key ingredients that go on to making movies like this legendary. The real test would be if The Fighter could hold up to other great boxing films like Rocky or Raging Bull and in this critic's humble opinion, it does just that.

Mickey Ward (Wahlberg) is following in his brother Dicky's (Bale) footsteps and is trying to make a name for himself as a boxer. Dicky has been giving Mickey advice and helping Mickey train for as long as they can both remember while their mother Alice (Leo) has been acting as his manager the entire time. Mickey knows it's time for a change if he expects to make a serious impact in the boxing world, but a crack addicted brother and a mom who thinks she's helping his career when she's really hurting it have both been holding him back for far too long. So when Charlene (Adams) and Mickey become an item and Dicky winds up in prison, Mickey makes the hardest decision of his life and keeps fighting with new management in tow and seemingly pushes his family out. As Mickey's mother tries to wrap her head around her son replacing her as manager, all hell breaks loose once Dicky gets out of prison. As the date for the most important fight in Mickey's career fast approaches, will he have the support of his family or has everything already fallen apart past the point of being repaired?

The cast is the driving force behind this film. The relationships and arguments that take place between Mickey, Dicky, their mother, her seven daughters, George Ward (Jack McGee), Charlene, and Mickey O'Keefe (as himself) are really the heart behind all the boxing that takes place. Melissa Leo turns in an emotionally powerful performance as you can tell she only wants the best for her family, does everything within her power to do just that, and still seems to wind up hurting them in the long run. Amy Adams character, Charlene, seems to want nothing more than to be with Mickey but is also relying on his success to be the ticket to her bettering her life. Then there's Mark Wahlberg who always seems to play the same role with the same thick Boston accent. The thing about Mickey though is that Wahlberg fits the part very well. The extensive training Wahlberg went through and his experience made him a shoe-in for this role. The real gem of the film is Christian Bale though. Bale has been rather disappointing performance-wise since The Dark Knight and it's nice to see him back in top form here. He surely looks the part as his awkward body language, sick, clammy skin tone, and the way he seems to be chewing on something when he's not eating anything really makes him come off as a genuine crack addict. I was beginning to think that success had gotten to his head, but even if it has it's great to know that he can still turn in engaging performances like this when he feels like it.

What's interesting is the song, "How You Like Me Now?" by The Heavy that was also used in the trailers for Faster is used several times in The Fighter. It seems to be utilized more efficiently in The Fighter though. It felt like the song was used in Faster just because it sounded cool, but the song seems to have a stronger impact in a film about a boxer trying to turn his life around better than a film about a guy trying to gain revenge for his brother's death. It was a very welcome addition to the soundtrack and makes the opening segment to The Fighter even more memorable than it already was.

The film also wastes little time taking full control of your attention. You don't lose interest until that screen turns black. With the little bits of humor thrown in for good measure amongst all of the family brawling and knockout punches being thrown around, it was just really easy to get lost in the film. It was almost as if you were part of the documentary crew filming Dicky watching this all take place in person. The one complaint I have is that it all seems to end rather prematurely. While everything does come together nicely, the ending just doesn't feel fully gratifying. It felt like the film ended right in the middle of the climax, but consider it a nitpick. It's still an excellent film.

The Fighter is an engrossing and emotionally powerful drama that features an incredibly strong cast and the best performance from Christian Bale in a long, long time. I honestly haven't liked a boxing film this much since Raging Bull. With all of the end of the year awards talk and so many movies being released recently and in the coming weeks that'll be potential award winners, it is well worth every effort to see The Fighter in theaters. It has one of the most well-rounded and well put-together casts of any film to be released in theaters this year and deserves to be seen on the big screen.

Buy Fighter, The (2013) Now

The Fighter tells the real-life story of junior welterweight boxer Micky Ward, of Lowell, Massachusetts. In 1995 HBO produced a documentary, High on Crack Street: Lost Lives in Lowell, that chronicled the plights of three crack addicts. One of its subjects was Micky's older half-brother, Dicky Eklund (played by Christian Bale, who won an Oscar for this performance). Dicky was also a boxer. He had "gone the distance" with Sugar Ray Leonard in 1978 but has turned into a self-destructing wreck. The wonder of the film is Micky's relationship with his family: his brother, who is his trainer; his dominating mother (Melissa Leo won an Academy Award for this role), who is his manager; her second husband; and Micky's six sisters (who still live at home and behave like a Greek chorus backing up whatever Mom says). Then there is Charlene, his new love, who is as tough as his mother and trying to get Micky away from this crazy bunch. This film deserved its acclaim.

Read Best Reviews of Fighter, The (2013) Here

I loved this movie it offered both a compelling story and great sports scenes. I also thought the acting was wonderful melissa leo, amy adams, christian bale, and mark wahlberg were ALL excellent. You are drawn in my each and everyone of these characters.

I love how there were multiple interesting and engaging stories the fighter, the brother, the family, the girlfriend...

This movie is definitely more than a typical "sports" movie there is a lot of depth here, made all the more powerful since this is based on true events.

I love sports dramas and this was one of my favorites.

Want Fighter, The (2013) Discount?

"The Fighter" is very much in the mode of American sports movies, where the hero must overcome a tragic character flaw in order to achieve fame, glory, and victory. In this case, the tragic character flaw is also the best part of the movie: Christian Bale delivers an Oscar-winning performance as a crack cocaine addict who is pulling down his younger brother from boxing glory.

Christian Bale is one of the best actors, if not the best actor of his generation. He was mesmerizing in "American Psycho," and in "The Machinist" he demonstrates his devotion to his craft by losing enough weight to become skeletal. But "The Fighter" is definitely Bale's best performance to date, and it's his performance which sustains and ultimately propels the movie.

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Summer Interlude (The Criterion Collection) (1951)

"Summer Interlude" is an often overlooked pearl from Bergman's film catalog. It's not as famous or as experimental as his other releases from this period, such as "Sawdust and Tinsel." Nevertheless it's quite good and I hold it in high regard. It fits in among the romantic-themed films he made from time to time--a close twin to "Summer with Monika," which he made a couple years later. Both share the theme of young adults navigating the pleasures and dangers of falling in love over the course of a single summer. Monika is a classic, in part because of Harriet Anderson's notoriety, but "Summer Interlude" is a sweeter film and the characters more likable. The protagonist played by Maj-Britt Nilsson, is both beautiful and admirable without the seedier bohemian carnality of Harriet Anderson's Monika. I know a lot of Bergman fans like "Summer with Monika" and both films are worth seeing, but to me "Summer Interlude" is the stronger film.

Regarding this DVD version: Tartan has released several Bergman films on DVD that aren't otherwise available in the US. They're in PAL format, which may discourage American fans since they probably aren't playable on the typical television DVD player. But I've had success playing them on my computer's DVD player. For some reason computers are more flexible about formats. If you don't mind watching a film on your laptop, you may be able to view this and the other Bergman films Tartan has released.

Touching, simple story of how a young girl's summer romance with a

sweet, modest young man, changes a her adult life as a ballet dancer

forever.

Told in flashback, beautifully shot, and mostly well (if not quite

brilliantly) acted, this lovely film could have been even stronger if

the two leads both didn't look and feel much too old for their roles,

making their naiveté and innocence feel a bit forced.

But there's much that's moving and insightful here about youthful

idealism versus life's hard realities.

Buy Summer Interlude (The Criterion Collection) (1951) Now

Swedish filmmaker Ingmar Bergman is one of the world's most accomplished and influential directors of all time.

Known for a plethora of films in his oeuvre such as "The Seventh Seal", "Wild Strawberries", "Fanny and Alexander", to name a few. Bergman is best known for films that dealt with existential questions of mortality, loneliness and religious faith. Many of the films, especially the characters are an expression of how Bergman felt at the time.

And many of his stylistic and conceptual themes were formed in his earlier work, especially stories that were set in summer. "Smiles of a Summer Night", "Summer with Monika", "Wild Strawberries", etc.

But one film that resonated strongly with Bergman was an earlier film from 1951 titled "Summer Interlude". Bergman wrote in his book "Bergman on Bergman", "For me Summer Interlude is one of my most important films. Even though to an outsider it may seem terribly passé, for me it isn't. This was my first film in which I felt I was functioning independently, with a style of my own, making a film all my own, with a particular appearance of its own, which no one could ape. It was like no other film. It was all my own work. Suddenly I knew I was putting the camera on the right spot, getting the right results; that everything added up. For sentimental reasons, too, it was also fun making it."

And for the many cineaste who have followed Bergman's work, many credit "Summer Interlude" as his "breathrough" film and featuring a style that would later be fully expanded in later films.

VIDEO:

"Summer Interlude" is presented in 1080p High Definition black and white (1:37:1 aspect ratio). The video quality looks amazing considering that the film is 60-years-old. The detail is amazing as the film shows quite a good number of closeups. You can see the skin pores and the details on Marie's face, her clothing... for the most part, the clarity of "Summer Interlude" looks amazing, black levels are nice and deep, white and grays are well-contrast and this film has not suffered any major damage.

With that being said, there are some white specks and a few lines and scratches that do show up from time-to-time, but the majority of the film looks absolutely great. In fact, there is a good reason for the scratches which the Criterion Collection mention in the booklet.

According to the Criterion Collection, the original negative of "Summer Interlude" has been lost; this new digital transfer was constructed from two 35 mm duplicate negative sources. The Criterion Collection accessed the first, the only existing 35 mm duplicate negative in Sweden, at the Swedish Film Institute and was transferred in 2K resolution on an ARRISCAN film scanner at Chimney Pot in Stockholm. Much of the duplicate negative, however, was scratched, as well as riddled with mold so persistent that in some sections, it was impossible to remove completely, even after more than 400 hours of restoration.

The Criterion Collection then discovered another 35 mm duplicate negative, in Janus Films vaults, made in 1966 and stored under the alternate title "Illicit Interlude". Though there was no mold problem with this duplicate negative, much of it suffered from severe shrinkage, which can cause the right side of the frame to buckle and be out of focus.

The Criterion Collection was able to replace the sections of the Swedish Film Institute transfer that suffered from the worst mold and scratches. The final master, which still contains scratches that could not be repaired, incorporates nine minutes of Janus Films' negative with the original transfer.

Additionally thousands of instances of dirt, debris, scratches, splices and warps were manually removed using MTI's DRS, while Image Systems' Phoenix and PixelFarms' PFClean were used for small dirt, grain, jitter and flicker.

AUDIO & SUBTITLES:

"Summer Interlude" is presented in monaural Swedish with English subtitles. Dialogue and music are clear from the monaural track and detected no hiss or crackle during my viewing.

According to the Criterion Collection, the original monaural soundtrack was mastered at 24-bit from a 35mm optical soundtrack print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuate using AudioCube's integrated workstation.

SPECIAL FEATURES:

"Summer Interlude The Criterion Collection #613″ on Blu-ray comes with no special features.

EXTRAS:

"Summer Interlude The Criterion Collection #613″ comes with a 20-page booklet featuring the essay "Love and Death in the Swedish Summer" by Peter Cowie.

JUDGMENT CALL:

As many new fans of Ingmar Bergman are starting to discover a lot of his films through Blu-ray (many released by the Criterion Collection) and on DVD via Criterion's "Eclipse Series", many have been introduced to his most earlier work and also his most revered work in his oeuvre.

"Summer Interlude" is a film that is important because it is a beginning for Ingmar Bergman as a filmmaker. It's a film that was the first to give Bergman independence and the freedom to create a film his way, his style and was literally the precursor to many of the films that people who have collected his films from the Criterion Collection. It all begins with this film!

And it's a film that exemplifies Swedish filmmaking but it's also a personal film for Ingmar Bergman.

In Sweden, June and July offer people from the city, to enjoy summer vacation in the countryside before the cold, harsh winter. And it's a season that Bergman would follow in later films in capturing the summertime, as one of the most memorable experiences in his life took place when Bergman was a teenager. It is where Bergman would have a magnificent love affair with a young woman who unfortunately contracted polio.

In 1949, Bergman wrote a short story about this young woman and he would eventually go on to use the story for the film "Summer Interlude".

"Summer Interlude" is a film that is beautiful to watch. Capturing the beauty of the island region in film, capturing the silhouettes of the characters, but most importantly, how the moods of the characters reflect what is shown onscreen. Visually rich, the film would attract cineaste and was lauded by film critics including Cahiers du Cinema critic (and filmmaker) Jean Luc Godard who also praised the film's beauty. American film critic Pauline Kael would praise "Summer Interlude" for its "elegiac grace and sweetness."

Actress Maj-Britt Nelson (who worked on Bergman's "To Joy" and "Secrets of Women") was remarkable in playing 28-year old ballerina named Maria who looks tired of life. Doing something she loves, but yet looks rather effete, a loss of enthusiasm. But often a person has a hard time letting emotions go of something that has happened in the past.

It's an elegy that perhaps Ingmar Bergman has kept with him when he wrote the original story back in the late '40s. Marie more or less represents Bergman, who saw the young woman that he loved contracting polio. A woman full of energy and life can change within a second.

We see the same with Marie, when the story takes the viewer through a flashback when Marie is 15-years-old. Unlike herself in the future, she is full of energy, constantly giggling, vibrant and full of life. She feeds off the beauty of the island and she feeds of her love for Henrik.

Birg Malmsten did a wonderful job of playing the shy and timid college student and both Marie and Hendrik are perhaps the juxtaposition of Bergman and the young woman he had a love affair with. For many people, to love at a young age and to see that love taken away is a painful experience.

While Bergman films would expand to characters that have lost their identities and at times, the storyline are darker than what is featured in "Summer Interlude", this film has a sense of pureness, hope and one person trying to find her way through tragedy. The elegy of Marie shows us the corruption of youth in a different kind of way that most traditional films tend to explore of such things.

And as "Summer Interlude" has no doubt showcased an elegiac grace and beauty. There is a visual style for the film that captures the balance of happiness, vibrancy, sadness and regret, but most importantly, a style that also brings to the viewer...hope. Magnificent!

On Blu-ray, I was thrilled with the overall quality of the film. The Criterion Collection have really gone to great lengths into having a proper restoration of "Summer Interlude" and reading in the booklet of how far they had to go in finding the best prints, it's no surprise that this Bergman film had taken so long to be released (considering The Criterion Collection have released so many films from Bergman's ouevre on video). And as people wonder how come some films take longer than others to be released in the US, it appears that the Criterion Collection really went through hoops and bounds to take two existing film elements and present "Summer Interlude" in the best quality as possible. And I'm grateful for the company for doing that.

While I wish there were special features included on this Blu-ray release, especially an audio commentary, to make up for it, the Blu-ray is much cheaper than other Blu-rays.

"Summer Interlude" is an Ingmar Bergman film that is a must see, must own film to own, if you are a fan of his work or really want a film that shows a major breakthrough within Bergman's fillmmaking and would be among Bergman's earlier films to jumpstart the period of fantastic Swedish cinema.

It's also important to note that with the release of "Summer Interlude", Bergman's other summer film "Summer with Monika" (1953), which shows us an alternate storyline of "what if?", as a couple who met on summer vacation, must take responsibility when the young woman gets pregnant. So, with the release of both films in May 2012, you'll definitely want to pick up both of these Ingmar Bergmans film on Blu-ray!

Overall, "Summer Interlude" is a highly recommended film despite its lack of special features.

Read Best Reviews of Summer Interlude (The Criterion Collection) (1951) Here

these are terrific Criterion releases timed to our seasonal climatic. spot on. Bergman was building a film machine that would ultimately place him in the top 5 all time worldwide best directors (or ten if you are stateside fanatics). these are great examples that capture the uncluttered beauty of that country in the early 1950's just before mass production became a disease taking root and hold everywhere. while also revealing the youthful, rebelliousness, restless angst that subtly connected the first generation to come of age after WW II, manifesting subliminally and unspoken. I always preferred his black and white films over his color stock productions.

Bergman was a serious womanizer which is hinted at in a Summer With Monika featurette that would never be satiated in his lifetime regardless the chase and conquer. these films hint at the greatness bubbling under his surface and go beyond art house as far as substance and sustenance quantify. if I love them, you'll probably like them. be more, try them. go way beyond today's digital so "30 seconds ago" when timeless moments could happen, leaving you in awe and breathless. unconcerned with whom knew what, when, or if ever.

Want Summer Interlude (The Criterion Collection) (1951) Discount?

(Review based on the Criterion release on DVD checked out from local library with included booklet and original case)

I have been a Bergman fan for years. The man could create some of the most strikingly beautiful black and white films ever. Even watching this film, one of the earlier in his career (his 10th directing), the cinematography is haunting. I could turn off the sound and subtitles and just watch the film for the beauty and the expressions of the amazingly talented cast.

In this film we see a series of flashbacks by the main character and ballet dancer Maria. Her flashbacks are triggered after receiving a diary in the post. The flashbacks take place 13 years earlier at her uncle's country house and estate. The setting is idyllic and filled with the energy of youth. Maj-Britt Nilsson plays a very convincing teenager (I figure she is supposed to be between 17 and 20) as well as a believable aging ballerina in the present time. In typical Bergman fashion, we are given little snippets of foreshadowing. One character even remarks on the "presence of death" around the lake.

I won't give away anything in the film, but I will say that it's not as happy go lucky as Smiles of a Summer Night, nor as dark as his later films. Instead it has an interesting dichotomy between the present, where Marie is obviously suffering emotionally, and the past where things were free spirited. There is an occurrence which ties the time and the emotional state of Marie together. The use of shadow is of particular note in the past after this event.

I particularly enjoyed the supporting cast. Marie's 'uncle' is very odd. There is also some insinuation that he may have been with Marie at some point, and in fact later in the film we see that in the period between the past and present it may have occurred again (or for the first time). But Bergman doesn't spell it out, and it is left to the viewer to interpret. When we first see her uncle it is when he places a bracelet on Marie's wrist (in her youth) and fondly (and far to familiarly) kisses her wrist. Henrik's aunt is also entertaining in her one scene, as is the rabbi in the same scene. Other notable supporting characters are the ballet company dancers and maestro.

There are a few well shot scenes with Tchaikovsky's Swan Lake. It is of note that the film almost follows a Swan Lake arc to the story, albeit slightly different in the end. But Swan Lake is a tale about youthful innocence and love only to become much darker in the second half and end tragically.

This is not up to the level of Seventh Seal, Wild Strawberries, Persona, or Smiles of a Summer Night; but this film does take the first step from Bergman's more obvious and narrower earlier films into the greatest era of his directing. The depth in this film is impressive, especially since it was unexpected for me. Criterion did well to restore and release this film under their regular line and not in the Eclipse series.

Of note: There aren't any special features on the DVD. You get the film on one disc, though it is amazingly restored despite its age (1951). Instead of special features, Criterion has included a 20 odd page booklet with some additional reading. This is an amazing addition and I highly recommend reading it after viewing. The booklet helps the viewer to dissect much of the film, including the reasons Bergman chose the particular setting and the irony of the title 'Sommarlek'.

If you are a Bergman fan, you will like the foreshadowing to later films; in one scene the rabbi plays chess with the aunt while discussing Death, in another scene the characters comment on how they "love wild strawberries". Both put a smile on my face.

So is this film worth a purchase? For true Bergman fans, yes. Otherwise, if you can get a copy from the library I might recommend picking it up. Especially for the booklet. If you can rent it or watch it streaming, then perhaps check it out that way first. It's a great film, but I doubt I will be re-watching it over and over like Seventh Seal and Wild Strawberries. But $14.99 is more than a fair price for the DVD version.

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Escape from the Planet of the Apes (1971)

Following the cataclysmic finale of Beneath the Planet of the Apes, there was only one logical direction for the series to go---> back to the future. The result is an illogically conceived and satirical prequel that will amuse and delight and ultimately devastate with its bleak Shakesperean tragedy.

When Taylor's spacecraft unexpectedly splashes down in 1973 and is retrieved by a military envoy, the three astronauts that emerge from the capsule are not revealed to be Taylor, Landon and Dodge, but rather the astonishing simian ape-o-nauts Cornelius, Zira and Milo... the third of which is a completely disposeable character who is appropriately killed off very early by a caged zoo gorilla who was probably jealous that the talking simian chimpanzees were getting all of the attention. With Milo out of the picture, the story focuses on the relationship between Cornelius and Zira in ways that were not afforded the opportunity in the two previous films and is filled with tongue-in-cheek episodes inspired by Pierre Boulle's original novel as Cornelius and Zira go around "aping" 20th century human culture (a subtle and clever mockery of our own) in an attempt to make themselves fit in to our society.

While Cornelius and Zira make themselves at home as cultural "celebrities" they are being carefully monitored under the watchful auspices of the nefarious Dr. Otto Hasslein played by recognizable character actor Eric Braeden (of Young and the Restless fame) who listens with great interest to what the talking chimps have to say about where they came from during a Presidential Inquiry and how they managed to arrive in Taylor's spacecraft as Cornelius explains that it landed on their seaboard and was repaired by Milo -an implausibility which is the film's glaring continuity error since Taylor's spacecraft immediately sunk into the depths of the Forbidden Zone it is a far fetched conclusion that they somehow managed to not only find, retrieve and repair it (even if they had repaired Astronaut Brent's crashed spacecraft from Beneath) with engineering far in advance of their own intellectual ape intelligence (which Milo only "half-understood" as Cornelius describes it) but managed to do so and escape within a very small window of time before the planet was obliterated by the shockwave of destruction catapulting them backwards in time and arriving at roughly the same destination and era as Taylor's original point of departure (it could be argued that these narrative discrepancies support the theory of "Hasslein's Observed Time Curve" which suggests that a predestination paradox created alternate intersecting timelines as illustrated by the incongruent timeline of events that occur between Conquest and Battle). Nevertheless, once you get past the narrative gaps and just go with it, Escape is a fun and dramatically intense film but is my least favorite second only to the weakest link in the evolutionary Apes chain; Battle For The Planet of the Apes.

When Zira announces that she is pregnant, the film takes a dark and conspiratorial turn when the government realizes the consequence a race of intelligent talking apes will have on the future of our human civilization. In an effort to protect their newborn (the ape who would become Caesar), Cornelius and Zira find refuge with Armando, a sideshow circus entertainer played by the extravagant Ricardo Montalban who gladly welcomes the simian family with open arms, but it isn't long before Dr. Hasslein picks up the fugitives' trail and hunts them down in a tragic and inevitable climax that sets up the paradox of the entire Planet of the Apes chronology.

"Escape From The Planet Of The Apes"

is part of the the classic SciFi

movie series begun with "Planet Of The Apes".

Three "apes" arrive in the pop culture

America of 1973 (?) from a future where

apes are the dominant and intellectually superior

species, able to communicate by spoken

language (English), and humans are as beasts.

Upon their escape, they witness the destruction

of the earth due to a weapon of warfare

created by humans and used by apes.

This film provides a thematic bridge in the

movie series, but also stands on its own.

It is both comic and tragic.

It is notable for trotting out the social

and political concerns as defined by the

pop media of the period in a

heavy-handed way and trivializing

them with humor at the same time.

Social satire well done.

The great thing about this film is that

it gives one numerous themes to consider.

It is serious and rich with meaning

while at the same time campy and fun

and ultimately tragic.

Among the interesting ideas presented are:

submission to God's will...

danger of political zealotry...

ends justifying the means...

analogy between "apes" and the negroid race...

trumping of absolute truth by majority vote...

modesty in dress vs. exhibitionism...

pacifism vs. just use of violence...

use of animals...

truth telling and omission...

...and on and on

The film is a great vehicle for discussion

and a definite candidate for repeated viewing.

Sure, the ape costumes are rather silly,

but so what;

we know they are not real apes anyway.

Last, but certainly not least, is the

great, great, great musical score

by Jerry Goldsmith. Wow!

Good plot, interesting characters,

campy humor, serious themes, great music,

action; what's not to like?

Buy Escape from the Planet of the Apes (1971) Now

Even if you are not an APES series fan, this movie grows on you. It is easily the most intentionally comic of the series, and features a cleverly plotted mix of real drama and sci-fi, and placing the action in then-present day Los Angeles gives it a peculiar point of view, one that succeeds almost brilliantly. Kim Hunter and Roddy McDowall inhabit their roles so completely that you believe utterly that they are apes, and that their peril is real. Since I love the twists in a movie that give it gravity and an enduring quality, I love the strange sense of doom and tragedy that pervades this movie, even when it is at its most humorous. The final moments remain chillingly effective, and paved the way for the many, many copycat plots featured in movies yet to come. Forget BENEATH... -go directly to this movie; you will not be disappointed.

Read Best Reviews of Escape from the Planet of the Apes (1971) Here

I love the original Planet of the Apes film. In my view it's a classic. I feel the movies that came after were far less than the original, and yet I'm glad for them because I really liked the characters introduced in the original movie and wanted more. This movie is one I hesitated to own because I always found it very painful to watch. And that is why I think it succeeds. This is campy, and very '70's...yet to this day I still care for Zira and Cornelius and feel pain by the end at their murder. So for that reason I think the movie succeeds. Anytime something comes along that makes me feel along with or about the characters--that's a ride I want to go on--even if it is 40 years old and very dated, almost silly by today's standards.

Want Escape from the Planet of the Apes (1971) Discount?

This installment in the POTA series is not as child friendly as some reviewers would have you believe. Despite the lighthearted scenes of Zira speaking for the first time to the unexpected, the presidential inquiry, and the apes tour of the city. This movie has a serious and sometimes grim tone with a sad and tragic ending that may upset some children. I would recommend that you watch this in it's entirety first before you decide if this is suitable for your children. There is no nudity or profanity, so it's safe in that respect. I saw this for the first time when I was roughly 13 years old and the ending traumatized me to no end. I may have been a little extra sensetive then, but to this day I can not forgive Eric Braeden. He played the part of Otto Hasslein too well.

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Captain America: The First Avenger (Three-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) (2

A good bit of this film is a superhero-origins story, in which we follow Steve Rogers (Chris Evans), a plain-featured young man of about 20 years old who is a classic "90-pound weakling," as he tries five times to enlist in the Army during the early part of World War II. He is consistently rated as "4F" because of his size and various health issues, including asthma. Inside that small, frail body, however, resides outsized courage, honor, loyalty and persistence. During Steve's fifth trip to the Army recruiters, those virtues in Steve draw the attention of Dr. Abraham Erskine (Stanley Tucci), a German scientist who escaped the Nazis and is working on a top-secret program to develop super soldiers. Colonel Chester Phillips (Tommy Lee Jones), who is in charge of the program, wants to use a soldier who is bigger, stronger and has more training for the first human experiment with the Dr. Erskine's super-soldier formula, but the doctor strongly disagrees. He says the other soldier is a bully, but Steve is a good man. It is crucial that anyone receiving the formula be of good character, because the formula enhances the existing personality traits of whoever receives it. Steve would become even more of a good person, but a bully could become a villain.

The experiment is a success, but immediately after Steve is transformed into a handsome, ripped, perfect specimen of manhood, a Nazi spy assassinates Dr. Erskine and steals the formula. Though Steve manages to stop the assassin from escaping, in his first act of heroism as a newly minted superhero, the flask breaks in the process. Without a sample of the formula, it cannot be replicated because the doctor never wrote down the whole formula. Steve is now one of a kind. Unfortunately, the military can't think of anything to do with him other than turn him into a US-flag-wrapped peddler of war bonds appearing in USO shows with chorus girls, until Steve is sent abroad. He finds himself entertaining the recently decimated troops of Col. Phillips and is horrified to discover that his best friend James Buchanan "Bucky" Barnes (Sebastian Stan) has been captured with 400 other Allied soldiers and is being held prisoner in a massively defended fortress deep in enemy lines. Col. Phillips insists he would lose far more men than he could save going after his captured men, and refuses to do anything. But the colonel's assistant, a female military officer, Peggy Carter (Hayley Atwell), encourages Steve to fulfill his destiny as the super-soldier Dr. Erskine created him to be by staging a one-man rescue raid.

On every level this film is outstanding. It is directed by the talented Joe Johnston (Jurassic Park III, Jumanji ). The screenplay by Christopher Markus and Stephen McFeely (the writing team best known for the three Chronicles of Narnia films) is an excellent adaptation, staying true in every important way to the world of a comic-book icon with a 70-year history of stories in Marvel Comics since the Captain's first appearance in 1941.

All of the actors are terrific, but the star, Chris Evans (who played the comic-book superhero, Johnny Storm, the Human Torch, in the two Fantastic Four films), is superb. Evans gives a depth and breadth to his performance that is remarkable for any genre, but especially for a superhero film. In his capable hands, Steve is endearingly humble, yet enduringly determined to have a chance to contribute to the worldwide struggle against the Nazis in the beginning, origins part of the film. And after the transformation, he compellingly presents Steve as a fascinating contradiction of a relentless, manly warrior who is still emotionally innocent and naïve.

Steve's relationship with Peggy, as his romantic interest in the film, has significant barriers to their connection that makes it both amusing and exciting to watch. She is his superior officer and, for a young man who has barely even had a conversation with a woman before her, it takes more bravery than going to war for him to aspire to a relationship with a woman like Peggy. She is not only gorgeous, but a formidable warrior in her own right. What I found as intriguing as the romantic potential between these two, however, is the fact that they bring out the best in each other. Peggy gives Steve the inspiration to seize his destiny as a super-warrior when the colonel and other leaders have ordered him to sit out the war, and Steve's innate sensitivity and goodness soften the shell of cynicism Peggy has developed around her heart in the harsh, man's world of the Army.

The incredibly versatile Stanley Tucci (The Devil Wears Prada, The Lovely Bones) is terrific as Dr. Erskine. Hugo Weaving (who played V in V for Vendetta and Agent Smith in The Matrix movies) is his usual brilliant self as the villain Red Skull. Anytime he appears in anything it is a gift, but he is particularly skilled as a comic-book super villain. As for Tommy Lee Jones, he was simply made for the part of Colonel Chester Phillips. Sebastian Stan (Carter Baizen on Gossip Girl) is a convincing choice as Bucky. He and Chris Evans have excellent buddy chemistry as best friends since childhood. All of the other supporting actors are great, too, including Neal McDonough (Traitor) as Timothy 'Dum Dum' Dugan, Derek Luke (Antwone Fisher) as Gabe Jones, Kenneth Choi (Street Kings) as Jim Morita, and JJ Feild (Northanger Abbey) as James Montgomery Falsworth.

Finally, the special effects in the action scenes, aided by computer-generated imagery (CGI), are absolutely breathtaking, making this movie a must-see on the big screen. There is also one other CGI effect that I found awe-inspiring. The real, buffed Chris Evans is trimmed down via CGI to the pre-formula Steve. "It's pretty amazing," Evans told Reuters. "They took shape out of my jaw line, they shrunk my skeleton, and they made my shoulders less broad." They certainly did. The skinny Steve has the body of a prepubescent boy. As for the actual physique of Chris Evans--he went through a specialized training program to put on 15 pounds of muscle on a physique that was already quite ripped.

Among the multiple feature films already done on the Captain, this should delight fans as a standout contribution.

When I was a kid in the 60's, Batman, Spiderman, and Captain America were my 3 favorite superheroes, and remain so to this day.

No need to rehash the other great reviews, but IMO, what they got SO RIGHT here was the CHARACTER of Steve Rogers BEFORE he becomes Captain America.

Just as Batman Begins had us totally invested in Bruce Wayne BEFORE he ever donned the cape and cowl, Marvel works the same type of magic with Steve Rogers & THAT (along with stellar performances by ALL the supporting cast) is what makes this a truly great film.

After suffering through the badly done CA movies of the past, it is a dream fulfilled to see the character brought to life so fantastically By Chris Evans & Joe Johnston.

And the Red Skull--OMG--Incredible makeup & Hugo Weaving shines as always to make the character come across as one of the premiere villains of the Marvel Universe.

Finally--watch the deleted ending scene to see how they really SHOULD have ended the movie--THAT was my only gripe--the truncated ending in the theatrical version.

So, to sum up--FINALLY a GREAT, FUN & FAITHFUL rendition of Captain America.

Bring on the AVENGERS!

It's time to ASSEMBLE!

Buy Captain America: The First Avenger (Three-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) (2 Now

I did not know what to expect from this one at all. I vaguely knew Captain America's origins, but he's never been a superhero that caught my interest. I fell in love with the character over the course of the film. Steve Rogers is simply a good person who goes out and does the right thing, even if it means great risk to himself. It's hard not to rally around a character like that.Plus, it's a fun film. The bad guy (Red Skull) is over the top. Captain America's team, the Howling Commandos, are a diverse group of competent soldiers and wisecrackers.Great patriotic stuff!

Read Best Reviews of Captain America: The First Avenger (Three-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) (2 Here

For a long time now, Captain America has been my favorite Marvel comics character. He's just awesome. He's been a little on the dark side, particularly during the 80's, when it was required that EVERY superhero comic went through a dark phase, and with some of the recent Brubaker era work, Steve Rogers has seen some serious stuff go down. What Joe Johnston did with this film, and how it not only differentiates itself from all of the other Marvel films (not just the Marvel Studios films, but all films based on Marvel characters), but also how well it works, is how unapologetically sincere and earnest it is.

Without exception, all of the other Marvel-based films have had their fill of post-modern cynicism and self-referential humor, and I'm not really knocking it. For the most part, it's suited the films well, particularly X2 and SPIDER-MAN 2. But this is a film set in the 1940's, and it's about a young man who believes so much in the ideals of his country and who so badly wants to make a difference, he's willing to put his own life on the line to potentially change it.

Most of the heroes in the comic book world are accidents, or some tragedy drives them, or they were born different and were ostracized for their oddities, but Steve Rogers is a hero long before he ever became Captain America, and the exceptional performance of Chris Evans sells that. If there had been a moment of this film that broke from the era to include a line of dialogue that was post-modern humor, it would have utterly broken the back of this film, but thankfully screenwriters Stephen McFeely and Christopher Markus (with a little help from Joss "God" Whedon in a few scenes) never retreat to modern dialogue tropes in order to keep the audience interested. They never make the film totally wooden or sullen either. There is great fun to be had with this film, and you gotta love the little RAIDERS OF THE LOST ARK references in it. Also the cast in and of itself is quite good, particularly Stanley Tucci as Abraham Erskine. I honestly get choked up in the scene Erskine and Rogers share in the barracks the night before the experiment. It's my favorite scene of the film, because it gives you time to connect with the characters on an emotional level without any flash or gimmicks. This is pretty easily my favorite of the Marvel Studios films thus far...

Want Captain America: The First Avenger (Three-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) (2 Discount?

POST-PRODUCTION 3D (converted from 2D to 3D)

My ratings are based mainly on the QUALITY OF THE 3D, not the video content.

OOS EFFECTS:

There are about 60 out of screen effects that extend about 10% of the way, from the screen to the viewer. Many of them are quick but easily noticeable. An additional 5 effects made it to 20% or more.

IN SCREEN / OBSERVATIONS:

The cardboard cutout syndrome is glaringly noticeable early in the movie and in A FEW other scenes throughout the film with only 1, 2 or 3 depths and a flat background. The balance of the scenes converted well and only appeared slightly shallower in depth than normal and the syndrome was negligible.

If you like action type films, it is easy to overlook the shortcomings of a (fake 3D) conversion and enjoy this movie for what it is. The 3D definitely adds to the viewing experience of this film.

ACTIVE GLASSES USERS:

In addition to the menu; Crosstalk was evident 6 times but only 1 of them was a major eyesore.

(crosstalk varies from system to system)

3 ½ star

MY 3D RATING = GOOD to VERY GOOD (poor, fair, good, very good, excellent)

Note: As far as the percentages go, everyone's eyes are different. What I see at 25% you may see at 15% or 35%. To fully realize how far something is out of the screen for you, pause on an effect and direct a partner with an extended finger to the tip of what you are seeing. You may be surprised.

Click on `' for the lowdown on other 3Ds

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