Coach Carter (2005)

My daughter came over to visit this weekend, and she suggested that we rent this film. Since it stars Samuel L. Jackson and is about a high school basketball coach, I thought that it sounded promising. Well, it turned to be more than just promising. It is a movie that held me riveted to the screen the entire time it was on. Samuel L. Jackson is simply outstanding in the role of a high school coach who sees basketball as the means to an end and not the end itself.

Based upon a true story that took place in Richmond, California, it centers on a man named Ken Carter. He was asked by the retiring basketball coach of Richmond High School to return as a part-time basketball coach to the school from which Ken had graduated and left his mark many years earlier. The school is one of those schools in which people barely graduate and, of those that do, most do not go on to college. The basketball team was no great shakes either, having won only four games in the entire previous year.

Finally, Carter is prevailed upon to take over as coach. He has, however, decided that he wants to make a difference. He starts off by letting the team know who is boss and by trying to instill discipline and respect. He wants to go back to fundamentals. He wants to put the emphasis on being a student athlete. To this end, he makes it clear just what his expectations are. He drafts a contract that those who wish to remain on the team, as well as their parent, must sign. Some of the conditions are that the players must attend class, do their schoolwork, and pass their classes. Those who signed the contract ended up making the best move of their lives.

Coach Carter keeps his side of the bargain, turning the team into a formidable one on the court. Suddenly, basketball at Richmond High School begins commanding attention. Notwithstanding this, he still emphasizes that they are to be just as committed to their studies. While one might expect some resistance from the student athletes to such a change, one would expect support from the educators themselves. What is amazing is the resistance that he experiences from the teaching community who are reluctant to give him progress reports on how his players were doing academically.

When Coach Carter finally gets his long awaited progress reports and discovers that some of his student athletes are not holding up their end of the contract, all hell breaks loose. Even though they have had an undefeated season so far, he basically locks the gym and tells his players that there will be no more basketball, until he sees some academic improvement. To his surprise, the school board, as well as the parents, does not support him in this matter, and the situation becomes a media sensation on the West Coast. Support comes from an unexpected source, the student athletes themselves.

This is a heartwarming story about a coach who cared and dared to make a difference in the lives of kids that had little or no future. What he did for those students was incomparable, as he basically gave them a chance for a better life. Samuel L. Jackson is sensational as Coach Carter, dynamic and totally believable in the role. The young men who play his student athletes likewise give excellent performances. Ashanti also gives a surprisingly well nuanced performance as the girlfriend of one of the student athletes. Moreover, for those who enjoy great basketball, the on court scenes are extremely well done.

At the end of the film, there is a summary of what happened to these young men. When the viewer sees what happened to them, the viewer cannot help be but touched by the turn of events. Moreover, the DVD has a featurette on the real Coach Carter and the real student athletes for whom the appointment of Ken Carter was literally a life saving measure. This is a very well acted, deftly directed, inspirational film and one that is worthy of being in one's personal collection.

I'm usually not a huge fan of the sports movie genre, but I do like them when they are well done. This movie had a lot going for it, based on a true story, the film didn't glorify sports, rather it had a solid message for living up to one's responsibilities.

A hard luck basketball team in a bad neighborhood gets a hard core coach, one who believes in honor and integrity. Because he puts his ideals above simply winning, he creates a lot of conflict within the team, the school and the surrounding community.

In the end the coaches beliefs are able to sway opinion and his behavior becomes a standard for which to strive. I believe the message here, as well as the presentation of it, made it a much better movie than Friday Night Lights, also reality based, but not really a story of redemption like this one was. I think this is a good film for the father/teenage son crowd and I'd recommend owning it as well.

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I saw an advance screening of this film, and really enjoyed it -Samuel L. Jackson was very compelling in this "White Shadow"-like role. Uplifting story about a man who takes over as high school basketball coach for an inner city school. He turns the team around from a team that can't win, to one that goes virtually undefeated, and along the way instills discipline and an emphasis on studying that impacts the players lives in a much deeper way. The ending was a little surprising, but given that it was a true story, sometime hollywood endings need to take a backseat. I'd highly recommend this movie to high school students and for those who enjoy sports and stories about beating the odds.

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As far as how many stars this movie gets, I agree with reviewer William Weaver. Coach Carter features Samuel L. Jackson following the real-life story of Ken Carter, who took on the job of head basketball coach at Richmond High School (in California, not Virginia). He soon discovers that the kids on the team are pretty ghetto, to say the least, but that doesn't stop him from trying to whip the kids into shape by issuing basketball contracts that he expects them to live up to if they want to play on the team. I won't go into the details of the contract because most of the other reviewers already did that, but what I WILL say is that some people won't believe the consequences that occur after all the students don't live up to the guidelines of the contract.

The movie's subplot is pretty interesting, too: one of the boys on the team, Kenyon Stone (played by Rob Brown, which I believe is his first big role since the overlooked Finding Forrester), is rationally trying to figure out how he's going to play basketball and go to college when he has a baby coming with his girlfriend Kyra (played by Ashanti, who actually does a good job in her role; as does former 3LW lead singer Adrienne Bailon, who still looks SEXXXY...*clears throat*). Anyway, this storyline may look played-out on paper, but it's a lot more interesting than it sounds, especially what happens at the end.

It was also interesting to see Ken Carter's son Damien (Robert Ri'chard) transfer to Richmond High and join the basketball team as a freshman, and his having to serve the same consequences that every other team member had to. I was kind of hoping that there would be some scenes depicting the Carters at home and Damien complaining about how harsh the daily practice exercises were. Oh well, Coach Carter is still a truly extraordinary movie. You have to be trippin' NOT to see it.

Anthony Rupert

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When my daughter came over to visit, she suggested that we rent this film. Since it stars Samuel L. Jackson and is about a high school basketball coach, I thought that it sounded promising. Well, it turned to be more than just promising. It is a movie that held me riveted to the screen the entire time it was on. Samuel L. Jackson is simply outstanding in the role of a high school coach who sees basketball as the means to an end and not the end itself.

Based upon a true story that took place in Richmond, California, it centers on a man named Ken Carter. He was asked by the retiring basketball coach of Richmond High School to return as a part-time basketball coach to the school from which Ken had graduated and left his mark many years earlier. The school is one of those schools in which people barely graduate and, of those that do, most do not go on to college. The basketball team was no great shakes either, having won only four games in the entire previous year.

Finally, Carter is prevailed upon to take over as coach. He has, however, decided that he wants to make a difference. He starts off by letting the team know who is boss and by trying to instill discipline and respect. He wants to go back to fundamentals. He wants to put the emphasis on being a student athlete. To this end, he makes it clear just what his expectations are. He drafts a contract that those who wish to remain on the team, as well as their parent, must sign. Some of the conditions are that the players must attend class, do their schoolwork, and pass their classes. Those who signed the contract ended up making the best move of their lives.

Coach Carter keeps his side of the bargain, turning the team into a formidable one on the court. Suddenly, basketball at Richmond High School begins commanding attention. Notwithstanding this, he still emphasizes that they are to be just as committed to their studies. While one might expect some resistance from the student athletes to such a change, one would expect support from the educators themselves. What is amazing is the resistance that he experiences from the teaching community who are reluctant to give him progress reports on how his players were doing academically.

When Coach Carter finally gets his long awaited progress reports and discovers that some of his student athletes are not holding up their end of the contract, all hell breaks loose. Even though they have had an undefeated season so far, he basically locks the gym and tells his players that there will be no more basketball, until he sees some academic improvement. To his surprise, the school board, as well as the parents, does not support him in this matter, and the situation becomes a media sensation on the West Coast. Support comes from an unexpected source, the student athletes themselves.

This is a heartwarming story about a coach who cared and dared to make a difference in the lives of kids that had little or no future. What he did for those students was incomparable, as he basically gave them a chance for a better life. Samuel L. Jackson is sensational as Coach Carter, dynamic and totally believable in the role. The young men who play his student athletes likewise give excellent performances. Ashanti also gives a surprisingly well nuanced performance as the girlfriend of one of the student athletes. Moreover, for those who enjoy great basketball, the on court scenes are extremely well done.

At the end of the film, there is a summary of what happened to these young men. When the viewer sees what happened to them, the viewer cannot help be but touched by the turn of events. This is a very well acted, deftly directed, inspirational film and one that is worthy of being in one's personal collection.

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The Square (2010)

Had the good fortune to see this in Pittsburgh last night, with a Q&A session with director Nash Edgerton after the film. This is the best thriller I've seen in a very long time -gritty, emotional and incredibly tense. Comparisons with the Coens and their debut 'Blood Simple' are inevitable, but 'The Square' is not a copycat film in any sense. The tension barely lets up during the course of the entire movie, and there's a constant feel of menace, like something really bad is always lurking just around the corner (it usually is).

Performances, direction, screenplay, music -everything is top-shelf here. If you like thrillers this is not to be missed.

Noir films obsess over unintended consequences, on the destruction that may proceed from the slightest failures of foresight or from simple chance. This notion is best illustrated in the literary forebear "The Maltese Falcon," where Spade reflects on Flitcraft, a seemingly normal, happy man who one day abandoned his job and family after nearly being crushed by a falling beam. The truth, Flitcraft realized, was that the seeming solidity of his world was a lie--all could be lost in an instant for no reason at all. So, he abandoned this world, abandoned regularity and left it all behind. In Nash Edgerton's feature debut "The Square," Raymond Yale (David Roberts), an ethically dubious construction manager, decides to begin anew as well, not for any philosophical reasons, but rather because he is tired of his wife or, at least, much more interested in the lovely young Carla Smith (Claire van der Boom [a ridiculous name, even by Dutch standards]), a neighbor from across the cove in their small Australian town. Raymond would actually prefer to simply keep seeing Carla on the side, but Carla wants to escape her loutish, criminal husband Smithy (Anthony Hayes), and gives Raymond an ultimatum. Raymond finally relents, and they decide to fund their escape by relieving Smithy of a few hundred thousand ill-gotten dollars, and covering their theft by hiring the shady Billy (Joel Edgerton, co-writer and brother of Nash) to burn the Smith house while the town collectively takes part in Christmas festivities. This seemingly straightforward plan, however, goes horrifically awry and, in a vision rather more moralistic than that of the Darwinian-minded Hammett, Raymond and Carla soon find that the beams are falling with disturbing regularity. Many viewers will be incredulous that Murphy's Law could be applied with such speed and merciless consistency, but this is part of the film's fun, seeing how everything falls apart so completely. More significantly, while chance is clearly against all those involved, the human motivations remain clear and believable. They repeatedly fall into traps, but we can see how and why they wandered into them.

"The Square" is a somewhat difficult film to review, as the reviewer must reveal little. Many have compensated by comparing it to earlier works, particularly "Blood Simple." This is indeed apt even beyond the obvious fraternal debut collaboration on a severely noir-oriented thriller angle. Significantly, Edgerton and co. take a Coen-esque hyper-cinematic and slightly postmodern approach (though in a non-winking manner), reinforce the drama via delicious black humor, and even the sparse solo piano that often drives the score reminds of "Blood Simple"'s minimalist soundtrack. The Australian setting, however, makes "The Square" stand apart somewhat from its antecedents. Though perhaps I'm alone in this, my exposure to Australian film have given me a quasi-mythical view of the country as being somehow more brutal and raw then the rest of the Anglosphere. This is no doubt hyperbolic if not an utter fabrication, but this vision is reinforced and expanded by "The Square," where this Australian town seems a sort of grotesque recasting of the stereotypical image of the American south, filled with steamy intrigue and hardened rednecks bearing antisocial hair. (The mullet budget on this film must've been enormous.) Thus, it is appropriate and familiar, yet still somehow new. Similarly, Edgerton expands the visual palette, mixing standard noir high-contrast and emphasis on night, shadow and rain with a dusty, gray-brown color scheme that oozes sleaze and treachery. (Indeed the film is so smudged and muted looking that I wondered if the theater had turned down the bulb, though viewing the DVD proved this was not the case.) Despite the low-budget and 16mm film stock, however, the film is quite smooth and professional, filled with terse, hard-edged performances and edited down to a sharp, tightly knit narrative. (This efficiency is made even more evident after viewing the 25 minutes of deleted scenes on the DVD.) The film is not exactly fast-paced, but it has an unrelenting intensity to it--everything seems to matter, and does. (That said, the film still has the odd little touches that make a movie stand out, such as the peculiar subplot about the adulterous pair's similarly enamored pet dogs.)

The main criticism viewers will have of "The Square" is from a human interest angle. There are no heroes, as Raymond is a cheater and corrupt businessman (he receives kickbacks from contractors) even before they embark on the scheme, while Carla is little more than an adulterous cipher. (Quite an attractive one, though. Mentioned that before did I? May well do so again before the review is done.) Though I can't deny that Raymond is a bad guy, I'll admit to sympathizing with him. While films of this sort often suggest that venal sins lead to those of a mortal nature, Raymond doesn't really become more malevolent as the film progresses, but merely has the world collapse around him. As soon as the arson goes awry and Raymond begins receiving mysterious cards demanding cash for silence (but about what? He has many secrets), he is paralyzed, hopeless. Other reviewers have compared the film to a nightmare, the sort where you perform some terrible deed and spend the rest of the dream awaiting and fearing your punishment. (And, of course, failing at simple tasks and having absolutely everything go wrong is another common dream theme.) The resemblance is indeed uncanny, and the dreadful sensation it imbues draws me deep into Raymond's plight even if, objectively speaking, he seems to be asking for some sort of rebuke. (Many others, however, receive rather unwarranted retribution.)

I've been pretty cagey here by necessity, so I'll throw in a few honorifics. In short, "The Square" is the best thriller since "No Country For Old Men" and perhaps the best thrillers of the 00s apart from that film. Discover it now before the other cult film aficionados find it and be hipper than the rest.

Grade: A

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When you are looking for a movie that is a little different and that will keep you interested throughout, but without any big names, this one will do nicely. The movie is a low budget film from Australia directed by Nash Edgerton and it stars his brother Joel Edgerton who also was a writer for this film. I found the acting to be quite good and the plotline was interesting and entertaining. This movie kept me on the edge of my seat throughout. I don't like to give away plots, so I'll give a quick summary: A contractor is taking bribes from his subcontractor. Meanwhile he is having an affair with woman in the same town. Her husband is close friends with another subcontractor. The woman finds that her husband has a stash of cash and so she and the contractor begin a plan to escape their marriages and their spouses. Thus begins the Manifestation of Murphy's Law.

There are some negatives. The sound is very annoying. The actors are difficult to understand with their Aussie accents and the clarity of the sound makes it doubly difficult to make out all of the conversations. So I missed some of the subtleties. Some of the parts were overplayed at the end particularly.

However, that said, I would definitely recommend this film to anyone that enjoys an edgy, tense drama. There was also a short film prior to the main feature; this was also a Nash Edgerton film. It was terrific and once during The Square, one of those characters makes his way into the emergency room (very Hitchcock like).

I'm giving it a 4 star rating because I enjoyed it; beware, though, my wife would only have given it a 2.5 star rating. But we often do not see eye to eye on movie reviews.

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The story has been painstakingly described by other reviewers, so I will dispense with that formality. The plot was intricately conceived and played out, easily the equal of Blood Simple, A Simple Plan, and other, similar productions by far better-known directors such as Sam Raimi and the Cohen brothers. Indeed, each step in its progression meets the criteria of plausibility. Anyone who yields to the temptation of a seemingly simple, straightforward but illegal path always discovers that it rapidly escalates into a dangerous labyrinth of unforeseen consequences and suffocating guilt. Each new move simply makes the noose a bit tighter. So it was with Raymond and Carla.

But from the first few moments, an issue began nagging at my common sense. What forces could have ever brought this couple together in the first place? Yes, they lived in semi-proximity on opposite sides of an inlet, but what traits did Raymond display at any time which would endear him to a much younger and more attractive woman? He was completely devoid of personality and humor, of meager financial means, physically unimpressive, weak-willed and submissive. Go to a young-singles bar looking and acting like Raymond and you will be going home alone.

Yet, he somehow so excited Carla, who could have her pick of younger and much more attractive men, that she chose to sneak around on her intimidating husband and engage in a risky, tawdry affair in parked cars and motels. If she wanted out of her marriage, why didn't she simply steal the satchel of money and run? Raymond was never portrayed as a dupe, as in Body Heat. Her passion for him is presented as real and unwavering, yet at no time did I honestly sense a real, explicable bond between these characters. For this story to work for me, Raymond would have to possess a lot more charm.

This deficiency detracted from my enjoyment of the movie somewhat and cost it one star. I still highly recommend it, but with a much more dynamic Raymond, it could have been a minor masterpiece.

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Every choice seems fairly reasonable (if not necessarily honorable) at the time but things spin slowly farther and farther out of control. Justly compared to the Cohen Brothers' thrillers. I'll be on the lookout for the Edgerton brothers' next film. The short film "Spider" which precedes "The Square" is a pretty near perfect short; a little morality fable about the unintended consequences of a practical joke.

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Boy (2010)

"Kia ora. My name is Boy, and welcome to my interesting world. My favorite person is Michael Jackson. He is the best singer and dancer in the world. My favorite subjects are art, social studies and Michael Jackson. I have a six-year-old brother called Rocky. He's got powers. I'm named after my dad. He can dance as good as Michael Jackson. He's a master carver, deep sea treasure diver, soldier, captain of the rugby team and he holds the record for punching out the most number of people with one hand. My dad isn't here right now. He's a busy man. When he comes home he's taking me to see Michael Jackson live. The end."

The reality of Boy's situation however quickly becomes clear when a classmate named Kingi taunts him after his talk:

Kingi: "You're a liar. Your dad's not overseas; he's in jail for robbery."

Boy: "Shut up Kingi! You don't know!"

Kingi: "Yes, he's in the same cell block as my dad."

Most of Boy's life consists of helping his grandmother look after the younger kids, hanging out with his friends, and trying to impress an aloof older girl named Chardonnay (RickyLee Waipuka-Russell) on whom he has an impossible crush in spite of the fact that she's a teenager and towers over him by almost a foot. He's so fixated on Chardonnay that he's completely oblivious to Dynasty (Moerangi Tihore) a pretty but quiet girl closer to his own age who wistfully keeps hoping he'll notice her, at one point showing him a hidden grove of pot plants that belong to her uncle, who happens to be the biggest pot dealer in the area. (Note: Dynasty's name is apparently due to the pervasiveness of American pop culture of the time as she has a brother named Dallas and a sister named Falcon Crest).

When his grandmother (Mavis Paenga) suddenly has to leave for a funeral across the country and leaves him in charge for a week, no one is more surprised than Boy when his dad Alamein (Taika Waititi) suddenly shows up one night along with two low-life cohorts he claims are his gang. Boy is delighted. His younger brother Rocky (Te Aho Aho Eketone-Whitu) however is wary Alamein is a complete stranger to him, having been absent his entire life.

Recently released from prison, Alamein says he's there to reconnect with his sons and spend some quality time with them. The reality though is that he's there to retrieve the money from the robbery he was in prison for, money that he buried in a field before getting caught. The problem is that he can't remember just where he buried it, having been seriously stoned at the time. It quickly becomes clear that in spite of his efforts to portray himself as a serious gangster, Alamein is instead as incompetent at being a criminal as he is at everything else, including being a father at one point he tells Boy "Can you stop calling me `dad'? It sounds weird." It takes time, however, for this reality to penetrate Boy's continued fantasies, which the film frequently plays with by showing scenes with Boy repeatedly imagining Alamein in Michael Jackson videos. But as the facade is gradually worn away by his father's pathetic bumbling and self-absorbed irresponsibility, Boy finds himself having to choose between falling into his father's lifestyle of directionless denial or taking responsibility.

While the film is serious at times, given the nature of the themes involved, Waititi imbues it with a lot of unique humor, particularly in the idiosyncratic dialogue that gives flesh to the laid-back culture of Boy's rural Maori world, like in this typical exchange when Boy runs into some of his friends in a pasture:

Boy: "So what you guys been up to?"

Dallas: "We're self employed now."

Boy: "What's your job?"

Dallas: "Chucking mud at those cows."

While most of the actors in Boy are first-timers, Waititi did an exceptional job in selecting them and as a group they give very natural performances that don't feel affected at all. James Rolleston is highly engaging as Boy and his performance takes you in completely as he goes from a kid who goes from hero-worshipping a father he cannot remember to coming to grips with the harsh disappointment of just how far short of his idyllic fantasies his father falls. You can see the conflict rising in him as he teeters on the edge of becoming just like his father even as he's realizing just how little that really means. Te Aho Aho Eketone-Whitu's Rocky is equally engaging, a shy introvert to Boy's motor-mouthed extrovert. Like Boy, Rocky has an equally creative imagination, but while Boy's fantasies are centered around his father and the way he wishes the man to be, Rocky directs his inward, imagining himself to have mental powers that give him some control over a world where in fact he has no control. Their differences are brought out in other ways, as in a scene where we find that Rocky regularly spends time at his mother's grave, openly missing what he has never known, while Boy cannot bring himself to even open the gate to the graveyard, a characteristic we later see that he shares with his father the tendency to shy away from the harsher realities of life. Another nice touch is the subtle ways in which, as Boy is starting to back away from their father, Rocky is starting to move closer, seeing the damaged man their father is and trying to use his imagined powers to fix him. And Taika Waititi's Allamein is a deft performance in its own right, finding just the right balance to make the man likeable and sympathetic while at the same time showing his pathetic weakness, revealing him to be a man who never really grew up and who has no idea of what it means to be responsible, let alone to be a father. And Moerangi Tihore's Dynasty is marvelously expressive in a quiet way, never really giving voice to her thoughts but you know exactly what she's feeling from her eyes wistful as Boy gives a sparkler to Chardonnay who only seems bored by it; hurt and betrayed when she catches Boy showing Alamein and his cohorts where her uncle's secret pot grove is hidden. She doesn't have to say a word Boy's guilty reaction shows that he knows from her eyes what he's done.

A couple of minor notes. Taika Waititi, a relatively new director, is best known for his first indie film, Eagle vs Shark, another off-beat comedy that's become something of a cult film. Boy was actually released in 2010, and although it turned out to be a hit and ultimately became the highest grossing film in New Zealand, it is only now making its way to the US. It may be hard to find, but it's definitely worth the effort. Check your local art house theaters as that may be the only way to catch it as it's not yet available on DVD (at least not in a Region 1 format).

And one other thing definitely worth mentioning is this fantastic and completely unexpected dance number that comes up at the end with all of the cast doing a traditional Maori haka dance mashed up with Michael Jackson's Thriller. While it has nothing to do with the plot, it brings all of the elements of the movie together and is enormously fun to watch. I looked it up and found it available on youtube if you want to check it out.

Highly recommended for anyone who likes coming of age movies, small indie films or just plain enjoyable films in general.

Boy lives in New Zealand with his grandmother and his demented brother Rocky. When his good-for-nothing dad drifts back into his life, Boy's happy-go-lucky life becomes a bit more complicated, and you see him become a troubled adolescent; this troubles the viewer, to see the loss of innocence. The acting is fantastic, since the kids are very believable, and the story is full of wonderful scenes of life in a rural New Zealand community: it is about young love, about broken families, about schooling and fantasy, and perhaps most importantly it is about what happens to people who let more than a little bit of Michael Jackson into their worlds. If I'd taken notes I would have described more of the wonderful scenes in the film, but I'll just have to go with what I can remember about what a great film this was.

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Why won't anybody come out with the USA FORMAT for this DVD? I looked everywhere... You are restricting people from watching this gemstone! I ordered this anyway from New Zealand (i've got a region free dvd player, which came surprising quick seeing as it's around the world from me. This movie is just absolutely amazing, beautiful, touching, and so so so good. I love coming of age stories, and this one is just fantastic. I love this directors work..and he shows an unknown land to most. New Zealand is just unreal...it is so beautiful, and you feel like you're there in this movie. Please watch this! IT IS SO WORTH IT. And please, somebody, anybody, get this going in USA format!

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this film has astounding scenery and even more astounding characters. The little boy engages the viewer immediately: he's brave and funny and yet sad at times. The father is the type of man you don't enjoy knowing; he's a bit pathetic. So the story is believable and the incidences making up the plot quite engaging.

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Boy, is about a Maori boy living with his brother, grandma and cousins in a rural community in New Zealand. Despite the state of negligence and dereliction, Boy lives in a world of his own, where Michael Jackson is his idol and his dad is his hero, even though he's been absent for quite some time. One day, Boy's grandma goes to a funeral for a few days and his dad shows up, which makes Boy the happiest child on Earth. However, it isn't until he gets to spend time with his dad when Boy has a reality check and starts to experience bitterness and disappointment, to sum it up: he starts experiencing life.

What I love about "Boy" is the fact that it has a simple yet deep and moving plot developed in a funny way. This film didn't cost millions and does not feature world-wide movie stars, but everything about it is memorable. It shows how children sometimes seem to know more about parenting than parents themselves. It never tries too hard either at make you laugh or make you reflect, it nevers tries to be educational or to teach you a lesson either; it just tells a story, and that's why I think this is a 5 star film.

At the beginning, I was reluctant to watch this film. I had tried watching Mr. Waititi debut film "Eagle vs Shark", and I thought it so silly that I couldn't even finish it, and that's something I seldom do. However, "Boy" is one of those films that I know it will stays with me because it portrays a universal situaion regardless of culture and social status: There are no seven wonders of the world in the eyes of a child; there are seven million, until adults come and show you otherwise.

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The Terror (1964)

Just got to say after the bad print of Kansas City Confidential from this company, I was scared to get this version of The Terror on blu ray. Just like KCC, they DNRd the crap out of this. To the point you're looking at a soft picture. Maybe I am confused, but shouldn't 1080p have plenty of detail and more grain? I admit, this is the best it has looked on home video, but it definitely is not the crisp MGMHD print. Some scenes on this blu ray combo look alright, while others there is no detail. I expect the stock film Corman used to look bad, but not the studio shots. Even the close ups are fuzzy. It is over cropped at 1.85 instead of its 1.66 frame (except for the credits), but at least its anamorphic. The 5.1 sound is horrible, I suggest switching to two channel to utilize the center channel at least. For ten bucks, its not a bad buy (at least it comes with a DVD copy)...but it could've been so much better. But this will have to do until MGM puts it out on blu ray. One interesting note is the American International logo is still at the beginning....I find that interesting, since their films are released by MGM on video.

I cannot complain as others have about this transfer. It is, by far, the best representation of the film I have ever seen.

The aspect ratio fills a 16:9 screen and its sound is in 5.1 surround. I thought it sounded terrific!

Also for the first time, I was able to watch the movie all the way through. Because other transfers' images were always so blurry and the sound so muffled, it was almost like watching snow on the screen. I'd lose interest halfway through and fall asleep.

This time, though, the movie grabbed my attention. How could it not? The image and sound were both clear. Happily, I changed my mind from judging the film mediocre to just as intriguing as Roger Corman's other masterpieces, like "The Fall of the House of Usher (1960)," "The Pit and the Pendulum (1961)," "Tales of Terror (1962)," "Tower of London (1962)," "The Haunted Palace (1963)," "The Raven (1963)," "Masque of the Red Death (1964)," and "The Tomb of Ligeia (1965)." It would be awesome to have these MGM features transferred to Blu-ray!

The Fall of the House of Usher

The Pit and the Pendulum

The Fall of the House of Usher /The Pit and the Pendulum

Tales of Terror (Edgar Allan Poe's)

Tales of Terror/Twice Told Tales (Midnite Movies Double Feature)

The Haunted Palace / The Tower of London

Double Feature: The Comedy of Terrors & The Raven

The Masque of the Red Death / The Premature Burial

The Tomb of Ligeia / An Evening of Edgar Allan Poe

Buy The Terror (1964) Now

I have searched high and low for a high quality print of THE TERROR, a favorite of mine since I saw it back in 1963, but since it's in the public domain, the numerous VHS and DVD copies have ranged from bad to worse. My search is finally over, for the print in this new DVD/Blu Ray set is almost perfect. The creative and colorful use of lighting, resembling that used by Mario Bava, can now be seen in all its glory and the colors (including the famous butterscotch finale) are sharp and vivid. Although not in the original widescreen ratio, it still looks astonishingly good. For those of you unfamiliar with its history, THE TERROR was cobbled together in a few weeks by 5 different directors including the 26 year old Jack Nicholson who has the starring role. Karloff's scenes were shot in 3 days.

Be advised that while this is not an official MGM release like the other AIP Poe pictures, it is certainly the best copy of the film out there. I cannot speak about the quality of the Blu-Ray disc as I don't have a Blu-Ray player but in order to get the DVD I had to buy the combo pack. I can say that the DVD looks great on my flat screen and sounds great too. In addition to the dialogue, Ronald Stein's memorable score also comes through loud and clear. The packaging also restores the original poster art which clearly states that THE TERROR is a Boris Karloff vehicle not a Jack Nicholson one although that's how it used to be marketed in previous incarnations. In addition it's a rare opportunity to see Jack's then wife Sandra Knight in what is her best known role.

Read Best Reviews of The Terror (1964) Here

I am a fan of this movie, but think there is some flaw in the DVD copy mechanism, not Blu-Ray. I have had to return two copies to Amazon and one to DVD empire all with the same problem. The DVD sticks in the third chapter. The color and transfer were fine with me, I just wish I could watch all of this clinker

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A brief and to the point review to tell those waiting "Buy this set." The movie has been remastered and has Dolby 5.1. As with "Dementia 13," the company Cultra has delivered the version you have been waiting for on Blu-ray or dvd. Buy it! I have a dvdr of MGM HD version and this looks about the same to me. I will take this set over my homemade dvdr any day. Too bad Sony dragged their heels on this one and all of the rest of the "no brainer" instant sale releases!

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This Means War (Blu-ray + DVD + Digital Copy) (2012)

I won't go into great details because there is no need to spoil it for you. If you're coming to read these, I am assuming you probably are trying to decide if you want to watch it or not.

The story is beyond predictable, but that doesn't mean it's not worth "date night".

The movie is about two close friends. They are CIA partners, you know that there is a brotherhood that only forms when you put your life in someone else hands. That relationship is put to the test when they both fall for the same woman ... in walks femme fatal, Reese Witherspoon whose character contains that charm which has made Reese a mainstay in cinema.

The plot is a road-map that lists all the main attractions along the way. You know where it's going, everyone's been there before, yet you still have fun. This movies is above all else a romantic comedy. It has just enough action to help guys enjoy the movie with their girls. It throws in a bit of situation and physical comedy to keep it from being sticky sweet.

You'll probably know what's going to happen before it does. That's ok; and it's ok to laugh out-loud even when the jokes are completely obvious. Allow yourself to enjoy this no brainer comedy and you might even find yourself rooting for the inevitable evolution each character has.

Still not sure? Rent before you buy and decide for yourself, after all, no two people are alike.

I hope this was helpful. Enjoy!

If you liked my review and found it helpful, please vote. Thanks. :-)

When two CIA agents find themselves vying for the same woman, their rivalry is epic! Lucky Reese Witherspoon, to be one-third of an eternal triangle with these guys!

Director McG ("Terminator Salvation," and "Chuck") certainly knows how to open a film with a bang and never slow down. Even though this is a romantic comedy, CIA activities and skirmishes are couched in enough reality that we invest a little skin in the game. But the banter and camaraderie between two hunky heroes keep it cartoony and light. Furthermore, the conversations between our heroine and her best friend are hilarious, particularly when they are being overheard by the guys.

* Reese Witherspoon ("Water for Elephants") tests products and facilitates focus groups, but she hasn't quite recovered from her last break-up. Her best friend offers sage advice that positively drips with envy.

* Chris Pine ("Star Trek") is the smooth man about town, a CIA-trained lady killer with blue eyes you could get lost in. Problem is, Reese isn't about to fall. She may be tempted, but she won't fall. ...maybe....oops....

* Tom Hardy ("Inception") is the third side of this triangle, who pretends to be a travel agent, which contributed to the end of his marriage. Now he's competing with Chris Pine for Reese's affections and not doing too badly, either, despite being British...

* Chelsea Handler (lots of TV) is the best friend who keeps offering Reese all that bad, bad advice. She's so funny I'd probably try her suggestions, too! Hey, don't Volkswagens have air bags?

Once again we are confronted with a PG-13 film that is fairly anatomical, but it's so funny I guess I'll forgive them. The clever script is loaded with double entendres that had us laughing out loud ("the agent has entered the premises"). To watch Hollywood's version of the high-tech power the CIA can bring into this testosterone-laden rivalry is really fun! Plus, I've never seen Ms. Witherspoon so relaxed or funny before.

Expect no sweaty bodies, a snippet of profanity, lots of gunfire, some bloody fisticuffs, a bit of exciting vehicular mayhem, and even some blowie uppie stuff. Our happy audience made a LOT of noise as we left the theater. This should do very well, because it's good old-fashioned entertainment, no socially redeeming qualities, just silly fluffy fun. Amazon.com will notify me when the DVD is available.

Buy This Means War (Blu-ray + DVD + Digital Copy) (2012) Now

If you're in the mood to sit back, laugh, and not have to think too much this is the movie for you! It's the perfect combination of Comedy, Romance, and Action. The cast has good chemistry and are sexy to boot! As with any romantic comedy, you can't over analyze...you just have to sit back and enjoy!

Read Best Reviews of This Means War (Blu-ray + DVD + Digital Copy) (2012) Here

"Why don't you tickle Ivan's feet until he talks with your teeny tiny itty bitty jazz hands."

One of the best lines in recent movie history delivered with perfect comedic timing.

Even though Reese Witherspoon is the headliner the buddy story is well played by Tom Hardy and Chris Pine. Oscar worthy? No. Entertaining. Yep. Not all movies have to have deep life changing meaning. Some are meant to be silly. This is one!

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This was a pleasant surprise. Funny, lots of action, romance, excellent cast, it really doesn't get better than this. Predictable? Probably for most, but still a fun 2 hours of entertainment. My wife and I both agree, she picked the wrong guy LOL.....

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The Last Metro (The Criterion Collection) (1980)

One of Truffaut's and Deneuve's best pictures. It has warmth, history, a sense of the absurd, excellent pacing, and a bit of suspense. It's also has more a linear storyline then many French films. All of the performances are excellent.

Two Warnings:

1. Avoid dubbed versions (Deneuve's sense of humor is in her voice, not on her face, resulting in a mirthless character when dubbed).

2. The new Fox version changed the sub-titles and wrecked some of the best lines.

I was first drawn to this film when I read a news article that this film had been considered by many French critics to be the best French film of the 80's. I couldn't have agreed more with that judgment when I saw it. Truffaut goes beyond telling a story of love and tragedy in Nazi-occupied France, it shows how intensely he feels about art and theater and how inseparable they are from human life. Theater is a big part in the lives of the central characters and hence a key ingredient of this film as well. Truffaut uses that fictional theater and interweaves that with real lives so seamlessly that it sometimes blows your mind away. I think in many ways it is an extension of 'Day for Night'. A terrific achievement, to say the least.

Buy The Last Metro (The Criterion Collection) (1980) Now

Truffaut follows in the tradition of Jean-Pierre Melville by adapting a popular genre as a serious allegory for the darkest period in French history: the Nazi Occupation. Just as Melville used the gangster film to examine notions of legality, legitimacy, authority and criminality in a period when the Resistance were outlaws and the police were rounding up Jews for the death camps, so Truffaut takes the beloved putting-on-a-show warhorse, and uses it as a metaphor for the conditions of life in Occupied France: the need to act, adapt and continually discard roles. When Depardieu's character leaves to fight for the Resistance, he puns about exchanging his make-up (maquillage) for the maquis. What Truffaut is most interested in, as in all his films, is the effect this need for constant dissembling has on individual identity and relationships.

This wonderful romantic comedy plays like a mature update of 'Casablanca', richly stylised, bravely open-ended, with Truffaut's moving camera wrenching spirit from claustrophobic confines.

Read Best Reviews of The Last Metro (The Criterion Collection) (1980) Here

This is a first-class romantic, suspensful and humane movie. The Germans have occupied Paris and there are informers everywhere. Marion Steiner (Catherine Deneuve), a famous actress, has taken over the management of the theater her husband, Lucas Steiner, an equally famous director, has left. Steiner is a Jew and disappeared shortly after the Germans took over. For the next production Marion Steiner hires a young actor, Bernard Granger (Gerard Depardieu), who loves women and who gradually comes to love Marion.

There are secrets everywhere. Lucas Steiner is hiding and living in the basement of the theater, protected by his wife. He directs the new play through notes to his wife and discussions in the late evening when she visits him. Granger is an member of the resistance who could bring disaster to the theater if he is caught. Marion Steiner is devoted to her husband, but feelings for Granger slowly begin to appear, and are not unnoticed by her husband. All the while life in Paris under the Nazis goes on, the play is prepared and rehearsed, Jewish members of the company are protected or caught or flee. An odious, collaborating journalist and theater reviewer uses his contacts and influence to try to arrange a relationship with Marion. Eventually Bernard leaves the theater for active fighting.

This is something of a romantic movie of choices. At the end of the movie, the Germans are fleeing Paris. Bernard has returned and a new play starring Marion and Bernard is a great success. Lucas is spotted by the audience at the rear of a box and they stand to applaud him. Bernard and Marion bring him to the stage to join them in receiving the ovation for the play. Then Marion moves between the two men, holds their hands, and the three of them stand smiling while the applause roars on. And that's the end. This is, in my view, a very satisfying movie of theater life, of the occupation, and of three people who manage to find their way.

I think the DVD looks great, with many of the scenes having a dark, warm look about them.

Want The Last Metro (The Criterion Collection) (1980) Discount?

A romantic and beautiful film from one of the founders of the French new wave of films, iconic director Francois Truffaut's award winning film "THE LAST METRO" is given THE CRITERION COLLECTION treatment showcasing the well-thought and well-planned script of Truffaut but also the beautiful cinematography by Nestor Almendros. But the film is much more beautiful thanks to the outstanding performances by Catherine Deneuve and Gerard Depardieu.

"THE LAST METRO" showcases Deneuve and Depardieu's great chemistry and acting. Both talents were just magnificent in the way they portrayed their characters. Deneuve moreso, as the emotions on her face shows us strength, compassion but also elegance and sexiness. This in combination with the variety of the characters but the way the film was written and how the film was shot. Everything came together as Francois Truffaut pays his homage to the theatre but showing how things were at that time in France during the occupation.

VIDEO & AUDIO:

"THE LAST METRO" is a film that has been digitally remastered for "THE CRITERION COLLECTION" release. The film is now 30-years-old is presented in its original aspect ratio of 1:66:1. The high-definition digital transfer was created on a Spirit Datacine from a 35 mm interpositive from the original negative. Thousands of instances of dirt, debris and scratches were removed using the MTI Digital Restoration System.

As Truffaut was an iconic director for his well-planned ideas up to its overall execution, his partnership with cinematographer Nestor Almendros brought beautiful imagery. "THE LAST METRO" featured a monochrome red. In fact, the film does not utilize so many colors. It was Almendros who knew what he wanted on camera, indoors to focus on monochrome reds, lighting to be natural, thus trying to capture the flame of candle reflecting on a person's face. The colors are vibrant for a 1980 film. Some parts with grain but nothing to be alarmed about it. The film looks absolutely gorgeous in the Blu-ray release.

As for the audio, the soundtrack was mastered at 24-bit from a 35 mm magnetic soundtrack. The audio is an uncompressed monaural soundtrack. Audio restoration helped reduce the amount of clicks, pops, hiss and crackle. Audio is primarily dialogue but overall audio is clear.

The film also features a new and improved English subtitle translation.

SPECIAL FEATURES:

For the special features included in the Blu-ray disc version for "THE LAST METRO THE CRITERION COLLECTION" are:

* TWO AUDIO COMMENTARY TRACKS The new 2008 audio commentary by Annette Insdorf (author of "Francois Truffaut") is a very good commentary. Insdorf comments on each scene with no pausing and literally knowing what she is talking about. Informative and definitely giving the viewer a chance to see things through the eyes of Truffaut. A wonderful commentary track. The second commentary track features by actor Gerard Depardieu, historian Jean-Pierre Azema and Truffaut biographer Serge Troubiana. Another wonderful commentary track. Another informative and wonderful commentary track as we are able to get some good insight through Depardieu but also get a Truffaut perspective from Troubiana but also the occupation of France through historian Jean-Pierre Azema.

* Deleted Scene The sole deleted scene included on this Blu-ray features a five minute scene with Valentin. The scene was cut because it made the film too long but it goes into Valentin wanting Marion to be in his final film since he is dying. But because her obligation to the play, the crew and also her husband (trying to hide him), as much as she would like to be part of his film, she can not.

* Les Nouveaux Rendez-vous A near 11-minute interview from a French television show "Les Nouveaux Rendez-vous" with Francois Truffaut, Catherine Deneuve, Gerard Depardieu. A very interesting featurette as Depardieu talked and smoked and just feeling great to be part of a film that would depict theatre of that time. Very informative.

* Passez Donc Me Voir A six minute featurette featuring Francois Truffaut and Jean Poiret excerpted from the television show "Passez Donc Me Voir". Another informative film, more-so for Jean Poiret and him working with Truffaut.

* Performing "THE LAST METRO" A 15-minute featurette that features actors Andrea Ferreol, Sabine Haudepin and Paulette Dubost along with second assistant director Alain Tasma (who played the character of Marc). The talent talk about working with Truffaut and being part of his past films and how wonderful it was to work with him and the freedom they had to be their character for the film. Also, how Ferreol helped cast Heinz Bennent (who played Lucas Steiner) for the film by recommending him to Truffaut. Tasma talked about how he tried out for Jean-Loup's character but he was too short. Sabine gave good insight since she was in several Truffaut films.

* Visualizing "THE LAST METRO" A near 10-minute featurette with interviews with camera assistants Forent Bazin and Tessa Racine in which they discuss working on the film especially working with cinematographer Nestor Almendros. What was interesting is that with all the color and beauty of the film, when Nestor was filming, he lost his contacts several times and was essentially blind. Without using a light meter, his staff was just amazed how he was able to get the lighting right in the final cut. A very informative featurette.

* Working with Truffaut: Nestor Almendros A near half-hour featurette that was filmed for Rainier Gansera's 1986 documentary "Arbeiten mit Francois Truffaut". Truffaut expert Robert Fischer pieced together all elements from the actual interview by Gansera into one featurette for THE CRITERION COLLECTION. This featurette is about how Nestor Almendros became friends with Truffaut, why he moved to France. Almendros talked about Truffaut's style which includes his concern of shooting the film a certain way because he knew his International fans watch his films with subtitles, so Truffaut and Almendros worked together in making sure the background below where the subtitles would be shown can be readable. But what is more special is how Almendros enjoyed working with Truffaut from the beginning and to be there for Truffaut who died in 1984. Informative and just a very special insight to Truffaut and being a cinematographer for several of his films. A wonderful featurette!

* Une Histoire d'Eau "The Story of Water", a 1958 short film (almost 13 minutes) co-directed by Truffaut and Jean-Luc Godard. An enjoyable B&W short about a woman who wants to get to France but because the place has been flooded, she has quite an adventure in getting from her home to Paris and get near the Eiffel Tower.

* Theatrical Trailer The trailer for the film

And similar to other releases from "THE CRITERION COLLECTION", a booklet including an essay by critic Armond White is included. White's essay on "THE LAST METRO" is well-written and a great addition to the release.

JUDGEMENT CALL:

"THE LAST METRO" is among the several award-winning films from Francois Truffaut. The film meant to be a trilogy of paying homage to theatre is literally a beautiful film capturing the occupation of France and the secrets held by the various characters involved in the play.

The term "Last Metro" is about the 11:00 p.m. curfew that French had to abide during the German occupation and for those who went to watch a film or watch a play at the theatre, they needed to get to the final boarding of the train (metro) during the curfew or else...

Catherine Deneuve was simply stunning as Marion Steiner. Her performance was just magnificent as body language and facial expressions really made her character seem real. As for Gerard Depardieu, despite being a man who wants to have some fun with the women, he's able to showcase himself in a variety of levels as an actor. Both had magnificent performances that really carried the film quite far.

Truffaut films...early to few of his later works are just wonderful. "THE LAST METRO"is all about the layers of the characters, small complexities and details are included and you have to credit his partnership with cinematographer Nestor Almendros for successfully achieving the transition of Truffaut's perspective into film.

From the use of colors of the monochrome red for the interiors to the bluish hues outdoors, the use of natural lighting and keeping things dark to make sure that the film shared that sense of ambiance as people who were living during the occupation can probably relate to.

Despite the bombshell dropped at the ending of the film (something that I was not really expecting), as I watched the film again, especially listening to both commentaries, it helped give me an understanding of the characters. Lucas and his love for the theatre. Was his love for Marion genuine, could he see beyond her being just a well-known actress who is now running his theatre or was it because she is epitomizes the female actress who lives for the theatre (who is essentially doing it for him). I started to see how both characters have grown lonely.

But the bombshell of the film is just one layer to "THE LAST METRO". The storyline is about secrets but also people living during a time where it was important for them to entertain because "World War II" and occupation by Nazi Germans and having to worry about air raids and being accused of being German or something anti-Nazi at that time. These people lived for the theatre, lived for entertaining and Truffaut wanted to celebrate that in this film and eventually succeeds.

"THE LAST METRO" is a beautiful French film that deserved THE CRITERION COLLECTION treatment. It's beauty as a well-told and well shot film has won plenty of awards but now with the CRITERION treatment, giving cinema fans a chance to discover one of the treasures of Francois Truffaut.

This Blu-ray release of "THE LAST METRO" looks absolutely magnificent and overall, this film is highly recommended!

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Candyman (1992)

Eventually, anyone who makes it their business to seek out quality horror movies is going to come to the conclusion that the ones that succeed in distinguishing themselves from the pack tend to fall into three distinct categories. First, you have the horror movies that are less interested in scaring you than they are seriously exploring their subject matter, and probing into the nature of evil. Sometimes, they go the supernatural route (The Exorcist, Rosemary's Baby, Don't Look Now). Sometimes, they stay grounded (Psycho, Henry: Portrait of a Serial Killer, Se7en). Either way, they are more disturbing than they are immediately frightening. You acknowledge that what you've seen has struck a kind of nerve, but you won't lose much sleep. These movies are intellectually compelling but they do not provoke any immediate sense of terror.

On the other hand, the second breed of quality horror movies has no interest in psychology, in the "nature" of their content, and do not attempt to intellectually engage you. They only want to make you feel as if you are in immediate danger. The movies that fall into this category (Halloween, Alien) do not provide food for thought, but they know how to make you uncomfortable, and they know how to push your buttons. They are manipulative in the extreme, but they are actively frightening, and provide visceral experiences that the previous category of horror films cannot.

Finally, the third category of superlative horror films distinguish themselves by remaining conscious of themselves. They want to frighten you, but they also want to convince you that they are "above" merely pushing your buttons. At the same time, they don't want to go the intellectual route either. These films (Scream, Dawn of the Dead) are made by people who know the genre, know that the audience knows the genre, and toe a thin line between adhering to genre conventions and examining those conventions explicitly. These films are very effective, even if they are too cool for the room. You laugh knowingly, and then, bam, something truly frightening wipes that smirk right off your face.

Bernard Rose's "Candyman" is a rarity in that it falls into all three of these categories. It is intellectually stimulating and it knows a great deal about the nature of evil, but it is also, truly, viscerally frightening. It is self-aware and yet, it is not too cool for the room, and there is no comfortable distance to be found from the nightmare that unfolds on the screen. It is as immediately frightening as the orginal Halloween, it is as thought-provoking as The Exorcist, and it is as aware as itself as the Scream trilogy. You've never seen anything quite like it before, and you probably won't see anything like it again.

The plot of Candyman centers around a woman who is as much of an agnostic when it comes to the intangible world as one could imagine; she boldly pursues strides into the haunts of a malevolent spiritual force (the Cabrini Green Housing Projects in Chicago, which are dangerous enough without factoring evil spirits into the equation) in search of discovering the source of the legend of the Candyman, a man with a hook for an arm who can be summoned by repeating his name into a mirror five times. She is convinced, as any liberal pseudo-sociologist might be, that the Candyman is but a projection of the fears the urban poor have of gang/drug-related violence. The fact that there is a gang leader who has taken to calling himself the Candyman reinforces this conviction.

For this woman, the idea that there is evil in the world, pure evil, unconditioned by economic/racial (most of the residents of Cabrini Green are poor and black) factors is unthinkable. She does not believe that the Candyman is anything more than an idea. She is wrong. The Candyman is real, and he doesn't much like the challenge to his authority posed by her skepticism. Furthermore, she reminds him of someone from his past whom he wishes to be reunited with, and thus he comes to view her as a conquest on more levels than one.

For about half of the film, we follow the woman, played by Virginia Madsen, and her friend, played by Kasi Lemmons, as they trek through Cabrini, exchange notes, and conduct the affairs of their lives. Madsen's grad student is no different from a lot of young people. She is determined to make a mark on her field, she's a little suspicious about her husband's fidelity, she smokes, she's pretty, she's intelligent and she seems nice enough. She draws our sympathy.

However, midway through the film, there is a decisive rupture, and everything in Madsen's life begins to unravel at an alarming rate. The chain of events that follow a particularly frightening scene in a parking lot take on the logic of a nightmare that one is unable to escape from. Soon, everything we have come to know about the young woman we've been following, all of the connections she has to her friends, to her husband, to humanity in general seem to be undone. It would be unfair to describe exactly what happens, but let it be said that the final fifty minutes of Candyman are as frightening as anything I've seen on film.

We thought we were safe, after all. The character we'd been following had friends, family, a job, a life of her own. The possibility of coming into conflict with nothing less than pure evil was the farthest thing from her mind; she and her friend were more concerned about packing the requisite mace for their journey through the projects, more afraid of drug dealers than of demons. After all, the Candyman is an urban legend, and we know all about urban legends. They're campfire stories. There is no Boogeyman, not really.

Rose plays on the self-conscious approach we take to horror films by decisively arguing that it will not save us. He engages us intellectually by toying with the idea of whether the Candyman is literally real, or only becomes literally real if enough people are afraid of him (I'll leave that up to you to decide). And he frightens us at an immediate level by pulling the rug out from under us at a crucial moment, and by never allowing us to regain our footing. It doesn't hurt that he has an uncanny eye for frightening visuals (the bees swallowing the Chicago skyline, the Candyman's self-portrait), plus the help of a terrific soundtrack from Philip Glass (whose presence reminds us that, hey, this is a serious piece of art) and compelling performances on all levels. Not to mention a great idea, and, yes, the ability to push our buttons and manipulate us when he wants to.

Candyman is, as far as I'm concerned, the second most frightening film ever made; the original Halloween still remains the only movie that made me briefly fear for my own safety. But I would argue that the horror genre has produced no more complete work of art-no other film that engages the viewer on every conceivable level they could ask to be engaged on-than Rose's masterpiece. Halloween becomes exponentially less scary with repeated viewings, as you begin to get the sequence down and figure out what's coming. Candyman's power remains undiminished, even once you get the sequence down, because the scares give way to the ideas.

Don't miss it.

Rated R: Contains some very graphic gore (nothing that will really surprise those used to the genre, but this movie does get pretty ugly by any standard-seriously, who said this wasn't gory enough?) some language, and brief nudity (not in a sexual context).

Candyman starts out pedestrian enough. Helen Lyle (Virginia Madsen) is a graduate student attempting to wow her instructor while dealing with her cheating professor husband. Helen chooses the local urban legend Candyman to blow her teacher away. Being the detailed and dedicated researcher, she investigates the area where most of Candyman's victims are found; the Cabrini Green housing project. Helen and her fellow student interview residents of the rundown apartment complex, explore an abandoned apartment that has been transformed into a shrine to the title character, and form an unusual bond with a young, struggling mother (Vanessa Williams).

All proceeds as one would expect until a murderer using the Candyman legend as a cover is caught by the police. Helen comforts a boy by telling him that the Candyman is not the boogeyman, just a bad man trying to scare and cause harm. This is the turning point of the movie.

By destroying the boy's belief in Candyman, Helen invites the entity who describes his state as "to be but not to exist". Candyman is because others believe in him. Helen has destroyed this so he must now revive his legend and resuscitate belief in him. Helen encounters him in a parking garage where he commands her to "be my victim". The next thing she knows, she is lying in the young mother's apartment next to her dead dog with a bloody knife in her hand.

From this point Helen descends into madness with murders and a kidnapping surrounding her while her husband's cheating ways are revealed. Eventually Candyman asks Helen to join her in the non-existence of legend. To save a child, Helen agrees and sacrifices her life so the child might live. The worst thing about the movie is a rather cheesy ending that confirms Helen's entry into Urban Legend-hood.

Candyman is a well written thriller. It's overabundance of gore overshadows the existential elements. All the actors perform their parts with aplomb. Virginia Madsen is more than believable as a woman on the edge of a breakdown, while Tony Todd was born to play the Candyman. His tall and imposing stature combined with a deep and creepy voice can be truly unnerving at times. Forgive the ending and you have a great horror film.

Buy Candyman (1992) Now

Another Barker masterpiece, Candyman is my second favorite story from Clive Barker right next to Hellraiser, and it is one of the scariest horror films of all time. Anybody that has seen a Clive Barker movie or read one of his books knows he is the master of imagination, and Candyman is no exception. It is one of the first horror films to use the urband legend theme and the only one to do it correctly in my opinion. Virginia Madsens performance is excelleent and Tony Todd plays one of the best villians in horror history. Not quite on the same level as Hellraiser, but then again, nothing really is. By far one of the best horror films of the 90's. Highly recommended.

Read Best Reviews of Candyman (1992) Here

I'm not a big fan of cut-em-up horror movies. Usually I find them laughable and low-brow. Candyman, however, was a HUGE surprise! Sure, it's a gorey horror movie, but it's also a psychological thriller and yes, even a love story. I will have to say, on top of all that, it's also up there with one of the most frightening movies I've ever seen. A great movie to watch, and a great movie to think about later. Definitely worth owning and re-watching, you'll notice more symbolism, allegory, etc in it the more you watch it.

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Candyman is a creepy and very scary horror movie. The first time i saw this i think i was like 11 maybe at a slumber party, i was so scared. Watching it again recently and i didnt find it as scary, but i thought it was very clever and a really decent film. Helen Lyle is a writer working on a story about the Candyman, an urban legend in which if you say the name Candyman into the mirror five times, the Candyman comes to get you. So Helen goes about to prove that the urban legend isnt true and says Candyman five times in the mirror. Soon she is being stalked by the Candyman and she will live to regret her actions. Both Helen (played by Virgina Madsen I think?) and the Candyman (Tony Todd) are portrayed superbly. I also absolutley love the score by Phillip Glass, the music is so perfect for the movie and its also very creepy, yet cool. Anyway check this out all you horror fans.

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Hitman (+ Digital Copy) (2007)

I didn't expect to be impressed with this movie because in my mind it was simply another flick made from a video game but man, I was blown away! In fact it was so enjoyable that ten minutes after finishing it I wanted to see it again, and that rarely happens. Never mind the few geographical errors, this movie is all action and there is no waste of precious minutes on mindless love scenes the one actually has one cut short by the main hero and it was humorous, how he was all business, him being this monk killer for hire who lives a chaste life. In a way it was like a James Bond character who actually didn't try to bed all the babes, impressive. And Timothy Olyphant was flawless, even thought I prefer men with longer hair he looked cool and totally acted the part, mysterious, brooding but with a heart in there somewhere.

Bald and serious, dressed in an expensive suit, red silk tie and an impeccably crisp white shirt the Hitman is a force to be reckoned with. He's not too emotional but rather straightforward with a little bit of a charm threw in as he works his meticulously planned hits until one day everything changes. In a very short time the predator turns into juicy prey and he must use all of his killer skills to catch the bad guys. Trouble is finding out who the bad guys are, I liked watching this movie without knowing anything about it, but I will just say it involved the Russian secret police and the Interpol chasing the Hitman while someone from the inside of his secret agency was trying to put him in the harm's way. The twists and turns, betrayals laced with action and ferocious weaponry all in one were a feast for the mind and eyes.

This movie was like a day at the beach, the bullets spraying the sky like the morning surf hitting the warm sand. Action galore and clever fights using all sorts of guns and ammo , hand combat and even a sword scene all mashed beautifully, it is all art, a ballet almost , full of grace with deadly intentions, I loved it and can't say enough good things about it.

Kasia S.

I really enjoyed this movie....I mean what is there not to like. You have a hitman (the sexy #47) who has been trained from childhood to be the best at what he does. Trained to hold his breath, shoot anything that moves from any distance, armed with sexy weapons and a barcode (tattooed beautifully in his scalp), along with an air of calm (that would make anyone scared who he faces), he is the perfect killing machine and running for his life. Determined to protect Nika, a prostitute to the President of Russia, from who else (her lover), #47 goes about the task of fighting the bad guys and righting what he thinks are wrongs. With a Interpol Cop on his heels, he attempts to uncover the truth about why someone he thought he killed wants him dead and what the whole thing is about. I enjoyed this movie...with its cool fight scenes and nice special effects. It was definitely worth renting on a Sunday afternoon.

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I had heard a lot of bad things and bad reviews about this movie. I was suprised when I watched it that it was as good as it was. I thought Timothy Olyphant did a good job and that the girl who played his love interest was also good and HOT. The guy that plays T-Bag on the TV show Prison Break was also good. I have never played this game but I thought the story was pretty solid. It kind of reminded me of The Bourne Identity as he is a trained super assassin from a place that churns them out and he has flash backs of good and bad things.

Anyway, the action rocked and it was exciting and entertaining beginning to end. It was pretty good and fun to watch.

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Yet another game to movie adaptation, but this one has a major difference. It's actually pretty damn cool.

Timothy Olyphant fits perfectly into the role of Agent 47, an orphan who is taken in and trained by an agency that trains children to be the most stealthy and deadly hitmen in the world. Agent 47 is the best of the best of all the Hitmen raised and trained by "The Organization." He is called in to perform on a hit on the Russian President Mikhail Belicoff, however the hit is a setup and 47 finds himself on the run from Interpol & The Russian Secret Police.

While on the run, 47 endeavours to get revenge and find the truth about who set him up and why. This unravels a tangled web of lies and deceipt as one by one he kills those who have done him wrong, including those who are also members of "The Organisation."

During his streak he comes across an unlikely companion in Nika Boronina who we come to see gives 47 emotions and feelings that he's never encountered before.

This is a really good movie and something that at times keeps so close to the game that you come to think this is a game in itself. Timothy Olyphant plays 47 incredibly and although 47 is conventionally an emotionless character but within the movie we are given emotion that is being held back. That may be a bit of an oxymoron but the way in which Olyphant portrays it is amazing as it's a character that has all this emotion built up inside but is trying to hold it back.

The action, dialogue and cinematography of this film I found to be incredibly intelligent. It has moments in it that you can identify to the game and there's one point in particular which the game itself is given a nod. 47 breaks through the window of a hotel room and it cuts to a vision of kids playing the video game hitman.

Overall this was a very, very good film which I have to admit I didn't really have high hopes for in the beginning. I am glad to say my preconceptions were changed within the first 5 minutes into the movie and I am sure to watch it again.

You should check it out whether you're a fan of the game or not, it's still a pretty special piece.

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Hitman was an enjoyable movie with references throughout towards to the video game series on which it is based on. They picked a good one (Timothy Olyphant-Scream 2, Live Free or Die Hard) to play the title character and he does so with style but also a fierceness as well. He dispatches any and all that come his way or end up and his already dead marks. From hand to hand combat, guns, sword fights with others like him from the Organization that trained, fed, clothed and made them into the powerful yet deadly freelance agents they are.

It is touched on his background with the organization but hope it might be expanded on in a future movie. Entertaining, action packed and loaded with violence add a little bit of storyline and you have a fun and far more entertaining movie than i thought it could be. Usually i'm not too hyped over video games made into movies, but Hitman isn't like that at all.

Very enjoyable.

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House On Straw Hill (Blu-ray + DVD Combo) (1976)

Udo Kier kicks butt (literally) in the parking lot near the start of the film. For crying out loud, I believe this is the best film of Udo's career and there's still, not, a single DVD release of this film! His descent to madness is brilliant as he is exposed for what he is. I understand there might be ownership rights in dispute because of the number of name changes this film went through from House on Straw Hill to Trauma to Expose. One would think Code Red or Scorpion Releasing would be able to resolve these issues, just like with Human Experiments and give us a collector's DVD and slap on the missing scenes as extras to speed up a possible release.

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Cape Fear (1962) (1962)

This review refers to the "Cape Fear"(1962) Widescreen DVD edition by Universal.....

"Cape Fear" from 1962 is a terrific example of great film noir. Filmed in black and white, director J.Lee Thompson uses shadows and light, and the art of suggestion(the censors were pretty tough back in the 60's), to bring us this bone-chilling and suspenseful classic that over fourty years later, still, has not lost it's draw. Not unlike many of Hitchcock's films, Thompson has the audience on the edge of their seats,our hearts in our throats, and in fear for the hero.

It's good vs. evil, as Greogory Peck and Robert Mitchum, put their immense talents together for this spine tingler. Max Cady(Mitchum) has just been released from 8 long years in prison. From the moment we meet him, we KNOW this is one bad hombre. He is bent on revenge, and Sam Bowden(Peck) is the man who must pay. Sam's young daughter and beautiful wife are the targets of Max's obssession. He is slick and devious and will stop at nothing to get even. Sam does everything in his power legally to try and stop him, but must take matters into his own hands to protect his family.

Mitchum is simply powerful in his performance of this menacing threat, and Peck as always is perfect in his portrayal of the family man whose life has just turned into one big nightmare!

The film is also helped by the wonderful talents of Telly Savalas and Martin Balsam. Polly Bergen and Lori Martin are magnificent as the terrified wife and daughter.The talent doesn't end there though, the haunting music was scored by Bernard Hermann(who worked with Hitch on several films), and Sam Leavitt does a fabulous job with the black and white cinematography.

The transfer to DVD is crisp and sharp. It is presented in anamorphic widescreen(1.85:1)and barely shows it's age. The sound is in Dolby Dig 2.0 Mono. The dialouge as well as the music and background noises are all clear and distguishable.

There is a terrific featurette on the making of the film,production photos, a trailer, and DVD ROM. It may only be viewed in English, but has captions in English and subtitles in Spanish and French for those that may need them.

A thriller that stands the test of time. One that esteemed Director Martin Scorsese chose to pay homage to with a wonderful remake.

Get the popcorn ready and enjoy......Laurie

Prior to his Oscar-winning role as lawyer Atticus Finch in "To Kill a Mockingbird", Gregory Peck portrayed another attorney in 1962's "Cape Fear", a psychological thriller also starring Robert Mitchum in one of his most despicable roles.

No two actors were better suited than these two. Their characters are a definite study in contrast. Peck's Sam Bowden is a civilized intellectual forced to resort to some underhanded means to protect his family and himself from the treacherous taunts of Mitchum's crude, rude antagonist. Tension builds as the two men make a final confrontation at the location of the film's title.

Polly Bergen and Lorie Martin as Peck's respective wife and daughter are quite good a show a strength of character rare for women in the early 60's. They are not just "screaming Mimi's".

Martin Balsam, Jack Krushen and a pre-Kojak Telly Savalas round out a superlative cast; Barrie Chase is also quite memorable as a woman that runs afoul of the Mitchum's sadistic Max Cady.

Southern locations and crisp cinematography provide a picturesque yet menacing background and look.

To top off the film off is another remarkable score from Bernard Herrmann. Music by the late composer elevates this already superior thriller to a higher level.

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The late great classic acting talents of Robert Mitchum are showcased in this 1962 classic, reproving his ability to play the villain with unsurpassed expertise, as in the former 1955 classic "Night of The Hunter".

Here, Mitchum plays Max Cady, a menacing figure with a perpetual lit cigar and Panama Hat. He has come to town after being released from jail to visit and wreak revenge on the man who put him there, enter Sam, played by Gregory Peck. From their initial reunion in the town parking lot, Cady lets Peck have a peek at what's on his mind. From that moment on, there are grippingly suspenseful encounters between the two men and even worse, threats to his wife played by Polly Bergen, and his daughter, in a rather ineffectual role considering what she goes through when encountering Cady. Particularly amusing is a scene in the beginning of the film. Cady casually watches the family bowl, while harrassing a waitress and having a beer. The expression on Pecks face as his Sam character looks up, and spots those sinister leering eyes peering from a nearby table at his family, is classic.

What needs to be mentioned more than the great direction, pacing and script, is the believabilty of the sociopath depicted, that Mitchum brings to startling low-life on the screen. He is truly mesmerizing in his sleepy-eyed evil countenance. His gaze, cigar in mouth, hat pulled low, will raise your hair as you watch him. He moves toward his victims in a slow and deliberate manner, and speaks his lines with that commanding voice that he was so famous for. When picked up for questioning, he hilariously mocks Pecks' Sam, calling him casually by name, "Why, Say-im..." and then as "counselor" refering to his lawyer status. My favorite Mitchum line here?"You might want to look closer, I've got a few jolts of horse stashed under the collar." as he hands over his shirt to the police. The other great line is to Peck in a bar, as he lets him know that he can't be bought off. When speaking of his dear ex-wife, "Pumped a quart of whiskey in her, tore off her dress, threw away her shoes, and gave her a fair chance to work her way home..." Needless to say, pretty daring for it's time. You will have to find out the rest for yourself, like the scene with the drifter girl Mitchum picks up, and of course, the showdown.

Don't even think that Martin Scorcese's subsequent remake comes close to this classic. The excessively demented southern accent and preponderance of large tattoo's on DeNiro, don't make him more frightening than Mitchums' original take on the Max Cady character. Mitchum's subtle style of menacing, which seems paradoxical, but works, is far more effective at eliciting the viewers rapt attention. Besides, the Scorcese version got mired in outside subjects like infidelity from Nick Noltes version of Sam, what for? Let's face it, the original doesn't need any additional subplots to be entertaining.

"Cape Fear" is a strange title, refering to the very real location of the story, while it also serves as a perfect double entendre for the utter fright Robert Mitchum delivers within, in an unparalleled style. Don't miss this classic.

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"Counselor, you really stepped on it this time, didn't ya? I don't know what the Bar Association thinks about its members compounding a felony -but I do know what the law thinks about it. You just put the law in my hands! And I'm gonna BREAK YOUR HEART WITH IT!! Ain't nothin' can stop me! You understand that, don't you?!"

The above words were spoken by a bloodied "Max Cady" in the original (1962) version of "Cape Fear", which is a suspense-filled masterpiece that remains one of my favorite movies of this genre. The film, which was known as "The Executioners" during the actual shooting of the picture (the title of the 1957 John D. MacDonald novel on which the movie was based), first appeared on American theater screens on April 12th, 1962.

That Max Cady is one scary dude! No doubt about that. Portrayed to perfection by 44-year-old Robert Mitchum, Cady is presented with full intensity in "Cape". We get the impression, and rightly so, that Mr. Cady is relentless in his pursuit of "Sam Bowden" and his family. Nothing is going to stop him. And Sam (Gregory Peck) knows this too.

Therefore, drastic measures are needed to fight this awesome menace. Watch and see how it suspensefully unfolds. Many memorable scenes await the viewer here -scenes that look all the greater thanks to the handsome Anamorphic Widescreen print of the movie that has been encoded onto this DVD. The black-and-white photography looks solid as a rock on this disc.

As the film opens, we see a cigar-smoking Max Cady walking toward the courthouse to meet his "prey" (Bowden). Cady's self-assured gait and somewhat cocky manner, as we watch him leisurely making his way down the street, give us a good indication as to the kind of man Cady is. He leers lustfully at a couple of women who are leaving the courts building; and he shows us his self-absorbed demeanor when he walks right past a woman on a staircase who has just dropped one of the many books she is carrying (without Cady offering even a cursory glance of care or concern). These silent and subtle initial "Cady touches" in the James Webb screenplay provide the audience with a perfect "introduction" to Cady's character.

Bernard Herrmann composed the magnificent music score for the 1962 version of "Cape Fear"; and Mr. Herrmann's mood-enhancing themes greatly add to the atmosphere of the picture (as is always the case with any of his musical arrangements). Yet another stellar effort by Bernard H.

The 1991 remake of "Cape Fear" (starring Robert DeNiro) is very nearly as good as this 1962 original. The remake features additional layers to the already-competent plot that add to the enjoyment of that picture.

However, I think that the original film still outshines the remake. The combination of Gregory Peck, Robert Mitchum, and Polly Bergen provides this film with a very good trio of actors to build a picture around.

I've always liked Polly Bergen in everything I've ever seen her in -from her always-delightful and witty appearances on TV's "To Tell The Truth" game show, to this role in "Cape Fear", to her comedy roles as well.

Gregory Peck had a good calendar year of 1962. He made "Cape Fear", plus two other big-name films that same year: "How The West Was Won" and the incomparable "To Kill A Mockingbird". Not a bad year's work for any actor.

Keep an eye peeled for some other fine supporting players dotting the cast of "Cape Fear" -like Telly Savalas, Martin Balsam, Edward Platt, and Will Wright. For Wright, who was in literally hundreds of TV shows and feature films, "Cape Fear" would mark his last movie appearance. He died on June 19, 1962, very shortly after this movie was filmed.

This excellent "Cape" DVD presentation comes to us via Universal Studios Home Video. The Region 1 (USA) disc was first streeted by Universal on September 18th, 2001. The '91 version of the film came out on DVD the exact same day, too.

This single-sided DVD isn't a "Special Collector's Edition" by name, but some really good bonus supplements adorn the disc nevertheless, including a satisfying Making-Of program, along with the Theatrical Trailer, a Photo Gallery, DVD-ROM features, plus some Cast-&-Crew text-only information and Production Notes.

The behind-the-scenes featurette ("The Making Of Cape Fear") runs for 28 minutes. This mini-documentary contains film clips and contemporary interviews with star Gregory Peck and the film's Director, J. Lee Thompson. These interview segments with Peck and Thompson must have been recorded just shortly before both of these men passed away. Mr. Thompson died on August 30, 2002; and just ten months later we lost the great talent of Mr. Peck (on June 12, 2003 -which was a terrible month in this regard, with several big-name Hollywood stars slipping away from us during that very same month of June 2003).

The section of the disc labelled "Production Photographs" (the Photo Gallery) is a unique DVD bonus, in that it presents the Photo Gallery in an unusual fashion, with clips from the film mixed in with the still photographs. Portions of the chilling musical score are also utilized as a backdrop to the clips and photos. This "Gallery" of pictures and movie snippets is on a timed track (lasting 4:48), and the remote-control "pause" button has not been locked out, which enables the viewer to freeze any of the images for a longer look at them. Nicely-done bonus.

Some Additional DVD Specs.....................

> Video is 1.85:1 Widescreen (enhanced for 16x9 television monitors).

> Audio is presented in Dolby Digital 2.0 Mono (English only).

> Subtitles in English and Spanish and French.

> Menus are static, silent, and simple.

> Sub-Menus provided for "Scenes", "Bonus Materials", and "Languages".

> Film length is a tad shy of 106 minutes.

> Paper insert is included, with a Scene Index for the 18 chapters on the DVD.

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"Cape Fear" (1962) should certainly keep any first-time watcher on pins and needles; and towards the end of the movie there will be no need for the bulk of your chair at all -just the "edge" of the seat will be required. The film holds up very nicely the 23rd time it's viewed as well. A 'classic' always does.

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When I first saw J. Lee Thompson's film I was on the edge of my seat. It is a scary thriller without showing buckets of blood, graphic violence, monster make-up, or even using the word "rape".

A bitter, amoral, psychopathic ex-con, Max Cady (the incomparable Robert Mitchum), recently released from an eight-year prison term, is out for revenge against the man who testified against him at his trial, lawyer Sam Bowden (the late, great, Gregory Peck). He infiltrates into Sam's life, stalking his lovely wife, Peggy (Polly Bergen, no shrinking violet), and his pretty, innocent teenage daughter, Nancy (the appropriately sweet Lori Martin). Sam does everything legally possible (for the time, before anti-stalking laws came into place) to protect his family, but he finds he is powerless under the law, and Cady is very intelligent in his planning. It all ends in a showdown on the river Cape Fear.

Let me just say that this movie has an advantage over the 1991 remake. Cady doesn't have to be covered in tattoos or act like Freddy Krueger to be terrifying. The word "rape" doesn't have to be mentioned nor does the offense have to be shown to us graphically (since the censors of the time forbade it) for the viewer to understand and comprehend what is going on. The performances are all right on, and even when Barrie Chase's Diane Taylor is assaulted, we don't have to be told that she was raped, because it's implied and it's written all over her bruised, traumatized face. Her portrayal of this victimized and frightened young woman is impeccable why didn't she have a longer career?

Gregory Peck is compelling, and the scenes where Nancy is pursued by Cady outside her school and she escapes inside, only to fear that he has also followed her in (and she is mistaken) is absolutely nail-biting, as is the final showdown. Cady's devious plan to accost Peggy on the boat in order to "trade" her for Nancy is gut-wrenching and extremely watchable. We now have a names for guys like that rapist, stalker, pedophile, murderer but the first three were either not used or hadn't been made a term yet. A classic, don't accept any substitutions. As I usually give so much away in my comments, I'll leave the plot details at that. Bernard Hermann's score for the film is perfect, and ranks right along with his score for Alfred Hitchcock's "PSYCHO" a masterpiece. And so is the movie. Don't watch it alone or in a dark room!!!!!!!! 10/10.

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