The Stoning of Soraya M. (2008)

Like many an excellent film, this one is difficult to watch, but well worth it. It is a fine film that should be supported, and circulated, and admired. It derives it's power from its clear and shocking narrative and from the outstanding performances of its cast, and its unsparing attention to the suffering of Soraya M. who is stoned to death in her village in Iran. The fact that people are being stoned today in a number of countries is as horrifying as it is true. What can we do to stop this barbaric practice? What can we do to support the women in these countries who cannot defend themselves against laws that denigrate their value and impose upon them unfair standards for their defense in criminal proceedings? --This is a brave film for focusing on one such case, and the egregious cruelty heaped on the victim. And it leaves the viewer wondering what a stoning means for all the people of a village who participate in it, including children who gather the stones. Whatever one thinks about these basic questions, one can be assured that this is first and foremost a good movie, with high productions standards --worth seeing, worth owning, worth passing on to others. Highly recommended.

"The Stoning of Soraya M." is a must see film on all levels. This film is even more stunning on Blu-ray high definition and will leave you speechless. Tastefully done, director Cyrus Nowrasteh has made one of the most important films ever to be made about the inequalities in the Middle East.Freidoune Sahebjam, a French-Iranian journalist (played in film by Jim Caviezel), wrote The Stoning of Soraya M which is based on his own experience of being forced to stop in a remote Iranian village after his car broke down. He was one of the first to report on the troubles in the Bahá'í Faith community in Iran.

While waiting for his broken car to be fixed, Freidoune is approached by Zahra (Shohreh Aghdashloo) who is the aunt of Soraya. Zahra notices that Freidoune has a tape recorder and asks to speak with him. The townspeople assure him that she is crazy but he humors her anyway. Once the recorder is placed on the table, Zahra begins telling her nightmarish story.

Soraya (played by the beautiful Mozhan Marnò) is a married mother of three in the film (six in real life). Needless to say her plate is full. Her unfaithful husband Ali (Navid Negahban) has fallen for another woman and doesn't want to wait for a timely divorce. He decides to find the quickest way to get rid of her and cooks up a dishonest scheme to get Soraya convicted of adultery, a crime punishable by death in their twisted culture.

Ali, with the help of others, takes advantage of a vulnerable local mechanic (Ebrahim, played by David Diaan) whose wife has just died. They offer to pay Soraya to cook for Ebrahim and take care of his children while he is working. This provided "legitimate" grounds to pressure other men to be witnesses for the prosecution.

Based on the descriptive title of the film, we know the outcome, which could lead one to believe that this could easily be another snuff film like The Passion of the Christ. A short build up with 90 minutes of grotesque torture. Thanks to the wonderful direction of Cyrus Nowrasteh this is not the case. While the climactic stoning itself is difficult to watch, it is less than a quarter of the film.

The bulk of the film focused on giving us a sense of the people in this community and the corruption that it breeds. While keeping the actual stoning to a minimum, the film gives us an important window into an overlooked part of the world. However uncomfortable it is, we feel as if we are in this town watching the story unfold. Several people in the audience behind me could be heard uttering passionate reactions throughout.

What makes Soraya M enjoyable (and even the hardest scenes bearable) is that our frustrations are released through Zahra's vocal opposition. She is an outspoken female opponent to the misogynist culture in which she resides. At one point she is told, "muzzles should be for women, not dogs." With a reaction like that we know she is saying the right things to upset the right people. The rest of the women in town are either indoctrinated into believing they are worthless or intimidated into silence. Without Zahra's presence the film would be torturous to watch.

Interestingly, by doing a simple search on the Internet I was able to find an awkward amount of reviews unfairly criticizing this film as either anti-Iranian propaganda or a manipulative melodrama. The people who believe this must be the same who subscribe to the idea that "terrorists are people too."

Even Roger Ebert blasted the director because the film ends on a positive note that he finds corny. An important film like this must have some element that is redeeming. If we all leave feeling awful we will never want to watch the film again (nor recommend it to others).

Instead, Soraya M ends on a positive note and allows us to leave the film scarred but hopeful that people are speaking out about the oppression of women in the Middle East (women's groups where are you?).

Many may not know that while this film is based on a true story, most of the actors are Iranian natives who fled years ago (including the outspoken Shohreh Aghdashloo). This adds an important element of realism to the film that helps expose a part of the world that is too often referred to or assumed as a peaceful.

This film has not yet had a wide enough release. Unfortunately, it is harder than it should be to get distribution for a film that is emphatically for the protection of women in a part of the world that leaves them helpless. Coming to DVD on March 9th, "The Stoning of Soraya M" is a must see!!

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I have seen two films about the life of women under Islamic fundamentalism: "Osama" about life under the pre 9/11 Taliban rule in Afghanistan, a film made by Afghanis; and now, "The Stoning of Soraya M." based on the true story and book by an expat Iranian journalist, and the film also involving many expat Iranians, about the early rule of the Ayotollahs after the fall of the Shah. Both are chilling, sobering, and despairing accounts of the lives of women who have few rights and virtually no say in their own destinies.

As Soraya is told in this film, in accusations of adultery the woman "must prove her innocence" but if accusing her husband she "must prove his guilt". This is the hypocritical and pardoxical world women find themselves when a society turns to a fundamentalism and fanatacism that denies them full legal and moral standing.

It would be almost impossible to believe that a barbaric punishment like stoning would actually take place in the 21st century. And yet I have seen actual documentary footage of it, in today's Iran. Who would have believed we would see beheadings, and all the other forms of 12th century barbarism reappear in our age?

I don't need to tell you this story. The title tells you where it is going, and you can be sure that injustice is woven throughout this tragic story. The debasement of Islam, the confining of the society in the name of religion, the double standards applied to men and women, the intimidation of basically good people by the pressure and fear demanding conformity, the corruption of law and justice. These themes present themselves as we watch the inevitable unfold inexorably leading to tragedy.

The actors are all fine, and the filmmakers have wisely told this story straight, without hysteria and amplification, but simply, directly and straight as a gut punch. And the ending is as terrible as one imagines, presented in all its brutality but with as much restraint as the filmmakers could manage without denying the truth of this terrible torture/punishment.

And in the end the courageous aunt of Soraya who has defied the conventions and corruption of power that has brought this about shouts to the heavens that the world will know of this! This film didn't do much at the box office, but it is now on DVD and one can hope it will reach the world now. Everyone should see this film and the others that cry out at the injustice and brutality that is daily delivered to women all over the world, from the Middle East to Asia to Africa. The world will never sort itself while women are brutalised, enslaved, degraded and ultimately tortured and murdered.

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I can guarantee that this will be one of the most powerful, riveting, important films you've ever seen or ever will see. I know people who have told me their lives were literally changed by it. DO NOT be put off by what you may think is the gruesomeness of the subject matter; yes, this compelling tale is horrifying (though not as horrifying as the reality of stoning), but is also surprisingly uplifting and even laced with moments of beauty. I promise that you will not regret owning this film.

As other reviewers have pointed out, the direction by screenwriter/director Cyrus Nowrasteh is outstanding and the acting is Oscar-worthy throughout and not just by Shohreh Aghdashloo (who plays Soraya's aunt) or Mozhan Marno (Soraya). Navid Negahban is one of the all-time best cinematic bad guys as Soraya's ruthless husband.

This is based on a true story that took place in the decade or so after the Khomeini revolution in Iran in 1979, but astonishing as it may be to believe, stonings still take place there despite an ostensible 2002 "moratorium" just as they continue to take place in other places where sharia law rules: Nigeria, Somalia, Indonesia, etc. So this movie is more timely and necessary than ever. Don't miss it.

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'The Stoning of Soraya M' is very intense and barbaric.

It tells the true story of a young wife and mother in rural Iran. Her husband wants to divorce her so he can marry his 14 year old girlfriend. Soraya (the wife) refuses the divorce, but that is not the end of the story.

Ali (the husband) concocts a plan to falsely accuse her of adultery, a capital crime under Sharia law. This would be a rough one to watch if it were just fiction. As it depicts real events, it is beyond horrific.

The movie is well acted and very intense. It is a story that needs to be seen by everyone who has concerns about the outrageous abuses of Sharia law under fundamentalist Islamic governments.

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Sweet Home Alabama (10th Anniversary Edition) (2002)

I was a bit hesitant to watch this film at first because romantic-love-triangle-comedies all end the same way. Plus before the movie started, the audience was packed with high school teenagers with their cellphones. (They could litterally fiddle around with them for hours while looking seemingly busy.) But my mom insisted and I obliged. Anyways, the movie turned out to be pretty sweet and heartwarming.

Melanie Carmichael (aka Melanie Smooter), played by Reese Witherspoon, is an up-and-coming New York City fashion designer who has just been proposed to by Andrew (Patrick Dempsey), the mayor's son. (Quite an impressive proposal I might add, with the Tiffany store open just for them.) There's only one problem, she's still legally married to Jake (Josh Lucas) in Alabama. That's where the real story begins. Melanie drives back to her hometown and nags Jake to sign the divorce papers. He drags his feet while Melanie gets some time to get reacquainted with his family and friends, whom she left for seven years. She desperately wants to believe that she's a whole new person (with the last-name change and all), and ends up hurting the ones who love her. Does she get her divorce and who will she be with in the end? Ah, for that you'll have to watch the film!

I think the more interesting aspect of this film is watching Melanie come to her senses and acknowledge her roots. In New York, she might have had to cover up who she really is to get to where she's at -changing her last name and fabricating a tall tale about her family. But it was a lie waiting to be exposed. When she goes back to Alabama and brings this pompous personality back with her she is reminded that it won't get her anything but the disappointed looks of her friends and family; the people she left behind.

In a nutshell, even though the ending was relatively predictable, the story is poignant enough and had sufficient humorous scenes in it to keep the audience hooked. (I particularly liked it when Melanie realizes that being married to Jake means that they still have a joint account at the local bank.) Also, I think Reese Witherspoon gave a good performance, and it's always nice to see Candice Bergan in a frenzy.

This is one of the better romantic comedies I've seen this year.

LEAP rating (each out of 5):

============================

L (Language) 3 (Cute, has its sentimental moments. Never boring.)

E (Erotica) 0 (n/a)

A (Action) 0 (n/a)

P (Plot) 3 (In order to get married, Melanie must get a divorce, but going home and realizing how much she's left behind forces her to reconsider.)

Witherspoon gives another strong, leading performance that proves she can make just about any movie look good. She stars as Melanie, a New York fashion designer whose dream is about come true. She's proposed to by New York's most successful and eligable bachelor, who also happens to be the mayor's son. Before she can say for sure, she quickly travels back home to country-side Alabama, to try and get a divorce out of her high-school sweetheart Jake (Josh Lucas). The film was better than I expected. It was pretty funny and heartwarming, while Reese gives a sweet performance in SWEET HOME ALABAMA. It's kind of a chick-flick, but proved high for a comedy on my standards. If you're in the mood for something light and funny, sweet and entertaining, "Alabama" is worth seeing.

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Reese Witherspoon was wonderful as Melanie Carmichael! She plays the displaced southerner very well. Josh Lucas was the perfect counterpart portraying the southern hick. They have known and loved each other since they were kids, but of course life interferes, and that is where this movie starts. The town and residents are a typical stereotype, but it doesn't even matter because the film was that good. The writing and supporting cast are priceless. I do have to give special mention to Candice Bergen. She is at her best when she plays those dry roles.

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Sweet Home Alabama, which stars the adorable Reese Witherspoon (Election, Legally Blonde), is a homespun delightful movie. In my opinion, it is a welcome relief to those of us who dislike violent or depressing movies. You actually walk out of the theater humming the song with a wide smile on your face.

Melanie played by Reese Witherspoon is a charming fashion designer who is being courted by the son of the Mayor of New York City. Embarking for an evening out, the young couple arrive at Tiffany's where Andrew proposes to Melanie. Trying to keep their engagement a secret, though, is hard to do and suddenly the Mayor, played by Candice Bergen, is planning a wedding for several hundred at The Plaza. Only problem is not only isn't Melanie from a wealthy and old Southern family as she's led others to believe, but she is also still married to her childhood sweetheart Jake played by Josh Lucas (A Beautiful Mind). Now Melanie must return to sweet home Alabama and obtain Jake's signature on the divorce papers which he has stubbornly refused to do all of these years.. What ensues is a down home Southern yarn, complete with a reenactment scene from the Civil War, which leads to sorts of revelations.

I really enjoyed this movie. While it was refreshing and humorous, it also offered several warm and tender moments. The cast was well chosen and included some memorable actors. Among them was Candice Bergen, Mary Kay Place as Melanie's mother with Fred Ward as Melanie's father and Jean Smart as Jake's mother. Adding to the enjoyment was the beautifully photographed scenery from Florida and Georgia and a first rate soundtrack which I still can hear several days later. I do recommend you see this movie reminiscent of the great Frank Capra films of the past. And see if you don't find life in Sweet Home Alabama truly sweet.

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With any other actress as the lead in this movie, I don't think it would be as nearly as enjoyable as it is. Reese gives us an irresistible charm that usually brightens up any movie that she's in and makes it better than it usually is. The same can be said for Sweet Home Alabama. A movie which is so predictable, you can almost utter each line yourself before the characters get them out of their honky tonk mouths. However, something can be said about predictability and in times like these, I think it's great to have a movie come out that you know you can fall in love with. Sweet Home Alabama is a perfect fit. Reese plays Melanie, a very succesful fashion designer who's left behind her hillbilly home. Living the glamorous life, she ends up falling for the mayor's son played by Patrick Dempsey, a handsome and rich man who happens to honestly adore her. Just when she thinks he couldn't get any more perfect, he proposes to her at Tiffany's. Just one problem ... she's keeping a big secret from him she's already married. That's when our main character decides to go back to her hometown to get a divorce from her stubborn ex named Jake played by newcomer Josh Lucas. In typical romantic comedy fashion, Melanie and Jake get on eachother's nerves to the point that they wanna either strangle eachother or fall in love all over again. I don't wanna give to much away, but Melanie basically has to decide between her childhood sweetheart and the new prince in her life that wants to sweep her off her feet. It's predictable and very hokey, but you can't help but fall in love with this movie. One of my favorite scenes is when Melanie visits her old dog at a pet semetary and opens up about why she had to leave the animal behind. Its heartbreaking and very touching. Reese won't win any oscars for her portrayal as a confused small town girl, but she sure will win your heart.

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The Music Man (2010)

Looking for the musical that beat WEST SIDE STORY for the Tony Award? You've found it here, in Meredith Willson's THE MUSIC MAN -and its appearance on DVD, in widescreen format and with all the bells and whistles, is long overdue.

Pop the disc in, and you'll immediately be taken to the "Right Here In River City" documentary (you'll have to press the MENU button on your DVD controls to get to the main menu so you can actually view the movie -why the disc goes immediately to the documentary is rather odd). Hosted by Shirley Jones, who still looks great, the top-notch, too-short documentary is crammed with lots of good stories and bits of trivia, in the words of several of Those Who Were There. You'll find out, for instance, which segments were actually filmed first, how amazed Susan Luckey was at Robert Preston's ability to lip-synch "Trouble" during filming, and why Shirley Jones wore so many frills and flowers on her dress in the scene at the footbridge.

As for the film itself -the print is beautiful, and as someone who had only experienced the film in pan-and-scan format, it is a delight to finally see entire dance sequences without the cropping. And you'll finally be able to see all four members of The Buffalo Bills barber shop quartet (the poor fellow singing bass could never be seen in TV-formatted versions).

There are other, smaller moments that have always cried our for the letterbox format, and if you watch both versions closely, you'll notice the real advantages in seeing the entire scene as it was shot. For example, one particularly disorienting scene in pan-and-scan format is the "Pick A Little, Talk A Little/Goodnight, Ladies" sequence, when Professor Hill is speaking with Mrs. Shinn and the town ladies about Old Miser Madison, and dismebodied voices drift in from off camera. At one point, Mrs. Shinn says, "Miser," and an off-camera voice says, "Madison," causing Mrs. Shinn to grimace. In pan-and-scan, it looks like a mistake; in widescreen format, the speaker is finally visible to Mrs. Shinn's right, bringing the scene together in a logical fashion. Sounds like a trivial moment, I know, but that scene in pan-and-scan has grated me for years!

The DVD also contains a theatrical trailer, but it's not the trailer for the original 1962 release, but for the re-release a number of years later. It's still an interesting curiosity, featuring a reworked version of the "76 Trombones" sequence with Preston signing new lyrics about the film.

If there's any shortcoming in the disc, it lies in the sound quality. You'll have to crank the volume up a bit to hear everything properly, but beware -the moment you hit the MENU button, you'll be blasted by and ear-splitting version of "76 Trombones" on the menu screen. Ouch. Hit MUTE right before you touch MENU. You'll thank me later.

It's a worn out cliche, but they really DON'T make musicals like this any more. And if your only experience with THE MUSIC MAN has been with the pan-and-scan format, do yourself a favor and pick up either the DVD or the letterboxed VHS format. You really WILL realize what you've been missing.

I love this movie. As silly as it is -a goofy plot, absurd over-the-top characters, the wacky "think system" -it is just a whole lot of fun. Robert Preston sparkles as the fly-by-night con artist/salesman who just happens this time to get his foot caught in the door, and who better to catch that foot than Shirley Jones, who is as beautiful and talented a leading lady as has ever graced a big screen musical. Ron Howard is as funny as a kid can be in the movies, and the music will stay with you long after the movie is over.

The film also has a great cast of supporting character actors and comedians, not to mention the fabulous Buffalo Bills. I love the anvil salesman character (THAT'S a great line of merchandise for a traveling salesman!), and my favorite song has to be the pool hall song, "There's trouble in River City." The movie, funny as it is, also has its touching moments, especially when Professor Harold Hill, standing on the footbridge, confronts the gap between his dreams and his life for the first time, and really realizes he is in love with the beautiful librarian. For pure fun and entertainment, it's hard to find a better movie than this lively but affectionate kidding of the Hawkeye State, and hard to find a more fun couple than the engaging Robert Preston and the lovely Shirley Jones.

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The previous DVD releases of The Music Man were basically OK in terms of sound, color, brightness, and contrast. But MY! Did they ever mess up the picture with edge enhancement! I don't mean just a little ghost line to the right, but also to the left. At times, the "enhancement" made it difficult to make out facial details on a large-screen TV. My guess is that it was transferred using a 19" monitor from a distance of a couple of feet, where the enhancement wouldn't be as noticeable.

Fortunately all this video gunk is corrected in the Blu-Ray edition. The colors are bright, the sound noticeably better, and the movie just comes more alive in blu-ray.

But there always seems to be a flip side. In this case it's noticeable in the opening train scene, where blue matte artifacts around people, and slightly off masking at the windows clearly shows that it was shot against a blue screen. But, what you see is what people saw in the theaters when it was released. If the artifacts didn't bother moviegoers at the time, they shouldn't really bother us in the present. Little glitches like this are just part of the technology available at the time, and shouldn't be used to rate the movie...

...and I'm really not, just pointing out that seeing more can mean seeing more of the bad, as well as more than the good.

Aside from little things like this which caught my eye and don't really bother me I hope you'll consider picking up the best release of an old favorite. Improved sound, improved picture what more could you want. I doubt it'll look better unless George Lucas gets involved in cleaning up the blue-screen artifacts. And who knows what he'd feel like adding!

Fun. A couple of hours well spent. And for me, a new appreciation of Hermione Gingold as Ms. Eulalie Shinn. Her looks and voice in "Pick a little" really steal the show, as she does in other scenes she's in.

It's hard not to enjoy such a high-spirited musical as this, end even harder not to like it in Blu-Ray. A real gem.

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Professor Harold Hill makes his living conning small town residence by telling them he's going to start a boys' band then leaving with their money before the promised direction begins. Taking an unintended challenge, he gets off in River City, Iowa. While the locals at first appear cold, his charm soon changes their minds. Or almost all of them. Marion, the local librarian and piano teacher, is convenienced that the professor isn't all he claims to be. Meanwhile, Harold has set his sites on wooing the spinster librarian. Will he win her heart or hurt her? Will the townspeople find out the truth, or will this encounter change everyone for the better?

As much as I love musicals, I had missed this one until the recent ABC movie version. I fell immediately under its charming spell. The story is fun and the music is fantastic. After enjoying the remake so much, I was looking forward to watching the original, and it didn't disappointment. The cast, lead by Robert Preston and Shirley Jones, is strong. The chorography makes me want to join in the fun (always a must for a musical), and the story fleshes out a couple minor points I had missed in the remake. And I simply must praise the work of the Buffalo Bills as the school board. They've inspired me in my search for good barbershop quartet music.

The DVD preserves the movie well. The widescreen picture is sharp and clear and the sound is just fine. Watching the trailer for the reissue shows just how much work has gone into the restoration. Shirley Jones provides an interesting intro and serves as host for the behind the scenes special.

This is a classic musical that everyone will enjoy. It tells a fun story with wonderful music and evokes a simpler time and place. If you haven't watched yet, pick up a copy and enjoy tonight.

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OK, I have to be honest here: I don't like "family entertainment." If I go to Blockbuster, I usually avoid the Family section entirely for something a bit edgier or darker. And although I love Fred Astaire and most Gene Kelly, I am not at all a fan of Hollywood musicals from the fifties and early sixties, when they were becoming more "epic" as the movies tried to provide something that television could not.

Nonetheless, I find THE MUSIC MAN to be one of the most thoroughly enjoyable pieces of light entertainment ever. Primarily there are two reasons for this. First, there is the great score, the most famous tune notwithstanding (maybe I have heard it too often, but "Seventy-Six Trombones" really leaves me cold). But nearly every other song is utterly delightful, especially the magnificent "Till There Was You." Am I a dork if I confess that I love the barbershop quartet numbers (I was second tenor in a high school quartet)? But as fine as the score is, take away Robert Preston and you have at best an average, forgettable film. Preston today is remembered almost exclusively for his role as Professor Harold Hill, which is a reflection not so much on his prior career as on the extraordinary job he did in performing this role. There is a similar parallel with Rex Harrison, who despite a long career on stage and screen, is primarily remembered for MY FAIR LADY. Interestingly, in both MY FAIR LADY and THE MUSIC MAN, other actors were considered for the lead role, although both Preston and Harrison created the roles for Broadway. Interestingly, Cary Grant was considered for both films (though Grant very famously responded that he wouldn't star in the film and if Preston weren't cast in the lead, he wouldn't even go see it), though Warners first choice was Frank Sinatra. Luckily, things worked out, and Robert Preston "owns" the role of Professor Harold Hill like few actors own a role.

The film is also helped by a rich supporting cast. Shirley Jones was her usual excellent self in the film (though it is well known that she was pregnant during the shooting), and the film provided the late Buddy Hackett with one of his finest screen roles. Paul Ford, best known as the colonel on the Phil Silvers Show, turns in a nice screen performance as the Mayor. Hermione Gingold, who spent most of her career on stage and had as a result a surprisingly small screen career, excels as the mayor's wife and the leading light for culture in the town.

But mainly, this is a great, great vehicle for a great leading man who has utterly nailed a great role. If Frank Sinatra or Cary Grant had been enticed to play the lead, perhaps we would still be watching this film today, but for some reason I am sceptical. But I am certain that this is one family film that all but the hardest of hearts will enjoy.

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The Omen Collection (2008)

This collection is one that all those who love gothic style thrillers will enjoy. It features the nineteen seventy six blockbuster, "The Omen" and all its progeny.

THE OMEN ***** STARS

This is the jewel in this collection. It is a first class, gothic thriller with an outstanding cast, a riveting story line, and a musical score that will make the viewer want to sleep with the lights on! A first rate film, it had audiences riveted to the screen when it was first released and has withstood the test of time, as it is as gripping today, as when it was first released.

David Seltzer wrote a terrific screenplay in which an older, affluent, and socially prominent couple, Kathy and Robert Thorn (Lee Remick and Gregory Peck), have a baby, whom they name Damien. The baby turns out to be the Anti-Christ, who ends up causing a lot of trouble. This first class production, which is deftly directed by Richard Donner, is played with straightforward sincerity by its outstanding cast. The casting of Gregory Peck and Lee Remick was pure genius, as their distinguished reputations infused the movie with a believability not thought possible, given the theme of the script. Playing it straight, as a couple caught in a vortex of events over which they have little control, they sweep the viewer along with them. Supported by a fine cast, there are notable performances given by Billie Whitelaw, as the nanny with a mission, David Warner, as the photographer who begins to notice that something odd seems to be going on, and Harvey Stephens, as Damien, whose angelic countenance belies his satanic nature.

This is a riveting, subtle film that, with a few well planned, shocking moments, and an effectively creepy musical score that builds suspense to a crescendo, manages to thoroughly engage the viewer. If one is looking for a blood and gore fest, there is really none of that here. Instead, look to be scared out of the seat of your pants by a superb script, wonderful acting, deft direction, and a musical score that will long linger in one's memory. It is little wonder that Jerry Goldsmith, the composer of the original score for The Omen, won an Academy Award for his efforts.

DAMIEN: OMEN II **** STARS

This sequel, released two years after the blockbuster success of "The Omen", is itself a stylish thriller. Featuring an excellent cast, it attempts to continue the momentum of the original. While having some shortcomings, the film, nonetheless, manages to entertain and shock. This is due in large part to its excellent cast and another chilling musical score by Jerry Goldsmith that is used to great effect.

This film continues the story begun in "The Omen". The Antichrist, Damien (Jonathan Scott Taylor), is here on earth and is now twelve, a little older and a little wiser to his true nature. Damien is being raised by his uncle, Richard Thorn (William Holden) and his second wife, Ann (Lee Grant).

William Holden and Lee Grant are terrific. With straightforward, sincere portrayals, they are the linchpins of this movie. Jonathan Scott Taylor is good as Damien but not particularly charismatic. Well nuanced performances are given by Richard Foxworth and Lance Hendriksen, Damien's earthly sentinels. Old timer Lew Ayres is wonderful as the ethical business man, and Sylvia Sidney is terrific as the aunt who knows that there is something wrong with Damien. Lucas Donat is excellent as Damien's cousin Mark.

There is a surprising twist at the end of this film, that is sure to catch the viewer unawares. Still, that is not enough to make this sequel comparable to the original. It lacks the subtlety and deft direction of "The Omen". While the director, Don Taylor, does a competent job of directing this sequel, some of the scenes are heavy handed, giving in to special effects that detract from the film, rather than enhance it. The opening scene is a prime example of gratuitous excess. Less is sometimes more, something that the director, Don Taylor, should remember.

OMEN III: THE FINAL CONFLICT *** STARS

This 1981 film is the second sequel to the oustanding, 1976 gothic thriller "The Omen". The Antichrist, Damien Thorn (Sam Neill), is now all grown up and, having inherited the entire Thorn family mega fortune, is now in the process of fulfilling both his destiny and a biblical prophecy of calamitous proportions. Unfortunately for him, however, his very existence is in jeopardy, as the second coming of Christ appears imminent.

Damien is kept busy in this film. As Ambassador to England, as well as spiritual leader to a denizen of devil worshippers, he is the target of an assassination plot by a group of priests led by Father DeCarlo (Rossano Brazzi). Damien keeps busy thwarting his would be assassins, usually by consigning them to a brutal demise. He also carries on a romance that ends badly. Damien is very much aware of who he is and where his destiny lies.

This is a relatively well acted film that suffers from a somewhat weak script. Sam Neill is well cast as the grownup Damien, giving a powerful performance. Rossano Brazzi is excellent as Father DeCarlo, the priest determined to end the stranglehold that the Antichrist has on the world. Composer Jerry Goldsmith contributes to the gothic atmosphere of the film with his chillingly creepy, musical score, just as he did in "The Omen" and in the first sequel. Due to its weak script, however, the film pales in comparison to its predecessors.

OMEN IV: THE AWAKENING ** STARS

This 1991 made for television movie was certainly trying to capitalize on the popularity of the 1976 blockbuster film "The Omen" and the two sequels it spawned. It is not really a sequel. It tries to update the original story. This time the Anti-Christ a girl named Delia.

Unfortunately, the reality is that this film ends up being nothing like the original film upon which it is based. The plot becomes convoluted and ridiculous. In updating the story line, the writer brought in some new age gobbledegook that goes nowhere. The story, which starts out promisingly enough, degenerates into total absurdity and becomes unbelievable and downright laughable. Unlike the original, which was believable because of the subtlety that was employed through its straightforward presentation and deft direction, this film is anything but. Ham handedly directed and with a poor script with which to work, the actors cast never even had a chance. Consider this film just to be a bonus feature of this collection. I did not include it in the overall rating I awarded this set.

Only "The Omen" DVD in the only DVD in the set that can be said to be a loaded DVD with a lot of interesting features. It provides a forty six minute documetary on the making of the film, which is quite interesting, as well as a director's commentary. There is a also an intriguing, six minute short on some of the pitfalls that beset the cast and crew during the filming of the movie. The composer also has a small segment of his own. The DVD for "Damien: Omen II" features a comentary by producer Harvey Bernhard, while the DVD for "Omen III: The Final Conflict" has a commentary by the director Graham Baker. All four DVDs provide clarity of picure and sound, theatrical trailers, and subtitles in English and Spanish.

This is one of my all time favorite horror series. All three movies look and sound better than I have ever seen. The original Omen comes loaded with extra features on Blu-ray. Omen 2 and 3 however have nothing extra on them that did not appear on the DVD editions. This was a little disappointing for me. At least they could have thrown in a trivia track or something. The Omen remake is the same exact disc that was previously released on Blu. My one BIG complaint about this set would have to be the packaging. Considering the price of the set, it comes packaged in a very shoddily made box. I'm not sure if this is supposed to be "Earth Friendly" by not using any plastic housing for the discs, but Fox seriously dropped the ball on the packaging. The outer case has very cool artwork, but it is not sturdy at all. The movies are housed on a fold out inner jacket where each movie is simply held in place with a foam rubber hub. There is no booklet or anything else. Not only is the box cheaply constructed, it is also waaaay too big for a Blu-ray. It is about the size of a regular DVD, which causes it to really stick out amongst the rest of my collection.

Bottom Line: If you love the Omen series as much as I, you won't be disappointed with the actual movies. However, be warned that the packaging is really not in keeping with other sets in this price range (e.g. The Matrix, The Godfather)

Buy The Omen Collection (2008) Now

Unless you're a Hammer Horror Fan, this is THE Horror Collection you were waiting for.

Good acting, mixed with good and chilling stories make these the one to own.

This is a TRILOGY. Unfortunately Fox Studios tried to rehash it for TV a fourth time without even coming near to the first and only three original ones. It is divided like an opera in three acts.

Remember that the Calibre of cast members in the first three ranges from Gregory Peck, Lee Remick, David Warner to William Holden, Lee Grant and finally Sam Neill.

A cast who could never be assembled for a TV movie.

The first act, "The Omen", is perhaps the best of the trilogy because it introduces us to the Evil one. The protagonists are as shocked and horrified when they learn, step by step as we do, who and what the Evil one is and is planning to do.

From there on we are involved in an intensive investigation and a race against time to save the world from what is to come, if at all possible...

The second act, "Damien Omen II", is the natural evolution of the first one, in which we follow the growth in strength and power of Lucifer (or Satan if you prefer, although his name is never openly pronounced in all three movies). The interesting part is when the Evil one gets confirmation of who He really is and suddenly has a "panic attack" followed by sheer despair!

Act three, "Omen III The Final Conflict", is the Apotheosis of the Trilogy in which Damien is at the top of the world, literally. He is finally ready to take possession of his Kingdom on Earth. People are ready, conditions are ready and it seems there's nothing able to stop him. Nothing, except...

Less gory than the Exorcist, The Omen Trilogy still has vicious and very graphic death scenes. The beauty of them is that there is no direct murder involved, at least not in the first two. They all happen by accident and very conveniently...

The Horror doesn't come in the form of monsters or monstruous beings, but is brought to us by angelic beings and "natural" coincidences, which make this even more controversial and eerie than any other Horror movie ever made.

Also consider the haunting Evil Messianic Chants for Choir and Full Symphonic Orchestra composed by Jerry Goldsmith for all three movies. They all are masterpieces in musical composition and if the movies won't scare you, then the music will.

Everything is well balanced. The acting, the stories, the effects and the music, they all promise you a true ride through Hell on Earth.

Definetly not for the faint-hearted. If you're easily scared by a door squeeking or a window lashing then forget all about it.

This trilogy can truly cause you nightmares without end.

Moreover, if you're the religious believer, be advised, this is nothing for you, even though references are just very loosely based on the Scriptures it still might cause you some problems.

For all the others, go ahead, make the Devil's Day!

Read Best Reviews of The Omen Collection (2008) Here

The Omen trilogy (Omen 1, 2, and 3) is a great set of movies. Even though 3 is a little watered down, it still rounds out the story.

Then the Omen 4 comes along. Yes I know it was a made for TV thing, but come on, this is crap.

They should rename Omen 4 to "Upside Down Cross Movie + Rehashed Omen Stuff", because seriously, it was mainly about the makers of this movie trying to figure out how many times they can show an updside down cross (like it's all spooky and stuff). They were probably just sitting around and going "Hey, that stick over there kinda looks like an upside down cross... make the girl play with it and start shooting". Besides that all that was done was try to recreate old parts of the earlier Omen movies but with bad actors and without the subtlety that was one of the most important parts of the series. Also they try to add in this stupid mumbo jumbo New Age crystal rubbing aura crap that is just lame. The "satanic" choir of punk rockers also didn't do anything except make me laugh at the stupidity of it. This could have been a good movie, but they ruined it.

Get the set for the first 3... it's worth it. But only watch the last if you're drunk or something.

Want The Omen Collection (2008) Discount?

I have the box set on DVD. It features all five films. This Blu-Ray release only has four films.

Although, it is drifting from the likeliness of following the tiresome "Book of Revelation" biblical writings of the future coming of Satan and Jesus Christ Revisiting, I still thought that "The Omen IV: The Awakening" is still a worthy addition to "The Omen" series.

If anything, I think the 2006 remake of the original first Omen film was totally pointless. It actually seems to follow the first story, word for word, and with no surprising new spin on the subject. Just new actors, but the same written story. Therefore, the original is all that you would need.

If this Blu-Ray box set had the made-for-TV film "The Omen IV: The Awakening", and NOT the remake of the first film, I would have bought this box, so I guess I'll have to pass.

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Justice League: Crisis on Two Earths (2010)

Parallel earths, an evil Justice League, and Batman being badasss... JUSTICE LEAGUE: CRISIS ON TWO EARTHS gives the people what they want, and that this flick touts a PG-13 rating is yet one more treat. I've missed the Justice League since the series went off the air, and the solo adventures of Bats and Superman, Wonder Woman and GL are great, but I miss all the interaction.

The plot could've been convoluted, but the clear storytelling makes things easy to follow. It starts with a bare-nekkid Lex Luthor seeking help from the Justice League. Luthor claims to be from an alternate universe, one in which that version of the Justice League calls itself the "Crime Syndicate," and not because someone was trying to be ironic. The Justice League agrees to cross over to put a stop to their crooked doppelgangers, even though everyone's pretty suspicious, especially Superman (because it's still friggin' Luthor) and Batman, who decides to stay behind. I think I'll stop right there with the plot breakdown, other than to mention that, as it falls out, the stakes are much, much higher than mere world domination. The main bad guy spits at world domination.

The pace really moves. The story's good, and it's big in scope. I'm a sucker for mirror universes. But the highlights are the action sequences, thanks to some sharp animation and a pretty good voice cast (although, I miss Kevin Conroy's iconic timbre and I'm still not sure about Mark Harmon as Supes). There are several awesome battle royales, pitting the League against folks who can match and sometimes surpass them in power. Three pick of the pack moments for me: Aquaman actually not being a sissy; Wonder Woman demonstrating crunching warrior skills in her scuffle with Superwoman; and Batman's extended contest of brawn and wits with Owlman. Owl Man, by the way, is about as dangerously unbalanced as they come and in him, Batman finally meets someone who not only can outfight him but is even more detached than he is. James Woods is superb as Owlman. I mentioned earlier that I love that the Dark Knight comes across as a bad mofo here, clearly the underdog in his tussle with Superwoman and then with Owlman, until he applies the underhanded technique of trickeration on them. And maybe a SPOILER alert here for the rest of this sentence for someone who doesn't believe in killing, Batman sure has no qualms about offing off two of the more noticeable villains.

It's fun, also, to see how familiar faces are presented in this alternate reality, and can you identify each side character? That's not a Barsoomian; that's an alternate J'onn J'onzz with four arms. On the other side of that coin, I like that they've put the "real" Martian Manhunter in his more updated, much cooler threads. But poor Harley Quin...

Other than the absence of Kevin Conroy and perhaps the presence of Mark Harmon, the only other beefs I have and they're very minor concern Ultra Man speaking like a two-bit thug. I dunno, maybe I expected more gravitas coming from the most powerful despot on the planet. And I don't know that the unlikely romance which surfaces halfway thru the film doesn't feel like a filler.

Also on this DVD is the first in a series of animated shorts which will hopefully go on to feature the more obscure DC superheroes. DC SHOWCASE, in its debut, presents the Specter. This 12-minute-long short reeks of that film noir vibe, bolstered by a first person narrative and a funky 1970s-type opening score. Set in Los Angeles, police detective Jim Corrigan investigates the murder of a film producer. If you're not familiar with the Specter and his gristly brand of justice, then you're in for a treat and for a great reveal at the end. Even if you're already down with the supernatural, pasty-skinned Spirit of Vengeance, this short is still very well done, with excellent near-anime and sometimes purposely scratchy visuals and outstanding voice work done by Gary Cole and Alyssa Milano, who plays a femme fatale role.

What I've got is the two disc set. Disc 1 has the feature film, the Specter short; an exclusive first look at the next direct-to-DVD film from DCAU, BATMAN: UNDER THE RED HOOD, and previously released first looks at three other DC Universe Animated Original Movies: GREEN LANTERN: FIRST FLIGHT; SUPERMAN/BATMAN: PUBLIC ENEMIES, and WONDER WOMAN: THE AMAZON PRINCESS. There are also trailers for HALO LEGENDS and NARUTO SHIPPUDEN: THE MOVIE. Disc 2 has: "DCU: THE NEW WORLD" a 26-minute-long segment in which several of DC's creative forces discuss the evolution of the modern-age superhero and the relevance of a shared superhero universe, from when Superman first appeared with Batman & Robin on the same cover in 1940 to ALL-STAR COMICS #3 and the JSA's debut, from CRISIS ON INFINITE EARTHS to IDENTITY CRISIS and onwards. Also here are two bonus episodes from the JUSTICE LEAGUE television series, the pivotal classic two-parter "A Better World," a parallel Earth story in which Superman finally frags Luthor and what happens after that.

Having bought the other six movies and enjoyed them to varying degrees, this latest entry into DC's Direct-to-DVD Library is the strongest entry so far. The plot is very strong, characterization spot-on, and the voice-work is close to perfect.

Now, I say close to perfect, because as you may be able to predict, Billy Baldwin is a weak Batman. His voice just sounds wrong coming out of the Dark Knight. Thankfully, Batman doesn't talk much. And the characterization is so perfect. Superman is leader-ish. Wonder Woman has the right kind of spunk. Martian Manhunter is reserved. Flash is playful. And Hal Jordan just blends into the background. Just like in the comic books!

I'm just ribbing you GL fans.

Like all Crisis stories, this is a visual treat. I love spotting all the alternate versions of characters we know. Evil Elongated Man, Evil Vixen, Evil Black Canary, Evil Jimmy Olsen, and "Superwoman's Three Made Men." they make me smile. And the Crime Syndicate is a good set of villains. Owlman and Superwoman steal the show, but Ultraman has his moments. Johnny Quick, too. Power Ring, eh, not much. But, its a great plot, with great pacing for the action, and it's funny! I love it.

I should mention that this is NOT an adaptation of Grant Morrison's "JLA: Earth-2." Other than a good Lex Luthor asking the JLA for help, and Owlman and Superwoman being an item, this DVD and that book are nothing alike. It's apples and oranges. Maybe because it's not an adaptation that this DVD is so strong. When you have to adapt from another medium, you have to sacrifice something along the way, to the detriment of the piece. Having this written specifically for a movie dodges the "Oh, you have to read the Graphic Novel," excuse that some of the other DTVs suffered.

EXTRAS on this Bluray are pilots for the Linda Carder Wonder Woman TV series, and the Aquaman TV pilot, that spun-off from Smallville, this is exclusive to the Bluray edition.

Four episodes of Justice League: A Better World, parts 1&2 (AKA the Justice Lords episodes). And Exclusive to the Bluray: Twilight, parts 1&2 (AKA, when Superman fights Brainiac and Darkseid).

What is the first in a series of animated shorts, DC Showcase Presents The Spectre, a 10 minute cartoon. It's good to see obscure characters given a spotlight. Nice and simple. Can't complain.

A documentary, DCU: The New World. It looks at the creation of Identity Crisis going into Infinite Crisis. As a person who has read all of what they're trying to describe, I found this Doc to be very "airy" lots of big words, without actually telling me anything. Something about how 9/11 changed everything, BAM Identity Crisis. Very disappointing. JL: The New Frontier still has the best extras.

And a First Look at DC's next Animated Project Batman: Under the Red Hood. Which, in my opinion, is looking great.

Plus "Looks" into GL: First Flight, Wonder Woman, and S/B: Public Enemies, pad-out the rest of the disk.

A really good feature. Some decent extras. The only thing I miss are the commentary tracks. I found the bluray for the same price as the 2-Disk Edition, so it was a no-brainer which to pick: I get the the Wonder Woman and Aquaman pilots, plus Twilight 1&2 in the bluray. Enjoy, and I'll see you at Batman: Under the Read Hood.

Buy Justice League: Crisis on Two Earths (2010) Now

Although both Warner/DC and Marvel/Lion's Gate have had their missteps, DC is definitely winning the direct-to-video war in terms of quality. The feature here is full of beautifully orchestrated and designed fight scenes (even if perhaps at the sake of plot) reminiscent of the best moments of the Justice League series. The new character designs look great and classic, although some of the original voices are to be missed. WB is very smart to be staying very close to Bruce Timm's established DC Animated Universe with their releases ("Gotham Knights" not withstanding). It automatically lends anything done in this style a deserved sense of pedigree.

For once, some of the "Added Value" material actually ADDS value.

Pros:

Great story/feature

Bonus "Spectre" short is nothing short of amazing and wonderfully original. (A+++++)

Four great episodes of the original Justice League. (Two 2-Parters.)

Pilot of live-action 70's "Wonder Woman" has apparently been remastered for HD. Looks very nice.

Great A-List Voice talent.

Cons:

No Kevin Conroy, et al.

Encode/video quality of the Justice League episodes is sub-par and WORSE than standard definition DVD. (All black ink outlines are terribly blurred & jagged.)

Some added value already released on previous WB/DC animated releases.

Read Best Reviews of Justice League: Crisis on Two Earths (2010) Here

REVISED REVIEW --

I have noticed that there have been many reviewers who've said that they don't have a point of reference for this film. First, I will provide the background, then I will give my review of the film.

BACKGROUND --

This film is loosely based on the 1999 graphic novel "JLA: Earth-2" by Grant Morrison, Mark Waid in the 2003 and the 1980s "Crisis on Infinite Earths" mini-series by Marv Wolfman. Both feature a group of supervillians from an alternate universe intermittently referred to as the Crime Syndicate who are the polar opposite of the Justice League.

The core of the group features the following characters:

1. Ultraman -Superman's counterpart; he was an ambitious astronaut who had a space shuttle accident. Aliens discovered and saved him from his near fatal wounds. Their medical assistance, while sparing his life and giving him superhuman powers caused him such post-operative stress that it destroyed his mind. When he returned to his Earth, he started his reign of terror. His deadly sin is Anger.

2. Owlman -Batman's counterpart -both Batman's and Owlman's relatives were brutally murdered when they were very young. While Batman made the decision to hunt down and capture criminals, Owlman learned a different lesson from this traumatic event. He identified with his murderous oppressors and became a head of organized crime in Gotham City. His deadly sin is Envy.

3. Power Ring -Green Lantern's counterpart -The premise of the Green Lantern is that a brave, worthy soul is chosen by a ring and he uses said ring as an instrument of justice. Conversely, Power Ring's ring, Volsthom, is subtly in control of its host and uses its human vessel for its own ends. The human's deadly sin is Sloth; his ring's deadly sin is Avarice.

4. Superwoman -Wonder Woman's counterpart; in the Earth-2 graphic novel, she has a secret identity as editor of the Daily Globe. While Wonder Woman is something of a Amazonian diplomat, Superwoman is a viking. In comic books, she also is secretly married to Ultraman despite the fact that she truly despises him. Her deadly sin is Lust.

5. Johnny Quick --Flash's counterpart; while Earth 1's Flash acquired his powers by a freak accident, Quick possesses his because he is taking radioactive steriods which seem to be slowly killing him. In many ways, he is the most unstable of this group. His deadly sin is Gluttony.

The Syndicate's primary nemesis is none other than Earth-2's intelligent, impossibly vain but nonetheless well-meaning Lex Luthor.

REVIEW OF THE FILM --

I don't believe in spoilers.

With that said, I want to tell the readers that the three most compelling characters in the movie were Superwoman (Wonder Woman's counterpart), Owlman (Batman's "anti-ego") and Batman, himself.

Superman, Green Lantern, Flash, Ultraman, Johnny Quick and Power Ring were given very little to do in this film and the Martian Manhunter's role seemed forced. [ The underutilization of these characters was a bit disappointing and the gratuitous Manhunter subplot caused me to rank this a bit lower than I really wanted to.]

However, Superwoman, Owlman and Batman chewed up the scenery!

SUPERWOMAN --Superwoman (and her surprising crew of henchmen) was given a lot of screen time. Her action sequences were amazing and her twisted interaction with Batman was to die for. If you ever wondered what Wonder Woman would be like if she ever stopped repressing her hot-blooded Amazonian tendencies, this rendering of the breath-taking reckless Superwoman will be a treat.

BATMAN --For his part, Batman is presented as his most Machiavellian self. He makes moralistically ambiguous decisions in this film that remind the viewer of just how he can be. If DC decides in future films to detail Batman's eventual expulsion from the JLA (a retelling of Mark Waid's "Tower of Babel" would be an excellent sequel to this film), the viewer can point to the decisions Batman made here as part of the reason why. While there is very little examination of Batman's actions here, his teammates must have been stunned by his ruthlessness.

OWLMAN ---And I believe Owlman will become a fan favorite. While each character's reaction to the discovery of parallel universes is unique, Owlman's is as poignant as they come. In reflection (and Owlman's reaction is certainly open to several interpretations), it appeared to me the revelation of anti-matter universes caused Owlman to have a (very understated) nervous breakdown.

James Woods does a fantastic job showing the nuances of Owlman's character. He is equally a frustrated genius, opportunist, philosopher and (in the most nihilistic of ways) nearly heroic. While many villains we have seen in the DC animated past have been driven by money or a desire to rule the world, we have never seen one who so aggressively rejects the premise the super-criminal as alpha-male archetype.

I give this film a 3.5.

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look, i love comic cartoons. that's my bottom line. As such, i was entertained...and it was unique to see Lex Luthor in a hero's character...If you like superhero comics and are not a hard core "analyze the s*** out of every move DC or Marvel makes" then you'll want to watch this for pretty much the same reasons I wanted to: entertainment, seeing comic heroes come to life, and interesting new twists. Aloha.

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Hunger (The Criterion Collection) (2008)

In spite of the care and patient control with which this powerful film is shot and edited, "Hunger" is a deeply visceral and moving film, featuring a brilliant performance by Michael Fassbender in the lead role. There are scenes of violent and intense brutality here, but what is more powerful are the simple shots, of a face, of a look, of a gesture, washing hands, of sores on the back of a dying prisoner. While the film is based on real events, with deep political ramifications, the film itself is not so much political as a plea for humanity, that sides with the wounded sensitivity detected in the eyes of those guards who had been unable to desensitize themselves to the routinely brutal treatment they gave to the prisoners in an effort to break their spirits, as much as it sides with the humanity in the dehumanized IRA prisoners it depicts.

The film details the horrific prison conditions that motivated IRA leader Bobby Sands to begin a hunger strike in 1981, that led to his death and that of 8 other prisoners, but also eventually won some concessions for the IRA prisoners, that they had been unable to achieve in any other way. The film opens on one of the guards, washing his hands of the violence he'd inflicted on a prisoner but also unable to wash away his own sense of culpability and fear, and, later, unable to build a connection with the other guards who seem more immune to what they do.

It isn't until about a third of the way through the film that we are introduced to Bobby Sands, who is clearly something of a leader among the men, and it isn't until the final third of the film that Sands takes center stage, and embarks upon the hunger strike that gives the film its title. This is not so much his story as the story of a situation, that affected all who were involved in a number of ways. There is very little in the way of back story here it is all about the immediacy of the situation, in which the past is mostly irrelevant and what matters is the continuation of the struggle for recognition, as something other than common criminals. What I found fascinating (and brilliantly depicted here) was the core paradox of their prison rebellion: that in order to win recognition as human beings and soldiers whose cause was unpopular but not evil, that in their struggle for equality, they had to debase themselves, to reject clothing, to smear feces on the walls in protest, to exploit and attack their own bodies as a demonstration of the inhumanity of their treatment.

The film is told mostly through carefully controlled visuals, chiaroscuro with a wide range of tonality between the darkest darks and the brightest whites and colors, with a minimum of dialogue, except during a powerful and lengthy exchange between Sands and a priest about his decision to embark on a new hunger strike, and his willingness to take it all the way. While director Steve McQueen (no relation to the actor) has a very distinctive style, his approach here reminded me somewhat of Robert Bresson's A Man Escaped. Both films tell their story in a minimalist style, with carefully controlled framings that show only what is necessary to capture the impact of events, leaving aside all that is superfluous. The camera frames bodies and faces very tightly, in medium and close shots, inside the actual prison cells, and only opens up more wide to convey the depth of the prison corridor, or to contrast the openness of the visitor's room or the out of doors with the closed off nature of the cells.

Apart from being overwhelmed by the intensity and importance of the subject matter this is a story that needed to be told, from inside, and I can't imagine a better telling than this apart from all that I was stunned by the power of the filmmaking. This is one of the most impressive directorial efforts I've seen in a long time, and an amazing debut by Steve McQueen, and I expect it will be recognized as one of the most important films of this decade by the film historians who care about substance and style over commercialism and buzz. This is definitely one to have for the library of the film lover who likes to study films; there's a lot to learn here. I can't say how happy I am that Criterion is doing the releasing on this one.

Here's what to expect on the disc:

* New, restored high-definition digital transfer, approved by director Steve McQueen (with DTS-HD Master Audio soundtrack on the Blu-ray edition)

* Video interviews with McQueen and actor Michael Fassbender

* A short documentary on the making of Hunger, including interviews with McQueen, Fassbender, actors Liam Cunningham, Stuart Graham, and Brian Milligan, writer Enda Walsh, and producer Robin Gutch

* "The Provo's Last Card?" a 1981 episode of the BBC program Panorama, about the causes and effects of the IRA hunger strikes at the Maze prison and the political and civilian reactions across Northern Ireland

* Theatrical trailer

* A booklet featuring an essay by film critic Chris Darke

Hunger is a film based on the true story of the 1981 hunger strike by Northern Irish prisoners seeking political prisoner status.

The film is made by British director, Steve McQueen (no relation to actor.) It is his first film.

The film can be difficult to watch due to graphic scenes of emaciation (which were real and done under the supervision of physicians), prison violence and depictions of the "dirty protest." The film includes archival audio of Margaret Thatcher speaking about the crisis.

The special features are very good too. There is a theatrical trailer, documentary on the film's production, Interviews with director McQueen and actor Michael Fassbender, and a 1981 BBC episode of Panorama, about the real life crisis. This BBC program is very good and includes interviews with figures from both sides of the debates related Troubles. Interview subjects include Gerry Adams and Ian Paisley.

This film while graphic is quite authentic and depicts an important part of British and Irish history.

Buy Hunger (The Criterion Collection) (2008) Now

This is hands down one of the best films of the past decade for me. "Visual Artist" Steve McQueen captures a sense of humanity in a way that few directors seem to be in touch with, telling a powerful story in a fashion that most are afraid to.

There is very little dialogue and the dialogue that exists comes in spouts like an 18-minute long scene where the camera stays still and doesn't cut away at all. It could have easily been pretentious, but it is not in the least. McQueen has proven himself just by this one instance to be an extraordinary visionary that knows how to tell a story vividly without having to "tell" it. Did I mention the cinematography is gorgeous? Practically everything in "Hunger" is honed to perfection, and Michael Fassbinder's gruelingly tangible performance shows human deterioration at its most believable.

A masterpiece.

Read Best Reviews of Hunger (The Criterion Collection) (2008) Here

The life and times of Bobby Sands elapse from the moment he is sent to prison, passing through his phenomenal sequence with the priest in which he revelas his inner thoughts about the political situation and the two different optics are carved in relief in that unforgettable dialogue.

The film depicts with eloquent images the horror, moral devastation and progressive final of a human being who refuses to live. Bobby Sands goes on a hunger strike and during 66 days his voice will be heard through all his country, Europe and the entire world.

Perhaps, no other film has depicted with such level of crudeness the real nature of this controversial issue. Sands assumes his own road protesting against the status as political prisioners rather than ordinary criminals.

Michael Fassbender makes one of the top 10 best male performances of the decade with this well rounded film. Perfect, superb and magisterial masterwork that must not be ignored.

Want Hunger (The Criterion Collection) (2008) Discount?

Hunger tackles a difficult and controversial subject. At times its not easy viewing but all the better a film for that. Best known as a photographer (until this) Steve McQueens debut feature is original, beautiful, sparse and the cast, art direction and cinematography are simply outstanding.

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Lost Highway

The movie itself is fantastic. Lost Highway is a beautifully designed film executed with skill in every area. See it. However, the Canadian DVD release is probably the worst DVD I have ever seen. For starters it is in 4:3 ration instead of widescreen 16:9. Secondly, the film transfer is terrible. It almost looks worse than VHS. Truly a terrible picture. Sound is just fine although nothing special. Judge for yourself, but I think you would be better off waiting for an American release (hopefully with widescreen and significantly better picture quality).

For many of you who saw Lost Highway, the meaning and interpretation of the film has eluded you. If you are anything like me, you spent hours reviewing the movie, thumb on the pause button, notebook in lap! The beauty of the film truly lies in it's mystery. It is a work of art, and as with any artistic expression, the piece is left open for interpretation by all. Each persons opinion or conclusion neither being right or wrong. My original ideas included comparing Renee Madison/Alice Wakefield (Patricia Arquette) to a modern day Eve, working with the devil/mystery man (Robert Blake) as she lured the men in the movie into sin. My other major theory was that the main characters in the movie at one point sold their souls to the devil, and he held total control over their fate, drawing them into his den and forcing them to do his dirty work, i.e. porn, murder, etc.

Well, my interpretations were all well and good, but I was interested in what was going through the mind of David Lynch and Barry Gifford when they wrote the movie. I did a little research, and this is what I found...

Night People

The idea for this movie came to David Lynch while reading a book by Barry Gifford called Night People. In the book, Barry uses the term "lost highway" and those words sparked an idea in David's head. From this early point, David knew he wanted to make a movie about the unknown. He contacted Barry, and they set out to write the movie.

Murder

If any of you are wondering if Fred actually killed Renee, the answer is yes. Fred lived in constant fear of loosing Renee, constant fear that she was cheating on him, and most importantly, constant fear of her past. He loved Renee, but at the same time hated her. Whenever he saw her, he saw her past. Sex with Renee was a torturous reminder of her experience in porn, making it impossible for him to even finish. Eventually, he just snapped. If you watch the movie again, pause it at the point where he watches the final video tape, and jog slowly over the portion where we see Renee's body. You will see what kind of anger and rage exploded inside Fred when he killed her. Her torso is ripped apart, her upper and lower body are completely separated and her hand is cut off and lying on the bed. Continue to jog slowly and you will see Fred stare directly into the camera with a piercing, maniacal gaze.

Psychogenic Fugue

Psychogenic fugue is an existing mental condition in which the subject, wanting to escape reality, creates a new reality inside their head. The person will create new friends, a new job, a new home, everything. Pretty much the entire movie takes place within Fred's head. When the movie opens, Fred has already killed Renee and he starts creating an alternate reality. He infuses his own reality with tiny portions of the truth, so some of what we see is actually based on fact, but the majority is what Fred is creating inside his own head. A very important line in the movie is when Fred and Renee are explaining to the police why they don't own a video camera. Fred says he doesn't like them, that he "would rather remember things his way, not necessarily the way they happened"

When Fred is imprisoned, his mental illness kicks into high gear. He is on death row, and any hope of escaping his nightmare (his real life) is lost. He is stuck in this cell until his death. His only way out is to completely escape to a new reality. This is when he essentially snaps and in his own mind, he takes on a new identity, Pete. The rest of the movie is him trying to live a life he finds more attractive. He is a young, good-looking guy, who has no trouble getting any woman he wants. Then he meets Alice (a now blonde Patricia Arquette), his alternate version of Renee.

But, Fred is so sick, that even in the reality that he is creating, Alice becomes a product of his paranoia, eventually turning on him, declaring "you will never have me" while they are having sex and then getting up and walking away. This is the point in the movie, in the desert, when Fred decides to abandon this alternate reality and he reappears and Pete disappears.

The last scene of the movie is Fred being chased by the police down the highway as he begins to transform again, just like in the prison cell. This reality didn't quite work out the way he wanted it to, and now he is out there somewhere, living a new life again. Let's hope this one worked out for him! 

Robert Blake

The mystery man is truly the most fascinating aspect of this movie. In my opinion, he is Fred's idea of the devil. He has supernatural powers and he feeds off the sins of mortals. The scene at the party is one of the creepiest movie scenes I've seen, yet at the same time it is hilarious. The way the music and party noise fade when the mystery man and Fred walk up to each other created a bizarre and surreal exchange. Another great scene of the movie is when Mr. Eddy and the mystery man call Pete together. "Yeah Pete, I just wanted to jump back on and let you know I'm glad your ok!" Click. That was great. And of course, I can't talk about the great scenes in the movie without mentioning the "tailgating" scene. Robert Loggia (Mr. Eddy) is a master.

Conclusion

Keeping in mind David's use of psychogenic fugue as the main characters mental illness, the movie is actually very simple. Watching the movie again, keeping this all in mind, is an entirely new experience. The first several times I watched it I was intrigued by the puzzle. Now, watching the movie, I can relax, stop trying to figure out how everything relates to everything else, and watch what is actually happening. I suggest, if you are a fan of the movie and haven't seen it in a while, or if you learned some new things here, then go back and watch it again. You will realize more than ever that David Lynch is brilliant, a master of the avant-garde.

Buy Lost Highway Now

If you are able to play Region 2 PAL discs (as I am), the German edition of Lost Highway on DVD is the way to go. The English soundtrack is included in Dolby 5.1, and (unlike the Canadian edition) it's in W-I-D-E-S-C-R-E-E-N. Another review of this disc convinced me to purchase a copy from Amazon.de. Surpisingly, Amazon.de recognized my Amazon.com login! And placing the order was pretty easy, even though my German is almost non-existant.

The picture and sound quality are good (though not exquisite), and the disc even has some extras which, on Lynch DVDs, are usually scarce. The sound track does appear to be slightly out of sync with the picture, but that could be an artifact of converting PAL to NTSC on the fly. What I wouldn't give for a multi-standard widescreen monitor...

The film itself is a dark psychological study similar in many ways to David Lynch's more recent Mulholland Drive. It's about obsession, murder, guilt, secret identities, and the demons that often drive people to desparate, destructive acts. Don't try to make sense of it the first time through; just go with it. Then, on repeat viewings, look at it as a symbolic map of a man's mind stressed beyond the breaking point. Apply a little Jungian psychology, and its meaning should, if not exactly come clear, at least brush past you close enough to touch.

Lost Highway is an underrated masterpiece of psychological horror, and not to be missed by fans of David Lynch! C'mon, you can get through the German...

Read Best Reviews of Lost Highway Here

I had been waiting so long for this movie probably my favourite David Lynch to come out on DVD that I grabbed the Canadian import the moment I saw it... unfortunately it is by far the worst quality commercial DVD I have ever seen.

The format is pan-and-scan (i.e. 4:3 ratio) only and the image quality is appalling. The sound (Dolby, supposedly) is little better. It is basically unwatchable. Another user review says that the DVD is somewhat better than VHS I would say the image quality is on par with VHS, and certainly not worth the four stars that reviewer gave it; I cannot imagine how any DVD could be worse than this one.

I am sure that David Lynch had nothing to do with this hastily cobbled together sham. He fine tunes his DVDs (even to the extent of removing chapters from "The Straight Story") and I am sure he would be furious to see his movie butchered in this way.

This DVD is of the quality I would expect if I bought the damn thing from a street vendor in Shanghai; ...

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I bought this DVD without noticing it wasn't widescreen because the store sticker was on top of the info. I was pretty mad when I got home and realized this. Then I sat down to watch it. I got hysterical. This is the worst DVD I have ever seen!!!! The compression looks like a bad internet stream, there's a faint white line that flashes randomly across the picture (like a ghost image), the sound is ordinary at best. I don't know who did this hack job but I certainly intend to find out and complain. I'm sure a high school kid with an iMac would've done a better job at compressing this movie. It honestly looks like a copy of a copy of a pirated copy!

David Lynch is one of my favorite directors and I just can't believe he approved this. If you need a Lynch fix, get Blue Velvet and wait for a "real" version of Lost Highway. This edition is absolute trash.