Paprika (2007)

It's no secret amongst fans of intelligent, adult sci-fi that some of the best genre films these days aren't originating from Hollywood, but rather from the masters of Japanese anime. Films like "Akira " and "Ghost in the Shell" display a quality of writing and visual imagination that few "live action" productions (post "Blade Runner") can touch.

One of the most adventurous anime directors is Satoshi Kon. In previous work like his incredibly dense and ambitious TV miniseries "Paranoia Agent", and in several feature films, Kon has displayed a flair for coupling complex characterization with a neo-realistic visual style that tends to make me forget that I'm watching an "anime". Most of Kon's work up until this point has drawn on genres that one does not typically associate with anime: adult drama ("Tokyo Godfathers"), film noir ("Perfect Blue"), psychological thriller ("Paranoia Agent") and character study ("Millennium Actress").

Kon's latest film, "Paprika" is actually the first of his animes that I would categorize as "sci-fi"... and it's a doozy.

A team of scientists develops an interface device called the "DC mini" that facilitates the transference of dreams from one person to another. This "dream machine" is designed primarily for use by psychotherapists; it allows them to literally experience a patient's dreams and take a closer look "under the hood", if you will. In the wrong hands, however, this could potentially become a very dangerous tool.

As you have likely already guessed, "someone" has hacked into a "DC mini" and started to wreak havoc with people's minds. One by one, members of the research team are driven to suicidal behavior after the dreams of patients are fed into their subconscious without their knowledge (much akin to someone slipping acid into the punch). Things get more complicated when these waking dreams begin taking sentient form and start spreading like a virus, forming a pervasive matrix that threatens to supplant "reality" (whew!). A homicide detective joins forces with one of the researchers, whose alter-ego, Paprika, is literally a "dream girl", a sort of super-heroine of the subconscious.

"Mind blowing" doesn't even begin to describe this Disney-on-acid/murder mystery/psychological sci fi-horror story. It is Kon's most visually ambitious work to date, with stunning use of color and imagery (mark my words-this one has "future cult midnight movie" written all over it).

Kon raises some engaging philosophical points (aside from the hoary "what is reality?" debate). At one point, Paprika ponders: "Don't you think dreams and the internet are similar? They are both areas where the repressed conscious vents." I think Kon is positing that the dream state is the last "sacred place" left for humans; if technology encroaches we will lose our last true refuge. A must-see for anime and sci-fi fans.

(2008 HOLIDAY TEAM)Paprika

Paprika is simply the most compelling work of anime and science fiction I have seen in a long time. It may not be easily understood. But it's so amazingly animated and imaginative it has become my personal favorite.

The story is based upon a new invention, the DC Mini, that allows people to enter and experience each other's dreams. The idea is for therapists to enter a patient's dreams to aid with analysis and treatment. But the invention falls into the wrong hands and causes an epidemic. Psychotherapist Atsuko Chiba uses her alter-identity, Paprika, to investigate the nightmare and track down the abusers of the DC Mini.

Most of the story takes place within people's dreams, which allows for some amazing "Alice in Wonderland" type dream imagery. It all ties in with the story. Anybody who has ever read a book on dreams or tried to figure out their own will get a kick out of this.

One thing that I really liked about the story is that it's both playful and grown up at the same time. They resist the need for unnecessary emphasis on sex that is often used in many anime films. Several of the main characters are women, but they wear real clothes. There is almost no nudity to speak of, the only exception being a dream sequence that ties in with the story.

Music is used minimally. There is some cool Japanese electro-pop that plays at a few select points in the background. Still, there could have been a lot more music in the movie. The moderate use of music seems to have been done to make you focus on the images, and the effect is a good one.

Sony Pictures Classics has done an amazing job with the DVD transfer. The images are beautiful and crisp. The US market for Japanese style anime is always growing. So I'm sure there are many who will want to check this out.

As far as special features go, there are still too few of them here. This is a trend that has continued for too long. You get the audio commentary option if you want to watch the movie again with the creators talking in your head. Then there's a short interview type segment that explores the thoughts and approaches of the various members of the creative team. Other than a few extras, that's pretty much it. I wish they could have added much more.

Fans of Sotoshi Kon will remember his popular works, Millennium Actress Millennium Actress and Paranoia Agent Paranoia Agent Complete Collection. Still this movie is so amazing it will appeal to a wide audience and win Mr. Kon new fans.

Conclusion

If you like science fiction, anime and imaginative cinema, you will most likely love this movie.

Enjoy!!!

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So the psychologists have invented a "DC-Mini" machine that lets the therapist enter another person's dreams. The only teensiest problem is that it also lets the dreams OUT of the dreamer's mind. And once outside, the dreams coalesce in vivid colors and shapes and then run around loose on the streets of Tokyo. Fortunately for civic order and sanity, Paprika, the flirty and delightful goddess of the Dreamtime, comes along too...

It's a good thing she does, because the Bad Guys have stolen three DC-Mini machines, which bad planning, this don't have access controls. So Dr. Chiba, the woman psychologist, and her co-worker, Dr. Tokita, who invented the contraption to begin with, have to chase down the thieves. But they have help from Detective Konokawa, provided he's not dreaming that he's Tarzan swinging through the vines carrying Dr. Chiba, and the two bartenders of a bar located somewhere in the Dreamtime, done with cameo voice acting performances by Satoshi Kon, the director, and Yasutaka Tsutsui, the author of the original novel. Meanwhile, outside well, it's not really clear what "outside" means anymore the dreams are bringing dolls, refrigerators, umbrellas, mailboxes, vending machines all to life in a vast and enthusiastically noisy procession through Tokyo. And, as the Bad Guys start gaining control, people commit suicide too, because sometimes dreams are nightmares.

Paprika herself simply runs away with the film. She and Dr. Chiba are alter-egos which is *not* the same as saying that Paprika is merely Dr. Chiba looking a bit dreamier. Paprika really is a goddess "kami" in Japanese of the Dreamtime, and the ending alone is worth the price of the film.

But don't expect psychobabble from "Paprika." The film offers no fake explanations or pseudo-philosophy about The Nature of Reality. Yes, if you want to go there, "Paprika" is a serious analysis of art, reality, and dreaming, as one would expect from Kon. But, in the meantime, that procession is crashing in through the ceiling, so maybe it's time to move on out of here, say by swinging off on some vines?

"Paprika" is delicious. Very highly recommended.

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I first saw Paprika last summer when a good friend of mine strongly recommended the works of Satoshi Kon to me and after gazing at the anime titles he made, Paprika grabbed my eyes the quickest given its trippy imagery and description, so I bought it on Amazon and am extremely glad to have seen it because it's one of the most enriching and creative titles I've ever seen in the medium.

STORY

In the near future, a huge advance in psychotherapy is created in the form of a device called the DC Mini, which is capable of recording people's dreams. However, the DC Mini is stolen and Dr. Chiba's science team and detective Konakawa join forces to get it back before it falls into the wrong hands. In their pursuit, follows one of the craziest mind trips ever put on celluloid.

CHARACTERS

What's a movie without good characters? Thankfully, Satoshi Kon kept this in mind and fleshed out very believable and interesting characters when creating this animated feast for the eyes and brain. What I also like is that while there's protagonists and antagonists in Paprika, they don't really fit any stereotypes and aren't one-sided morally speaking. Atsuko Chiba (At-Chan, as Kosaku Tokita calls her) has the alter ego in the form of a red-headed and energetic lady named Paprika but unlike most alter egos, Paprika exists entirely in the dream universe. Chiba tends to be serious and butts heads with Tokita. Detective Konakawa is one of the most interesting to me since he has repressed terrors and lives them out through dreams that play out like movies. Tokita is a more unique case since he's a kid trapped in a genius adult's body and given that personality, he acts just like that since all he cares about doing is "doing what he wants" instead of doing what he HAS to do. Even the more minor characters are better than mere plot devices because just like the leads, they feel very believable.

PLOTTING AND APPEARANCE

Normally in my reviews, I separate the plotting and appearance, but in Paprika's case, I have to combine the two since they're dependent of each other and would be awkward reviewing the two individually. This is where most of the fun in Paprika lies in. Kon, being the excellent storyteller that he is, perfectly meshes the dream world with reality and unlike Christopher Nolan's vision of the dream world for Inception, Kon takes full advantage of the opportunities he has and creates a dream world where anything, and I mean ANYTHING, can happen (visually and plot-wise). The plotting is brilliant as to where it's complex but not overly so, in the sense that the plotting isn't a gimmicky puzzle movie where it's a convoluted mess that you're trying to put together (though it's best to pay attention), but rather blending both fantasy and reality within a character's dilemma and ultimately fits what they're going through as a consequence of the DC Mini's severe abuse. An example of this is when Konakawa is pursuing one of the main antagonists, he gets caught in his recurring nightmare and acts out according to the nightmare, and the consequences from his actions affect the antagonists in the real world. There's so much more to this, but I think you get the picture (and that I don't want to spoil the whole movie).

Then there's the appearance of the movie. This is integral to the film since it's the imagery that breathes so much life into the dreamworld in Paprika. Kon took full advantage of this opportunity in the visual department and made a dreamworld like no other. In this dreamworld, toys, household appliances, and other devices coming to life and say complete gibberish. There's a scene where Paprika jumps into Dr. Shima's dream, she sinks into Shima's body and causes him to inflate like a giant balloon and explodes, causing him to wake up. When people dive into peoples' dreams, they can take the form of any object they merge with. The best example of this would be with Paprika since she takes a myriad of forms ranging from fairies to griffins in the film. Things get really interesting towards the end when reality and the dreamworld merge since you see businessmen gleefully jumping off a building in formation and Tokita running around as a toy robot firing missiles at a giant Japanese porcelain doll and rambling about fat content in coconut milk. In my first viewing of Paprika, I was left lying in a fetal position wondering what just happened mostly because of the dazzling imagery used to flesh out peoples' dreams.

The animation and artwork is fantastic. The frame rate is rather smooth and the imagery is very colorful and detailed. Like Shigurui: Death Frenzy, Paprika is another anime that uses both 2D animation and 3D animation and much like said anime series, Paprika mixes the two in a very tasteful manner since the 3D imagery exists only to supplement the primary 2D animation instead of overpowering it. The characters have very distinctive looks and me being a male in his early 20's, especially enjoyed the way Dr. Chiba was drawn since she looks beautiful but at the same time, her looks actually match her personality since she looks mature (and acts as such). In the case of female characters, Kon has a very distinctive way of drawing them and I personally love how he draws them since they look like anime characters but don't really fit the cookie-cutter styles abused in the genre. Once again, Satoshi Kon and Madhouse Studio crank out a high-quality anime.

THEMES

To supplement the well-done characters, surreal imagery, creative story, and excellent plotting, Kon threw in some themes to make an already brilliant anime even better. While subtle, there's themes about the sacredness of one's dreams and the intrusion of technology in said area elaborated by the Chairman (the main antagonist). I felt this was pretty insightful since according to the Chairman, a person's dreams in the movie's current setting are all that's left that's "personal" to someone, and the DC Mini will violate that sense of uniqueness since it'll record the subconscious and have it shared with the whole world. There's also a theme of someone dealing with hard guilt since Konakawa has a film-like recurring nightmare because of personal losses he had in the past relating to film. These themes add more life to an already vibrant animated picture.

FINAL WORD

If you love anime that's intelligent, creative, has great characters, and chocked full of mind-blowing imagery, then Paprika needs to be in your collection RIGHT NOW if it's not. If you have the technology, I suggest you get the blu-ray version since the sharper picture and sound really enhances this great movie.

RIP Satoshi Kon. Your body of animated work may be small, but it'll be remembered and lauded for eternity.

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I've been looking for a good anime for a very long time and just could not find one, until I found Paprika. Satoshi Kon is one of the best anime directors out there and has an amazing ability to suck you right into the story line. The immagry is beautiful, while the plot is given equally good detail and attention. I'd recommend it to anyone.

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The Falcon and the Snowman

Based on a true story, the film details how two young men sold U.S. secrets to the Soviets in the mid-seventies during the height of American apathy and disillusion.

Taken from the excellent non-fiction book by Robert Lindsey, director John Schlesinger's film does a fine job of creating the feeling and temperament of the time but stumbles in a couple of important areas, though the leads, Timothy Hutton as Christopher Boyce and Sean Penn as Daulton Lee, are in terrific form.

Boyce was the "falcon" as he dabbled in falconry, Daulton the "snowman" due to his dealing cocaine, or snow.

Boyce was the oldest of a large Catholic family whose father was retired FBI. Boyce was given a job too quickly with TRW, at the time working with the CIA on secret projects. Working from the "Black Vault," Boyce eventually decided to sell the information he saw to the Soviets. His drug dealing childhood friend Lee became the courier who transported the data to the Russian Embassy in Mexico.

While the story flows well on screen, the film cannot deliver what the novel makes apparent, namely WHY Boyce became a traitor. Other minor nitpicks include a scene (that never occured in real life) of Boyce seeing his ex-girlfriend Alana before impending arrest added for schmaltz effect only, and a badly edited moment of him ripping apart a gift from his co-workers that leaves the viewer puzzled.

However, everything else is fine. The cast is superb, particularly Pat Hingle as Boyce's father. The look of the film is true to the era it occured in. Pat Metheny and Lyle Mays produced a compelling score, collaborating with David Bowie on the theme song.

This is not an action film, and the better for it. Instead The Falcon And The Snowman gives the viewer psychological insight into espionage. It does not go far enough but is a solidly enjoyable film and deserves your attention.

This has become one of my very favorite films. One reason is that this is when I began to see how really brilliant Sean Penn is, but I think it's more about how this film captures its time, and the dangers of naive idealism. The affluent surburban young men here both find ways to reject the perceived shallowness of their parents, the corruption of their government and the numbing reality of their circumscribed lives, but end up discovering even darker and more painful realities.

Schlesinger makes the most of his excellent cast and gets some of the most memorable performances ever from veterans like Pat Hingle and Richard Dysart. David Suchet is fantastic in his portrayal of a cold, professional KGB operative trying to deal with Sean Penn as a rapidly unravelling drug dealer.

Skip the useless scenes between Tim Hutton and a confused-looking Lori Singer and what remains is a memorable film really worth owning.

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This is the type of character-driven movie you can really get lost in!

This movie is expertly acted and the partnership of Sean Penn and Timothy Hutton literally define "chemistry".

The ONLY part of the movie that didn't ring true, for me, was the Russian connectionthe gentlemen would go from screaming at Sean Penn, quite convincingly, to talking to Timothy Hutton with a not-so-convincing, barely audible low toned voice.

The book had a sequal, and I was hoping the movie would too.

The scenes with Tim Hutton and Pat Hing;e as father and son are especially moving.

As a matter of fact, this movie is so good, you wish it wouldn't end.

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This is one of those movies that made a large impression on me when I was in High School.

It is like "Midnight Express" in that you are supposed to identify with a person who did something very wrong, but gets more than they barginned for in the end.

Timothy Hutton is a somewhat under-rated actor. This film, in my opinion, shows that is one of the better actors of our time.

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The book by the same name allows you to understand a bit more about the characters, but this is a well done film that does bring the story to life. Not all scenes are gripping, but the overall story is thought provoking. Christopher Boyce was either naive or cunning when he began his saga. By the time he went to prison he was simply a well-manipulated informer. The book and this film show that transformation well.

Read the follow-up book, The Flight of the Falcon about Christopher Boyce's escape from prison, and recapture. It would make an even better movie I think. Incidentally, when Daulton Lee got out of prison in 1998, Sean Penn hired him as part of his staff. Christopher Boyce was released a few years ago.

Ace Ventura: When Nature Calls (2013)

Ace Ventura When Nature Calls VHSHilarious Movie, Just as funny but NOT funnier than the First. Chi-ca-ca! Chicago! Outrageous moments, making you want to Laugh hard, Jim Doesn't Disappoint. This movie along with Part 1 are Great Classics. I can watch them All the time. They are that funny!

Good Movie. NOT GREAT. the first one is way better. still worth some laughs. The monopoly Man! Guano! Interesting and cool monster truck scene.

Worth a couple laughs.Could have been better.

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If there was to be just one pop-culture character with 'franchise' written all over it, it would be Ace Ventura. After the sleeper hit that was the original, Ace is shipped off to Africa, via Tibet, to find the missing sacred animal of the peaceful Wachati tribe. It is supposed to be a wedding gift to the savage Wachutu tribe, marking the congregation of their people.

Ace is the best there is (the only there is) surely sending him to find the sacred bat (his most hated creature) is the 'right' thing to do. No matter how crazy he is. And how crazy indeed! This time around Jim Carrey goes completely wild as Ace. Any trace of an actual human that we saw before is surrendered to complete insanity. You can tell that Carrey is having the time of his life just ad-libbing and winging it. You can almost hear director Steve Oedekerk struggle to contain his laughter off-camera. There are even a few moments when Carrey himself almost cracks-up.

I prefer the sequel to the first for a few reasons. First of all the production design is far superior and the faux-African jungle (actually South Carolina) and tribal village colors really come alive. The widescreen photography gives the film a more expansive look than Tom Shadyac's original. Plus, it has a lot more animals, which I think is cool. You gotta love the 'alrighty then' meditation scene too.

Beside's the animated show (a few episodes are featured on this DVD set), there's been no more of Ace Ventura since. But don't rule him out. Carrey may be sick of being regarded as the guy who once made his anus talk, but I can only hope he'll do a third one day.

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This Is a great movie and very funny. jim carrey certain a great actor.

i have watch this one many times and would highy recomend it.

this is one movie you wont regret buying

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Ah, Ace Ventura. . . Jim Carey was never better! Too bad he doesn't do more of these. I'd even say that he only went downhill from here!

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Castle in the Sky

(2008 HOLIDAY TEAM)"Castle in the Sky" is a masterpiece of one of Japan's finest filmakers. There is a simple artistry to Miyazaki's stories. This is a children's film, but it is in the tradition of children's stories that appeal to all ages. A rare, pure fantasy, the film has the same magic as "Snow White and the Seven Dwarves" and other early Disney films.

I first saw this movie when it was released in US theaters as "Laputa the Floating Island." The mythical floating island of Laputa is taken from Swift's "Gulliver's Travels." Like Swift, Miyazaki cloaks a political statement with a fantasy, giving deeper meaning to his story. Environmentalism has always been central to his films, and "Castle in the Sky" is no exception.

Visual, the film is a literal flight of fancy. Much of the film takes place in the air. Air pirates travel in unwieldy flying machines. Giant dirigibles sail the skies. Travel by kite is an acceptable option. The animation is of the highest quality, as is the sound and acting.

The story may seem familiar to followers of animation. Miyazaki also work briefly on the script of "Nadia: Secret of Blue Water" using some of the same concepts. The story was also adapted by Disney as their film "Atlantis," sending the characters underground instead of up to the sky. However, "Castle in the Sky" is the story in it's original, best form.

I cannot recommend this film enough.

*Slight spoiler*

Also disclaimer: This review contains complaints galore so if you're not in the mood, it's best you pass this one by.

I love Studio Ghibli movies. There's a magical element of adventure and heart that are hard to find elsewhere. And Laputa is by far my favorite movie of all Ghibli movies I've seen (seen most of them). I think the English release unfortunately killed it. Note: The 2003 and the newer 2010 DVD versions both point to the same reviews. This review is based on the 2003 Disney American DVD release. It appears that the 2010 version reverts back to the original Japanese soundtrack, extra filler dialogue not present in the Japanese version have been removed. That said, the main points in the review the choice of voice actors and change in dialogue still apply. Also, below the title on the Amazon page, you'll see the list of actors as: Barbara Goodson (Actor), James Van Der Beek (Actor) this is completely confusing as Barbara Goodson is not in the Disney version (read about that in the updated section of this review at the end). I wish Amazon wouldn't blindly combine different versions of this movie onto one page with shared reviews...

I won't focus on the story since many others have done so (it's amazing) but more on the audio, the dub and the translation. First is the dub. It's atrocious. It's horrid. It's painfully subpar. And I cannot help but be overwhelmed with utter frustration that I must accept this as the final product. It's been released. It's done. There's not a do-over. We're unfortunately stuck with this.

I'm a native Japanese speaker so I can tell how well things get translated... in this case, the dub's translation in itself is acceptable for the most part but there are many parts of the movie where the dialog has changed altogether (more on that later). There are also plenty of extra filler dialog added for reasons I can't quite figure out. Example when Dola and her sons are driving away from Pazu's townfolks after the fight involving Pazu's boss, Dola comments to the sons "I don't think they like you boys much!" This is harmless, but nonetheless, added in. One of Miyazaki's terms for releasing his movies abroad was that there would be no altercation to the movie... they seemed to have focused solely on preserving the video portion and completely slipped on the audio. There are scenes where the translation is changed altogether. When Pazu and Sheeta run and aboard the coal locomotive, the operator asks in English with his Micky Mouse voice (awful), "heeeey Pazu, who's your friend there?" In the original version, the train operator instead teases Pazu in his appropriately raspy, weathered voice, "Pazu, slacking off from work and out on a date?" to which Pazu urgently responds "No! We're being chased by pirates!"

The real downfall is the choice of actors! James Van Der Beek's performance is just awful. The original Pazu has a really strong, brave voice (albeit a kid's voice) a very admirable performance by the female voice actress, Mayumi Tanaka. Van Der Beek instead has a soft, whimpy, clumsy voice which sounds like Pazu just fumbles his way throughout the entire movie and this is really the total opposite of the character Pazu is supposed to be. I also agree with many others that Van Der Beek sounds too old as Pazu. Bottom line, it's a miscast. Anna Paquin IMO might have been acceptable but the more I listened to her, the more I started getting annoyed with Paquin's performance and the inaccuracy to portray Sheeta's character correctly. There were just too many grunts (i.e., trying to get on the coal locomotive) that only made the Sheeta character appear weak and, well, for lack of a better word, too "girly". When Sheeta first meets Pazu, she explains how she lost her parents and had to take care of herself... Sheeta is a *strong* girl and her behavior and actions show this throughout the movie an example is when she agrees to be detained by Muska in exchange for Pazu's freedom. And then there are numerous occasions with the emotional raising of voice that made Sheeta appear bratty, which is far from her character. I think Disney totally missed these points with their interpretation of the two main characters. It seems to me that Disney looked at the two main characters as just little kids. To Miyazaki, they are brave and courageous youngsters that defy fear, endure pain, and display honorable characteristics well beyond their years of being just kids. Back to Paquin I completely wrote her off after the tower scene where Pazu attempts to rescue Sheeta. As the loyal robot falls to its death with its arm reaching out to Sheeta, Sheeta desperately grabs its fintertips, then turns around and in Japanese screams out to Pazu with all her soul, "PAH-ZOOOO!!!!!", yet in the same scene, Anna Paquin bleeps out to Pazu in this weak, dead voice, "he-lp". This to me was criminal. It completely destroyed the intensity and the mood of the scene. Switch back and forth from English to Japanese and you'll see what I mean.

Towards the climax, it gets worse. Muska's chasing Sheeta into the throne room and Sheeta falls pretending to be shot. Muska comments: "How appropriate we end up in the throne room. Now get over here!" Sheeta gets up and immediately responds in an emotionless tone of voice that's so disjointed from where Muska left off... she's (Paquin's) so emotionless and lifeless, it sounds as though she's staring at a wall while reciting the line. In the original, Sheeta gets up and challenges Muska in a stern and convicting voice, "You call this a throne room?! This is a grave. Yours and mine..."

And in what are probably Sheeta's most important lines in the movie, the dialog has changed. Sheeta quotes a song in the Valley of Gondoa to explain to Muska that now she understands why Laputa was destroyed in the first place. 'We need roots in the Earth; Let's live with the wind; With seeds, let's pass the winter; With the birds, let's sing of spring.' The message here is that humans weren't meant to exist as some select god-like royalties in the clouds. After quoting the song Sheeta proclaims in the English version: "No matter how many weapons you have, no matter how great your technology might be, the world cannot live without love."

WHAT?!?!

Here's the original: "No matter how many terrifying weapons you have or how many poor robots you control, [we/humans] cannot live separated from the ground!" ("ground" as in earth, what is natural) Now where does the English translation's theme about not being able to live without love fit in?! Not only does it make any sense, it's just plain cheesy. Just baffling why they might change this.

Since the dub is so bad, I'd like to just suggest viewers read the sub. However the quality of subtitles has much to be desired. Staccato translations with truncated sentences galore...the details of the original dialog is easy to get lost.

It's really too bad because I thought the dub for Spirited Away was truly excellent. I just wish Disney gave it as much attention to Laputa in that regard.

Finally, I do not like the re-recorded sountrack. It's way too overpowering and for those that appreciate the original version, it's a distraction. Speaking of distraction, call it Hollywood-izing, there are parts of the movie where music has been added in whereas in the Japanese original remains music-less. Start from the very beginning of the movie where you see Muska's airship. The original version has no music. The added music is just too much. Pazu's daily trumpet solo has been replaced by a guitar added duet... it's a solo! Sometimes less is more and in this case, they shouldn't have added the extra music. And as another reviewer pointed out, the music is loud yet the sound effects seems muffled. The gunshots and explosions are lacking the intensity and fidelity. I could only guess that it was Disney's attempt to de-violence the movie since kids are after all the target audience??

Sorry I'm doing nothing but complaining... but because I regard the original Japanese release to be near perfection and I love this movie, I just can't help but to cringe, for all the reasons stated above, when I see the Disney version released for the American audience. Even though I commented that the subs are not great, I still think as long as you're watching this spectacular movie, your best bet is to watch it with the original Japanese soundtrack with subtitles (there are two Eng subs, English 1 is dubtitles, pick English 2).

My main concern with this the English release is that what's lost (or altered) in translation might end up taking too much away from the movie. I'd give it 1 star for the American release; the original movie in itself is undoubtedly 5 stars. I settled for 3.

[Update 11/2012]: I recently came across another English-language dub which apparently turned out to be the "JAL" dub, created before the Disney version, released for viewing during int'l flights back in the day. All the voice actors are different than Disney's. Pazu is played by Barbara Goodson, who sounds much more like Mayumi Tanaka, with a little bit of the pre-teen rasp in the throat. Not perfect but better than the Disney Pazu. I found Sheeta to be better and thankfully, her "love" line in the Disney version is not there; instead she proclaims "... All men must depend on Mother Earth!"... it's okay, but absolutely better than "The world cannot live without love!"

I also liked the JAL Muska better b/c his voice was more subdued, monotone, and stoic, which is like the Japanese-version Muska. Mark Hamill has certainly established himself has a veteran actor in many anime and video games but for Laputa, I thought he had a tendency to overact and raise his voice and tone where the Japanese Muska is quite controlled and monotone in a cold, calculating way. Neither are perfect so I'm not going to worry too much about this one.

If watching in English language, check out the JAL version and see which one you prefer.

Buy Castle in the Sky Now

Laputa, Castle in the Sky, is the most creative, ambitious, and adventurous Miyazaki film I have ever seen. I like Miyazaki's work very much for its grandeur, originality, and imagination. Sadly to say that Disney has lost its creative edge. It has been copying stories all over the world. Disney promised to release the Castle in the Sky video in 1999 but they failed to keep their promise. (Disney, please include the original Japanese soundtrack on the US release because I don't like the English voice actor behind Pasu.)

After 16 years since Castle in the Sky was first released in the theatres, I still consider it the creme da la creme of all anime movies. Certainly Laputa's art direction cannot compare to today's S/B CGI and S/B 3D animation. However, the story is much more fascinating and breathtaking than KiKi Delivery Service, My Neighbor Totoro, and even Princess Mononoke. Princess Mononoke is a graphically stunning piece of art but Castle in the Sky is a wonderful story of courage and determination. While there are a few graphically violent scenes in Princess Mononoke, Castle in the Sky is packed with action without graphic violence.

I considered myself fortunate to be able to see it on the big screen (the original English version.) Castle in the Sky is a grand movie that deserves the big screen. I love the soundtrack of the movie very much. It is very uplifting and motivating. The title song, Carrying You, communicates the same kind of warmheartedness that permeates throughout all of Miyazaki's films.

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I first saw Castle in the Sky in the original Japanese while living in Japan in the early 90s. I was instantly captivated. The characters were engaging and immediately likeable, the cliffhanging action was fantastic, the plot was original and rather gripping, and the music was just absolutely gorgeous. If I were rating the original film (titled "Tenku no Shiro: Laputa"), I would readily give it five stars. Miyazaki is easily one of the most original and watchable animators in the business.

That said, this is an atrocious rendition for American audiences.

Overall, the voicecasting isn't too shabby. However, the actor playing the main character the adventurous boy Pazu is just plain awful. Not only does he sound more like a 28 year old than a 13 year old, but he has two voice settings: loud and soft, and absolutely no nuance in between. Listening to him is a rather teeth-grinding experience.

The translation of the dialogue from the original Japanese is pretty wretched. A lot of the original meaning was simply discarded and replaced by Disney. The lines of the air-pirate sidekicks were completely altered and not for the better. By the end of the movie, their constant stream of inane babble will have you wishing someone would just jettison the entire airship crew at high altitude. Overall, the dialogue of most of the supporting characters shows extremely poor scriptwriting.

For some odd reason, Disney decided to mute most of the sound effects in this movie. The ominous whirr of massive propellers, the sudden crash of explosive shells, the crisp sound of gun shots. All of it was toned down and muted-out by Disney. This detracts significantly from the excitement of the chases, the thrill of flying, and the incredible cliffhanging moments that made the original movie so much fun. Imagine the most recent summer action movie with the sound effects turned off and you'll get a pretty accurate picture of what Disney has done to Castle in the Sky. This is truly unfortunate since the original movie had some great sound-effects work.

The worst crime of all however, is what Disney has done to the soundtrack. The original Japanese film had one of the most spectacular, haunting and beautiful soundtracks I've heard in any movie.

Disney completely removed this soundtrack and replaced it with their own rendition.

Hints of the old score come through at times, but it is heavily watered-down and sounds almost elevator-musicish. I almost cried when I heard it.

The end result is a movie that little resembles the original film. Dramatic moments of silence are filled in with pointless dialogue, the savage howl of the wind replaced with bland instrumentals, piercing gunshots are replaced with something sounding suspiciously like a child's cap-gun, wonderful dialogue is completely butchered. It leaves one with a sneaky suspicion that Disney deliberately vandalized the film to protect its monopoly on the American animation market by making Japanese films look as bad as possible.

It is quite possible I'll never forgive Disney for this disgrace of an adaptation.

On the other hand, the Japanese language option (with subtitles) retains the original film in all its glory. For that reason alone, this DVD is definitely worth buying.

But please, PLEASE, watch the Japanese version before subjecting yourself to the horrible English-language version. Even if you hate subtitles, this film is worth watching in Japanese. Everyone I've shown it to, both young and old, has been instantly captivated.

Like I said, if I were rating only the Japanese-language version, this review would have been five stars. But the English-language monstrosity thoroughly deserves a one-star rating. On balance, I can't give this DVD more than 3 stars for an American audience.

This is probably the biggest disappointment I've had with films since George Lucas inflicted Jar Jar Binks on millions of unsuspecting Star Wars fans. Consider yourself warned.

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More than four years ago I rented the VHS tape of Kiki's Delivery Service, and there was an ad for Castle in the Sky before it. It was listed as "coming soon."

Since then, I've gotten the Japanese version of Castle in the Sky on DVD, and I love it. However, I'm still baffled by the fact that Disney has paid professional actors to voice the characters and gotten the film prepared for release in the US -even advertised it -and has since then just sat on it.

It's almost criminal to hold such great films as Nausicaa, Castle in the Sky, and Pon Poko in your possession and not share them with the English speaking world.

If and when they see the error of their ways and make this film available, do yourself a favor and buy it. We need to let the media juggernauts know how much we love Miyazaki and Studio Ghibli.

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Cronos (The Criterion Collection) (1993)

For some reason I developed an early low opinion of Mexican horror films and have since avoided them. Fortunately I didn't realize Cronos was Mexican ans so got to see this truly unusual film directed by Guilliermo del Toro. While it will never win a place on the heights there's a surprising amount of inventiveness and imaginative film work in something that probably has one-tenth the budget of the average Hollywood failure.

Imagine, if you will that a European alchemist fled Europe to Mexico in the 16th Century. Gaining appointment as the Governor's clockmaker he set about making a machine that would prolong his life. He succeeds and lives until a building collapses on him in modern times. His estate is broken up and sold and the real story begins when an antique dealer, Jesus Gris (Federico Luppi), acquires a statue of an angel. In it he finds a golden scarab-like machine. One with horrific powers that Jesus inadvertently activates.

Seeking the scarab for his own purposes is Dieter de la Guardia (Claudio Brook) and his last remaining relative Angel (Ron Perlman). They will stop at nothing, but a repeatedly foiled by the scarab's power over Jesus. Another key player is Aurora Gris (Tamara Shanath) who has no lines but seems to preside over the life and death drama that plays out before her.

There are a few grim and violent moments, but, for the most part, Cronos gains its momentum from its atmospherics. Imagine a screenplay written by Poe and directed by Fellini with echoes of Don't Look Now and you will have a sense of the film's feeling. Colors are dark, sets are detailed, and the minimal special effects are telling. Especially the insides and operation of the clockwork scarab.

The film is as much about the value of life as it is a horror or suspense story. Clumsy at some times and subtle at others, the message gets through with an ending which leaves just enough in question to haunt the viewer. The approach is novel, a very different twist on the vampire genre, and I found myself liking it more the longer I watched it. Definitely worth viewing.

Guillermo Del Toro's modern Grimm's Fairy Tale "Cronos" focuses as much on character as it does horror. In many respects, it's a throw back to the horror comic books or movies he watched as a kid updated. Antiques dealer Jesus Gris (Federico Luppi) gets more than he bargains for when he covers a ornate gold "beetle" at the base of a decorative angel. He and his devoted granddaughter and wife discover the promise of immortality but also the horrible price one must pay when given a "gift" such as this.

Rich industrialist Dieter de la Guardia (Claudio Brook) has his brutish nephew Angel (Ron Perlman)searching for the device himself. Only Dieter knows about the history of the device, what it can do and the consquences of using it. When Jesus resists Dieter's offer for the device, it also puts his family in peril.

A rich, allegorical horror film that recalls the classic films of the 30's and 40's with its focus on character and the consquences of their actions at the expense of endless blood and gore, "Cronos" is a thoughtful, sad movie that demonstrated the considerable talents of Del Toro ("The Devil's Backbone", "Blade II", "Hellboy"). It's got its moments of gross out gore but Del Toro focuses his story on the delicate relationship between Jesus, his wife and granddaughter.

The film is presented with the original Spanish voiceover presented in English. After that, the film is a mix of Spanish and English as Dieter and Angel speak both sparingly throughout the film while Jesus and his family speak nothing but English. It would probably help to have on the subtitles if you don't speak English during the film as it switches back and forth pretty consistently.

The presentation and look of the DVD is very good capturing the nice textures and colors of the original film although it can't hold a candle to the high definition transfer of "The Devil's Backbone" that recently came out on DVD. Extras include an interview with Del Toro with clips from his very first short films made when he was a teenager up to and including his first 16mm production. There's also an interview with behind-the-scenes footage of Federico Luppi (a thoughtful and talented actor)from the production. There's also an Easter Egg included as well. Look for the Lion's Gate logo and click on it for a nice little surprise. We get a photo gallery and commentaries from both Del Toro and the film's producer. Del Toro's commentary is in English while the producer's commentary is in Spanish.

A haunting, atmospheric debut from Del Toro that deserves to be seen. It's not exactly a horror film (and why Del Toro is referred to as a horror film director is beyond me), it's more of a fantasy/suspense story with horror themes.

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A new vision of the vampire myth involving an insect trapped in a device that grants immortality (with a price of course), an innocent grandfather, his all but silent granddaughter, a human monster and his victimized nephew.

An elderly antiques shop owner, Jesus Gris, and his granddaughter, Aurora, discover an unusually device in a four hundred year old Archangel statue. Gris inadvertently triggers the device which begins a change in him that not only slowly makes him more youthful in look and energy but infects him with an addict's consuming fixation for blood. Unfortunately for Gris, he is not the only one with knowledge of the device's existence and power, and he becomes the target of the dying businessman De La Guardia's desire for immortality at any cost and his violent nephew Angel.

Loved this film! Loved it! I've always had a thing for vampires and I really enjoyed this new view of the vampire mythology. This isn't just a new story of vampirism though, it is also a tale of family. The love, devotion, and acceptance of family is beautifully shown through the grandfather Jesus and granddaughter Aurora, as is the dark side of family, with it's violence, abuse and victimization, as shown through the obsessed De La Guardia and his nephew Angel.

Ron Perlman is absolutely superb as Angel. He takes what could have been the average brute/thug character and gives him humor, depth, and the ability to evoke sympathy and, almost, forgiveness, from the audience. If you want to introduce a friend to Ron Perlman's work, consider doing so with this performance.

Frederico Luppi and the late Claudio Brooks are also entrancing in their performances as Jesus Gris and De La Guardia, respectively.

Favorite line (narration describing the death of the cronos device creator): "His skin was the color of marble in moonlight."

The DVD extras and commentary are wonderfully enjoyable in and of themselves (how they shot the interior of the cronos device and what happened to it later...eeeewwww, that the thirteen cronos devices used in the film were stolen on the last day of the shoot, that Ron Perlman did accidentally connect, fist to face, at one point with Frederico Luppi, etc). Guillermo Del Toro's commentaries are as spellbinding as his films.

Read Best Reviews of Cronos (The Criterion Collection) (1993) Here

Before Guillermo del Toro came to Hollywood to make big budget thrillers such as Mimic and Blade II, he was in Mexico making movies that are truly unique and filled with tension. His directorial debut, Cronos, is a hugely original movie and take on the vampire theme. Guillermo also wrote the screenplay.

The movie opens up with a narrator telling the story of an alchemist who made a metallic, beetle like device (the Cronos) that when placed against skin, has a scorpion like stinger that stabs the person and injects a tiny amount of bloody fluid. The injections cause the alchemist to live for centuries and only dies when he is in line at a bank in Vera Cruz during an earthquake and is crushed by falling debris.

Some time later, an antique dealer, Jesus Gris (Federico Luppi), discovers the Cronos device in the base of an old statue he has acquired. After wondering what the device might be for, he inadvertently sets it off and is pricked by it's stinger. The whole process of watching this happen is fascinating, and you are never quite sure if there is some sort of living insect inside the enclosure, thanks to Guillermo's David Lynch like photography and editing of the scene.

Jesus soon discovers that he has more energy and feels more youthful than he has in ages. But unbeknownst to him, there is an evil and rich old man, Dieter de la Guardia (Claudio Brook) who has been searching for years for the device. He has tracked it down to Jesus' shop and sends his simple minded nephew, Angel de la Guardia (brilliantly portrayed by Ron Perlman), to get the statue that has stored in it, the Cronos device. When the statue turns up empty, Dieter instructs Angel to get the device at any cost.

In the meantime, Jesus has become addicted to using the device. His young granddaughter has noticed him using it and decides for his own good to hide it from him. After spending time with her he realizes that maybe the sacrifices of the device, such as his wife not feeling as youthful as him, or his greedy and manic need to posses and have control of the device, are not worth the benefits.

The story is not fast paced by any means, but the development of the characters is superb. There are also slow moving scenes with huge amounts of tension, in particular a scene where Jesus is at a party where someone had cut himself and cleaned up in the bathroom. Jesus finds himself drawn to the blood that had dripped on the floor and after slowly considering it and getting his face closer to it, he has his cheek against the floor and extends his tongue and licks up the drops!

I have seen the video a couple times, but it is on DVD in region 2 PAL format only. The video is available in both subtitled and dubbed versions. I highly recalled the subtitles, because much of the dialogue is already in English. Ron Perlmans' character for example does not speak almost any Spanish.

Perhaps now that Guillrmo del Toro is more well known in the US, we will get a region 1 NTSC release on dvd.

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Currently everybody thinks of him as directing Pan's Labyrinth or the Hellboy movies. But at the very beginning of his career, Guillermo del Toro honed his directorial skills with a truly brilliant, unique movie called "Cronos," which expertly blended alchemy, vampirism and creeping psychological horror.

Antique dealer Jesús Gris (Federico Luppi) is handling an angel statue when he finds an insectile metal object in the bottom. And it bites him, injecting him with a strange fluid. Soon Jesús finds himself addicted to the device, and he finds that it's slowly restoring his youth and strength. And during a party, he also finds that it's giving him a hunger for blood.

Unfortunately, a wealthy but dying businessman is determined to find the device, and he sends out his brutal nephew Angel (Ron Perlman) to find it -and Angel even kills Jesús when the old man doesn't tell him what he wants to know. Jesús rises again as an undead creature who is still determined to get the device back, but now his young granddaughter is in danger as well.

"Cronos" was the very first movie that Guillermo ever directed, and it's not surprising that it feels a little rough compared to his later work. But expect lots of del Toro trademarks -mysterious golden items, insects, weird and grotesque vampirism, religious symbolism, and favored actors Luppi and Perlman.

The entire movie is beautifully directed, and del Toro paints every scene with shadows, gold and blood. And rather than going for over-the-top spookery, del Toro mingles vampiric horror (Jesus staring hungrily at his granddaughter) with more visceral psychological horror (Jesús returns to life with his mouth stitched shut). Even the gross-outs are subtle, like when we see that even Jesús' flesh is turning white and larvalike.

Federico Luppi is absolutely brilliant as Jesús -he starts off as a genial, kindly old man with a love of antiques, but slowly he's eaten away by his lust for blood and addiction to the device. By the end of the movie, you only see a tiny flicker of what he was. Perlman gives a similarly awesome performance as a devious thug, and Claudio Brook is great as the dying businessman.

It took a long time, but this movie is FINALLY coming out in the Criterion catalog -it will have a restored high-def digital transfer; del Toro's early short film "Geometria"; a tour of de Toro's house; audio commentaries by del Toro and the producers; video interviews with del Toro, Luppi, Navarro and Perlman, a stills gallery; trailer; new English subtitles; and a booklet with not only a Maitland McDonagh essay but del Toro's notes.

"Cronos" is a little more toned-down than Guillermo del Toro's later work, but it's still a powerful, haunting horror movie. An absolute must-see!

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Upstream Color (Blu-ray / DVD Combo Pack) (2013)

Hypnotic, fascinating, and frustrating, "Upstream Color" is a bold (if not entirely comprehensible) new experience from auteur Shane Carruth. Carruth made a huge splash in the indie film world with his first film "Primer," which won the Grand Jury Prize at Sundance in 2004. "Primer" has become a bona fide cult classic and a love-it or hate-it proposition. It's an experimental sci-fi effort that wrestles with big ideas and proves that you don't need a huge budget to produce an ambitious mind-bender. It isn't perfect, by any means, but it is a film that challenges conventional movie fare. Much the same can be said about "Upstream Color," I suppose. There is something far more ethereal, however, more haunting. This is not particularly about story and narrative, it is about creating visual poetry. As such, this will surely be a polarizing film.

From my perspective, the first thirty minutes of this ninety minute movie are absolutely spellbinding. Not to give too much away, but this sequence plays out as crazy crime caper in which a man systematically destroys the life of a woman (Amy Siemetz). It's absolutely chilling and completely original. When the woman, now fragile and uncertain, later meets an equally wayward soul (Carruth), they try to piece together some semblance of normalcy. Here the film becomes decidedly more fragmented as they bond AND wrestle with their demons. They, among others, may have shared a similar experience. But what is reality and what is illusion? I may not be smart enough to make sense of all of Carruth's dreamlike vision, but I just relinquished myself to the experience. The movie images start to flow over you. Between pig farming, mind altering worms, an errant sound technician, and Henry David Thoreau's "Walden," you can't be entirely sure where you'll end up! But when you get there, there is surprising emotional resonance (even if you don't understand why exactly).

"Upstream Color" can be aloof and maddening and it may leave you struggling to see Carruth's vision, but it is certainly unlike anything else you'll see this year. I mean that as a compliment, but I'm also going to be conservative in my recommendation. This is a prime example of experimental filmmaking, it is not something that will necessarily speak to a mass audience. Those that love it will proclaim it to be a masterpiece. Those that don't will likely think it's a waste of time. There will probably be very little middle ground in the appreciation (or lack thereof) for this unusual experience. If you need traditional storytelling, this is not for you. I appreciate that Carruth made the film that he wanted, creativity and authorship are dying arts in most movies. It didn't always work for me, but it's well worth checking into for adventuurous audiences. KGHarris, 5/13.

"How are you enjoying South By Southwest?"

"It's great. I've seen some great films."

"What's the best thing you've seen?"

"Upstream Color."

"Oh. What's that about?"

"..."

I try to tell them that it can't really be explained. I could tell them that the discernible plot centers on a woman taken advantage of by a thief using a hypnotic plant as his weapon of choice, but that barely encapsulates a quarter of the half of the film I actually did understand. And I know most of us hate math.

What I can say with clarity and certainty is that if you enjoyed Primer, you should almost positively love this movie. If you haven't seen Primer, go watch it now and share your experience with the world. If you like the work of Gondry, Kaufman, Malick, Herzog, Cronenberg, Lynch, or Aronofsky then I'd be surprised if you didn't love this one.

At the end of my screening a man stood up and said, "Loved the film, but I'll be out in the lobby if anyone wants to try to explain it to me." It's really not that confusing. Don't be scared.

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Auteurs get a bad rap, and that isn't because they lack the ability to provide a cohesive product that can also make a buck. More likely, it's due to the fact that audiences avoid even investing time and effort into understanding not every film's message is going to be grasped and understood in the first fifteen (or so) minutes. As our attention spans have grown narrower and narrower, films that present a strong narrative or serve as an allegory for something bigger than the latest Ben Stiller comedy ("art" for the masses) or Martin Scorsese film (art for the critical masses) just aren't given the time of day. Now, granted, not every auteur-driven motion picture deserves as much commentary as the next, but a truly visionary film has the ability to not only change the way stories are told but also they might challenge us to think about ourselves and our roles in the greater world at large.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

Unlike writer/director Shane Carruth's earlier film PRIMER which I found to be entirely far too esoteric or relatable for its own good, UPSTREAM COLOR grounds its story in real characters that an audience can care about, root for, and understand. The hard science he leaves in the background an undercurrent that drives the plot forward but isn't so overpowering that it ever rises to the central focus. Also, Carruth smartly populates COLOR with people whose flaws enjoy both conventional and unconventional definition, then pushes the envelope into some very conspiratorial waters but always maintains a workable sci-fi emphasis to bring it back to reality.

Amy (played with `girl-next-door' aplomb by Amy Seimetz) finds her world unexplainably spiraling out of control as she awakens from a substance-abused `invasion' that leaves her jobless and (nearly) penniless. As she begins her life anew, she finds herself curiously drawn to Jeff (Carruth) in ways that defy any logical explanation. It is as if destiny has pulled them together, though they've no collective understanding of why they behave with one another the way they do. Together, they begin to explore the various `surprises' of their shared existence, leading them to uncover the truth that their shared reality is not what it seems.

COLOR is the kind of film whose story is difficult to describe without spoiling some of the tale's internal magic. Suffice it to say, the science-themed romance is nothing short of visual poetry probably best suited for cinema buffs, film aficionados, and academics who prefer more meat than fluff with their meals. It isn't the kind of product that's designed for immediately pay-off of shots and sequences and even smaller moments; it requires a cognitive investment on the part of the viewer. Rest assured: everything presented has an answer, but it isn't forthcoming in the way traditional films are constructed. This is one that's revealed in substantive layers in the nuances of what looks superficially to be even quirky performances by the players and even the final scene can speak volumes to the person who `gets it.'

I've no doubt that some will or have dismissed COLOR as an art-house creation, and, to some degree, I suppose that's a legitimate criticism. Certainly, these 90 minutes will not be to everyone's liking. Discerning fans of intelligent science fiction will probably be most impressed ... so long as they're willing to make the commitment to come for the meal but stay for the pie.

UPSTREAM COLOR is produced by ERBP. DVD distribution is being handled by Cinedigm Entertainment Group. As for the technical specifications ... wow. The visual and audio elements of COLOR are exceptional; all aspects weave together to tell this singular story in several possible ways that are always clever and inspired. Unfortunately (and shame, shame, shame!), the only special features available on the disc I was provided are the theatrical trailers, and that doesn't even come close to scratching the surface of what I would've expected or wanted. This film is something special, and, as such, I believe it deserved more. Also, I'd be remiss if I didn't point out that UPSTREAM COLOR served as an `Official Selection' of the 2013 Sundance Film Festival, the 63rd Panorama Internationale Filmfestspiele of Berlin, the SXSW Film Festival, and the 2013 New Directors/New Films Festival. Also, the film won the Special Jury Prize for Sound Design at 2013's Sundance.

HIGHEST RECOMMENDATION POSSIBLE. UPSTREAM COLOR is an aggressively original vision of a world wherein cause, effect, and purpose collide in ways unimaginable. You'd be a fool not to discover it.

In the interests of fairness, I'm pleased to disclose that the fine folks at ERBP via Cinedigm Entertainment Group provided me with a DVD copy of UPSTREAM COLOR by request for the expressed purposes of completing this review.

Read Best Reviews of Upstream Color (Blu-ray / DVD Combo Pack) (2013) Here

UC is amazing, brilliant, confusing, lovely to look at and I bought it without having even seen it because Shane Carruth made PRIMER and that makes anything else he comes up with worth a look. I was not let down. This movie attempts to enlarge what movies can be. Instead of being trapped by a constant (and boring) demand for plot and more plot---this film offers ideas and feelings that you can go away with and think about later on your own. In short, unlike 99% of movies out there, this film stays with you. And any filmmaker brave enough to put pigs in his film as a serious element deserves a lot of praise. God knows what he will make next but I'll be there waiting to see it.

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It took a long time before I began to fit the various pieces of this movie together, but when I did, the shock of that realization made me stand up and exclaim "oh my god!" Thank goodness I saw this at home, and not in the theater!

The force driving this apparently dream-like, Lynchian narrative is as solid and well-realized as the one in Carruth's previous film Primer, but completely different. Yet I might not have figured it out had I not read some articles describing the book "Qbsbtjuf Sfy" (change the letters backward one place alphabetically (b becomes a, for example) if you don't mind a spoiler).

If you like challenging, masterfully directed science fiction with an emphasis on storytelling over MichaelBaySplodiness, check out this movie.

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Chungking Express (The Criterion Collection) (1994)

(2008 HOLIDAY TEAM)Like a sweet dream half-remembered, "Chungking Express" wavers on the back of your consciousness, seducing you into its semi-fantasy/semi-honest world of the chance of romance, and the necessity of proximity (0.01 of a centimeter is the distance of attraction) to filling an empty heart. It is appropriate that "California Dreaming" is the background for much of the film, because dreaming is what the characters do, moving sluggishly through a life not quite real.

It is difficult to know what to make of the film at first. There are two stories, interspersed with each other in through the film, both love stories involving policemen, a deli shop, and women whom they would love. Unlike "Pulp Fiction," they do not meet up at the end, and the strangers remain strangers. There is no neat package. Rather, like Banana Yoshimoto's novels, they are linked thematically, with the same tale being told with different cast members, to see how each person finds their own ending, regardless of the beginning. While Yoshimoto is Japanese, and Kar Wai is Chinese, there is a similarity in Asian story-telling evident in "Chungking Express."

As to this DVD, while it is great to see Quentin Tarantino bring Kar Wai's films to a wider audience, I find his commentary a bit annoying and self-serving. Taratino makes some great flicks, and Kar Wai is an obvious influence on him, but he doesn't have the personality to comment on something so sweet and subtle as "Chungking Express." This is just a personal observation, however, and others may disagree.

Director Kar Wai Wong is a rising star of cinema, seeping to the public consciousness slowly and surely, becoming less of a "Hong Kong Director" and more of an important contributor to modern film. "Chungking Express" is a fine introduction to his work, showcasing his subtle love stories, use of atmosphere and disorientating techniques, such as multiple-languages and film manipulation. Anyone who has seen "Lost in Translation," "Amelie" or "Kill Bill" will find his films familiar.

I really love this film. "CHUNGKING EXPRESS" is the ultimate pop art film that won a lot hearts when it was first released and continues to this day. And not only has the film jumpstarted the film careers of Wong Kar-wai, Christopher Doyle, Takeshi Kaneshiro and Faye Wong (despite having an awesome music career), "CHUNGKING EXPRESS" is one of those non-action Asian films that has continued to become a fan favorite for fans all over the world.

This film is now part of the Criterion Collection and when Criterion's name is on a film release, you know that you're going to get a quality release.

So, what did Criterion do for this release?

VIDEO & AUDIO:

Criterion is known to making their final masters to what the director's had in mind. In this case, presenting the director's requested aspect ratio of 1:66:1.

The new high definition transfer according to Criterion was created on a Spirit 2K Datacine from a 35 mm internegative and a 35 mm interpositive. Thousands of instances of dirt, debris and scratches were removed using the MTI Digital Restoration System and Pixel Farm's PF Clean. For a film that is nearly 15 years old, the goal for Criterion was not to give a crisp and clear picture but to make sure that the requested aspect ratio was successful and removing all the dirt and scratches that have plagued previous releases of the film.

Oh, and I just have to say that things that were cut out of the US VHS/DVD release are intact in this Blu-ray version. But as far as video quality goes, you will find the colors noticeable especially at the bar when you see the CD's in the jukebox spin and see the vibrant colors.

I have caught a few instances of color pulsing (due to the older print) and there were no artifacting. As for the audio, the original soundtrack was remastered by Tuu Duu-chih at 3H Sound Studios in Taipei under the supervision of Wong Kar-wai. According to Criterion, the audio restoration tools have been used to reduce clicks, pops, hiss and crackle.

The audio is what I loved about this release. While watching the film and knowing that the majority of the film is dialogue-driven and as expected during the music scenes, to hear the music really become prominent but what I didn't expect to hear, which put a smile to my face is the rear surround and hearing the people talking, the cars beeping and while the front speakers were busy with scenes such as the lady in the blonde wig with the Indian smugglers, you hear the whole life of the city come alive through the rear surround.

Suffice to say, I was quite happy to hear the audio channels used effectively in this dialogue-driven film by taking the city's ambiance and having it come alive. Well done! And for those passionate about the film, hearing the tunes of "Baroque", "California Dreamin'" and Faye Wong's cover of the popular Cranberries song ala "Dreams" is just so fun and how music, even a few songs really made this pop art film truly shine.

SPECIAL FEATURES:

In the past release, we had Quentin Tarentino's introduction to CHUNGKING EXPRESS", this time around with the Criterion release, we have the following:

* An audio commentary featuring Asian cinema critic Tony Rayns who has talked to Wong Kar-wai in regards to certain scenes and also, we learn about how Chinese culture influenced certain situations such as the use of dates and certain phrases in the film. Also, the reason why certain music was used and pretty much how commercials really influenced Wong Kar-wai for this film. A very informative commentary.

* A 1996 episode of the British television series Moving Pictures featuring interview swith Wong and cinematographer Christopher Doyle This segment was made in 1996 thus the quality despite being in HD, is not too great. But nevertheless, it was very fun to watch this 15-minute segment and watching these interviews with Wong and Christopher. Really awesome details as the two walk into the places where the Midnight Express was shot and also the apartment actually was Doyle's apartment. Very informative.

* Then the US Theatrical trailer which was loved by American critics but unfortunately the film company didn't know how to market the film, thus it didn't do to well in America.

* A booklet featuring a new essay by critic Amy Taubin For those familiar with Amy Taubin's work on "Sight & Sound", Taubin really gets into the film and definitely writes about the film and its characters in a unique way. Definitely an entertaing read for those who watched the movie. Do not read this booklet first if you haven't seen the film.

The Blu-ray is presented in a digibook type of case with a slip cover.

I've owned so many variations of this film already that I can't help but smile throughout the film and just seeing how beautiful it looks on Blu-ray and how good the sound quality was and hearing so many things all around me.

For those who were expecting a digital remastered version that will have a pristine, crisp and vibrant look as some older Blu-rays have managed to have, the Criterion Edition is beautiful but not spectacularly gorgeous but for those watching a Criterion release, the goal is not to change the film and change the colors.

Their goal was to present the film with the supervision of Wong Kar-wai and Christopher Doyle and how they wanted the film to be. If you watched the original DVD version or previous versions, this film has aged but with the Criterion edition, the video looks beautiful without the scratches and all the dust and looks cleaned up. Personally, I don't know if we'll see the film any better than this presentation. It's truly an awesome release on Blu-ray and absolutely love it!

I really hope that Criterion possibly considers releasing the third story via the film "Fallen Angels"on Blu-ray. Wong kar-wai created the third story for CHUNGKING EXPRESS" but because it would make the film to lengthy, he cut it out and carried it over to his next film, "Fallen Angels". So, knock on wood, I hope that Criterion considers it because the treatment they gave for "CHUNGKING EXPRESS" was well done and definitely enhanced the whole experience for me, I found it quite beautiful.

Perhaps I'm a bit biased because I enjoyed this film so much but overall, this release is solid and definitely recommended!

Buy Chungking Express (The Criterion Collection) (1994) Now

Located in the heart of mainland Hong Kong, the Chungking Mansions loom huge and ramshackle over Nathan Road. Wags and scoundrels haunt its gates, along with a ragged assortment of Indian touts, whores and long-term transient workers from Africa. Restaurants, tailors, psychics and a whole host of other occupations some undoubtably illegal infest the bottom floors in tiny, grimy compartments. Chungking is also the backpacker ghetto of Kowloon: guesthouses offer rooms as cheap as $10 a night, and the loose, chaotic atmosphere is appealing to the more adventurous traveler. When I visited Hong Kong for a week in 2002, there was no other realistic option, for finance concerns and the `lust for life' drive, than the infamous Chungking: intrigue seemed to lurk around every corner. While staying there, my guesthouse manager suggested I rent and watch the *Chungking Express*, a 1994 film by Won Kar Wai, loosely connected around the building. I never got around to it...until three years later...and in a way I'm glad I waited to watch this delicious romp about love, obsession and betrayal, for it sparked the nostalgia cylinders and left me in that awed, giddy state that only the best of films can do.

Made on the quick by Won Kar Wai as a means of rejuvenating his creative energy, *Chungking Mansions* originally consisted of three interlocking stories, but one met the axe (to resurface as its own film) to give proper attention (i.e. running time) to those that remained. Of the two stories, only the first has any relation with the Chungking Mansions: a hard-luck dame scours the sleazy corridors for drug-mules, and I must say that the general ambience of the Mansions is faithfully captured. The second story occurs in Kowloon and on the Island, and is connected to the first by one chance encounter (~a brilliant means of transitioning chapters) and the underlying themes of loneliness, disconnection and desire.

In the first tale, undercover cop He Zhiwu (Takeshi Kaneshiro) broods over the disintegration of his relationship with `May,' pining for his lost love with a rather unrealistic `period of absence' scheme and, after a time, seeking comfort from any chance encounter. "I'll fall in love with the next woman I see," Zhiwu vows in a fit of desperation; and who should come along but Brigette Lin, a mysterious figure whom we've already seen in dire straights in the bowels of Chungking. This story has the visual glamour of noir red-lit bars, blur-motion fragments of violence, a femme fatale betrayed and subsequently `saved' by the gentleman Zhiwu yet the dialoge really makes it stand above more typical entries into the genre, especially Zhiwu's internal narration, which ranges from clueless to insightful to downright hilarious. Slight but charming, with enough visceral action and mystery to keep the pace from flagging.

The second story is by far my favorite of the two, and most audiences agree on this, taking into consideration critical acclaim and the reviews on this page; it is easy to see why. A cop (Tony Leung) stops at the same deli every day for his coffee and chef salad, where he meets and slowly develops a relationship with Faye (Faye Wong), a not-quite-sane nymphet who promptly falls in love with him. Acquiring a key to his apartment, Faye begins to sneak in and rearrange her secret love's living quarters while he is gone. Leave it to the Chinese to make stalker-obsession cute and poignant! Yet it works, due in large part to the natural sounding and psychologically keen dialogue of the script, and therein made effective by the acting of the two leads. Faye Wong, perhaps the biggest pop/rock star in China, makes her screen debut here, and what a debut! It is practically impossible to not fall a little in love with her furtive, wild-at-heart character. Wong articulates more with a mere look or throwaway gesture about the titanic struggle of repressed desire than most professional actors seem capable of. Tony Leung, a veteran of Hong Kong's silver screen, shines as usual as the lonesome, half-oblivious cop, and his energy with Wong feels right, so natural. This is very important in the later climax of the film, when the director stretches the tension to a breaking point and even manages to milk some well-earned trauma from these circling, faraway (so close) lonely souls.

Watching *Chungking Express* brought back a lot of memories. In the background and seeping through the surface, Hong Kong glitters and roars, and the film itself eventually feels like an organic growth of the city, in tune to its rhythms and real-life atmosphere. But one not need be acquainted with the City of the Nine Dragons to appreciate the quality of *Chungking Express* this is movie magic in its finest form, infectious and reflective, a paramount example of Asian cinema at its most illuminating. Five stars.

Read Best Reviews of Chungking Express (The Criterion Collection) (1994) Here

This movie (directed by Wong Kar-wai) tells two separate stories. In the first one, a lonely cop who has just been left out in the cold by his girl-friend May, buys and eats expired cans of pineapple and meets a woman who turns out to be a ruthless heroin dealer (Brigitte Lin) who wears a blonde wig. In the second story, a cop who has been dumped by his girlfriend is really unhappy, moping round his apartment all day. Then he meets the waitress at the local fast food joint (Faye Wong), who dreams of going to California.

I really liked watching this film. The imagery and camerawork is stunning, and it is amusing and sad in equal parts, telling the story of how lonely the people are. Another striking thing is the inventive use of music within the stories which is used to illustrate certain points listen out for songs like "What A Difference A Day Makes" and the Mamas and the Papas classic hit "California Dreamin`". I didn`t expect to hear English songs in a Hong Kong movie.

I think it's a nice change to see another type of Asian movie, one which isn`t all shooting or kung-fu. It has an experimental style, lots of energy, and is not afraid to be different.

I highly recommend this tape to people who want to check out a different sort of HK film. If you pass it up, you`re missing out on a gem.

Want Chungking Express (The Criterion Collection) (1994) Discount?

If you have any passion for the art cinema, any affinity for the French new wave and any tolerance for a non-static camera, then there is a good chance you will like or love Chungking express. To fault this movie for having "no plot"(and by the way, it certainly did have a plot just not one in the classical hollywood mould) seems quite ridiculous to me. There are many categories of film hollywood narrative, art cinema and experimental to name a few. Wong Kar Wai is quite obviously attempting to make a film in the tradition of new wave auteurs and independents like Godard and Cassavettes. To fault a film in one category for not living up to the conventions of another is akin to my complaining that a grapefruit doesn't taste much like watermelon or that a documentary about giraffes didn't have any wild boar in it. Do NOT buy or rent CK Express, expecting it to be just like a Tarantino film.