Book of Eli (2012)

The Book of Eli is a vastly underappreciated film that mixes martial arts swordsmanship, a post-apocalyptic setting, and a biblical narrative.

A war, over thirty years ago, killed off many people in the United States. Others were blinded from the blast. This creates an interesting disparity between those over thirty years of age who received an education and those under thirty who know nothing of the modern world (at one point, one of the thugs asks, "What's a television?").

This is an unpleasant world. Cannibalistic brigands ambush unwary travelers, identifiable by their shaking hands. Water is at a premium. Batteries are hard to find. The Book of Eli makes it clear that there's no currency, only barter.

Roaming the land is Eli (a subdued Denzel Washington), carrying a book with a cross on it. This book is greatly desired by Carnegie (a greasy Gary Oldman), who is also old enough to remember the power such a tome can have over the people. While Eli has been wandering for thirty years in pursuit of such a destination, Carnegie has been sending illiterate henchmen to retrieve every book he can find. The encounter between the two has all the fire and brimstone of a battle between heaven and hell.

Thrown into the mix is Solara (played beautifully by Mila Kunis, who finally sheds her trademark accent), a young, attractive girl who has grown up under Carnegie's protection but, as she flowers into womanhood, is about to become a bargaining chip, a piece of meat, and a lure. When there's no one left to protect her, she becomes a wanderer in Eli's footsteps.

From a religious point of view, it's educational to understand who Eli was in the Bible. In the Bible, Eli's children are cursed for behaving wickedly, a parallel for the war that destroyed civilization in the movie. God's curse assures that all men will "die by the sword" in the movie Eli expertly cuts a bloody swath through his enemies with his machete. In the Bible, it was the job of Eli's sons to guard the Ark of the Covenant the pact God made with man just as Eli guards the holy book in the movie.

There's a twist ending that's not a twist of all if you read up about Eli in the Bible. But don't watch the movie, then do some research, then watch the movie again. Like Eli's quest for spiritual fulfillment, the experience will be rather eye-opening.

I was hesitant to watch The Book of Eli for a while because of mixed things I'd read. Some people claimed it to be 'too religious' and others said the movie was just plain boring. Honestly, the trailers I'd seen didn't exactly win me over, but I gave the movie a shot when I was sick one day, and man did I enjoy it. If you've played the Fallout games, especially Fallout 3, you will -loveThe Book of Eli. So many similarities in the look of the wasteland, in the combat scenes, the importance of water, and more. But even if you never played Fallout 3, The Book of Eli is a very enjoyable movie, provided you're not one of those people that immediately hates anything 'religious' and claims a movie is preachy, given that the subject matter here is religion...so that kind of makes you weird to say that. I'm not a Christian, and I'm definitely not an Atheist, but I didn't find anything 'preachy' about The Book of Eli.

The world is in shambles. There's no law for the most part. Raiders are everywhere, looting, raping and eating people that pass by. Clean water and food is tough to find. Of course it's a rough life. Most people wouldn't think much of it, but imagine your life as you know it right now taking a turn for the worst, and you no longer have any luxuriesyou're a scavenger from now on. That's the world Eli lives in. Eli is on a mission, and tries to stay on the path, as he puts it, and needs to go to a specific location to deliver an important book that no one else is allowed to see or read. At the same time, the ability to read has been lost over the years, and very few people are able to do so. Eli is one, and the other is a corrupt man, Carnegie, who runs a town that Eli enters one day to charge his iPod and haggle with the shop owner. Carnegie wants Eli's book, and will stop at nothing to get it. Unfortunately for him, Eli is practically Zatoichi when it comes to swordplay, and easily dispatches Carnegie's men with his makeshift machete, and is even better with a gun. But Carnegie is relentless, and continues to hunt down Eli.

While the plot itself isn't anything special, the style of the movie is. Rarely do I notice the cinematography in movies, but I noticed it within the first 10 minutes here. The wasteland is gorgeous, as weird as that may sound, and if there were more footage of Eli wandering around in it, I would've been ok with that. The fight scenes are all greatnot too long and not too short. Another Fallout 3 connection I saw here was that in the game, you can use VATS (Vault-Tec Assisted Targeting System) to target the enemy's body parts, and get an easy kill/dismemberment that way. I swear, Eli used VATS for all of his kills, because he took out everyone in the same way you would in Fallout 3precise targeting. There's a big twist near the end of the movie, though I did see it coming when I figured something out about Eli early on that most people didn't, but it's still a great touch, and I had a huge stupid smile on my face when it was revealed. Of course the book he's carrying is obviously The Bible, as you see shots of the cover several times before the halfway point, but I won't say any more about it so that the ending isn't ruined. As I said earlier, I didn't find the movie to be 'preachy' at all, and that's because this is a movie about religionit doesn't try to be something else, and then throw in a forced message at the last minute. But at the same time, you could've replaced the Bible with any other religious book, and it would've been fine or given the same message. Eli is a man of god, and given how great he is in action, you have to wonder if he hasn't been blessed in some way. But trust me when I say that the movie isn't boring. While it is inspirational, there's plenty of action to go around, including a great scene with an elderly couple, and Eli making good use of his bow and arrow on some thugs. The action is fun, plain and simple. The ONLY bad thing I say is about the immediate endingthe last couple of minutes before the credits roll. I actually said "you gotta be kidding me" out loud when it happened, and if I were reviewing just the movie on its own, it'd get 3.5 stars. Had they not gone that route, this would be an easy 4 star movie in my book.

The picture quality on the blu-ray is very good for what it is. The look of the movie is very washed out, with lots of greys, browns and -verydeep blacks. Even with the muted look, details are sharp, and the movie is beautiful to look at. The audio's even better, making excellent use of the DTS-HD Master Audio track. Sandstorms and the sound of wind blowing by are constant, gunshots explode around you, and dialogue is perfectly balanced with everything else, so nothing sounds too loud or quiet compared to whatever else is going on. Very nice work here. There are also 5.1 Spanish and French tracks, as well as subtitles in English, Spanish and French.

As for the extras, The Book of Eli doesn't disappoint here either. Maximum Movie Mode is here, allowing you to watch the movie with picture-in-picture of storyboards and concept art for their matching scenes. It's very cool, and makes me wish there were an art book for the movie so I could have an easier time looking at everything! You also get 10 Focus Points, which are featurettes on different aspects of making the movie like weapons, stunts, design and more. Basically, everything you'd get on a commentary track is in these two features right here. There's an animated comic, A Lost Tale, that runs for about 5 minutes and kind of shows what made Carnegie the man he is in the movie. I didn't care for the animation, and there isn't much to it when it comes down to it, but it's still nice to have. Rounding out the extras are a quick featurette on the movie's soundtrack, a few minutes of deleted/alternate scenes (nothing important here) and two good featurettes: one about the rise and fall of civilizations and rebuilding society, and a basic featurette going over the making of the movie (script/filming).

Overall, this is a great blu-ray, and if it weren't for that head shakingly bad ending, I would've given this 5 stars. The Book of Eli is one of the better post-apocalyptic movies out there (especially since it doesn't ruin anything by cramming zombies into the mix), and I'd put close to the same level as A Boy & His Dog. Heck, have a movie night with those two and enjoy some Fallout 3 when everything's over. Have an ice cold Nuka-Cola, and you've got a friday night right there.

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The post-apocalypse sub-genre of science fiction has always been a place I like to go. I'll give movies of this type some slack I wouldn't always give other kinds, so that even a relatively weak post-apoc flick like Doomsday (in which Malcolm McDowell appeared, as he does here) still has its interesting moments. But if it's a good one such as I Am Legend, I'm really into it bigtime. So I've been eagerly anticipating The Book of Eli from the time the first trailers appeared, and now that I've seen it there were many things about it I liked. Start with the mythic prophet main character. His super-heroic weapons skills showed there was something unique about him early on. Those scenes were generally pretty cool, and they were spread out pretty well over the length of the film. (Any more fight scenes would have bored me.) Eli's story plays out with a kind of grim determinism, although it also has hopeful elements as well. I was glad I wasn't previously familiar with the story, as the major revelations about the Book in the final act were a complete surprise. Mr. Washington was an excellent choice for the lead. Other roles were well cast too, including (to my surprise) Jennifer Beals as the blind mistress of Gary Oldman's bad boss character. Oldman himself struck just the right notes of ego, madness & desperation. Anyway, as far as the post-apoc nature of the movie, it provides fascinating glimpses of which possessions would be really valuable in such a world (ex., chapstick yes; cigarette lighter, not so much), and other aspects of survival felt very authentic throughout the film. All in all, it wasn't quite the adventure I was expecting (with occasional pacing issues), but I still found it to be an enjoyable viewing experience.

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I first saw this movie at the theatre. It touched me on such an emotional level that I knew that I would need to purchase it as soon as it became available...which for me is highly unusual. I've long been a Denzel Washington fan, and now consider this to be his finest performance ever. Mila Kunis was excellent as well. I've read some of the other reviews for this film and it would seem that many of the reviewers are bending over backward to declare that the movie is not "religious". Well, in my opinion, it was very spiritual and was basically about the power of God in directing His servant to adhere to His Will through many extreme difficulties over a period of 30+ years in order to eventually accomplish the goal that God had intended. The movie begins in the final trial of Eli's journey and we are allowed to observe the constancy of Eli's "walk by faith, not by sight". It is a tale of beauty in a very bleak world.

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I just watched this movie....didn't bother going to the theatre...watched it at home

on DVD. Let me begin by talking about what I don't like about the movie. First,

at times I felt like I was watching some sets from the Mad Max and Planet of the Apes movies....How many motorcycles will be running in the future and how many gangs

will be out there? Water is a precious commodity, but gas is in abundance?

Seemed silly to me. I thought the acting of Gary Oldman and Denzel Washington

more then made up for those details. As a child of the 1970's...seeing Jennifer Beals again was Nice. The story is intriguing inspite of the Mad Max and Planet of the Apes "feel"....I thought Denzel's Eli was interesting, but at times I thought of the series Kung Fu.....again from the 1970's.....Fortunately those "reminders" don't deviate from a compelling story about a future I hope never happens....

The references to the Bible as both a reason for Hate and a reason for Hope is Interesting. The movie also has a fururistic Western feel to it which makes it appealing to non-sci fi fans.....

Atreides

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Mission Impossible III (2-Disc Collector's Edition) (2006)

I heard nothing but good things about this movie, so I rented it the first day it was available recently.....and I wasn't disappointed. Oh, it does have a bit too much action and a few politically-correct annoyances but neither are much and overall the movie is a lot of fun to watch.

The action scenes are not only interesting; they're spectacular at times. Overall, the photography is slick. It's a good visual movie. Not only the cinematography, but the director did a nice job with many of these shots. The version doesn't have all the gimmicks the first Misssion Impossible film, but it certainly has the best action scenes. The action is improbable as Cruise's "Ethan Hunt" would have to be Superman to perform the stunts and acrobatics he does here. (I would never claim this movie is credible, or even "intelligent" just escapist fun.)

Just put your brains on hold, and go along for the wild ride.

Not very often do the studios come up with a 3rd installment of a film that surpasses it's predecessors. I felt that this was one of those rare cases. I was one of the minority who was not blown away by the first MI. I was even more dissappointed by the second MI. The second one was nothing but a "Cruise love-in". God forbid that they shot a single second of footage that didn't include Tom.

With these memories, I avoided this 3rd MI film. Well, today I had the day off and it was on Pay channels. I sat down and was prepared to be underwhelmed. I was pleasantly surprised. The film again relies heavily on Cruise. But, this time the story is greatly improved by the presence of Lawrence Fishburne and Philip Seymour Hoffman. Back again is the tremendous Ving Rhames. All these characters make for a compelling story. There is also the presence of the nifty gadgets and urgency we expect from MI films.

Overall I found the entire film to be much more enjoyable than the previous MI's and would recommend it to anyone.

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The reason for the success of MI I and MI II, for this viewer, was the sophisticated, scientific devices and plans used to manipulate evil by good. It was always a pleasure to watch the superior minds win. But somehow MI III seems far more interested in pyrotechniques and mass explosions and derring-do than for smart ideas and for that reason it seems less successful but then that may be the result of watching it on the home television instead of the vast spaces of a theatrical screen.

The story is negligibly the same as usual: impossible villain is superceded finally by Ethan Hunt. The role still fits Tom Cruise well, if a bit repetitious, but the strong point of this third installment is the supporting cast. We have the pleasure of Philip Seymour Hoffman's acting gifts as the arch villain, and the added pleasure of fine actors like Billy Crudup, Ving Rhames, Jonathan Rhys Meyers, Laurence Fishburne and the beauty of Michelle Monaghan, Keri Russell, and Maggie Q. And when they are not all covered by fire and broken glass and whirling helicopters and collapsing bridges etc they do make us notice them.

Not a movie for those who prefer intelligent scripts, but for an evening's diversion it is entertaining, Grady Harp, October 06

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I won't review the movie since it's not all that helpful. Instead, I will comment on the blu-ray version which is superb overall. The picture quality and sound are both very impressive. Playing it on my PS3, the color is very clear and contrast on my LCD TV is nearly flawless. There were a couple scenes where I noticed very slight pixelation but it was very brief. Audio is handled extremely well with good separation between dialog and low-frequency bass for the "boom" effect. All in all, I was quite impressed with this blu-ray version and I would rank it in the top 5 BD movies I own. Highly recommended!

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"Mission Impossible III" is a definitive summer popcorn movie. It's got amazing special effects, outlandish stunts, handsome heroes and gorgeous heroines, and a plot that is as thin as tissue paper. All in all, a perfect afternoon's escape from the summer heat.

If you are looking for a complex plot out of a Le Carre novel, you'll be disappointed in this movie, but then you knew that, didn't you? Ethan Hunt (Tom Cruise) tries to save the planet and his wife (Michelle Monaghan, from "Kiss Kiss, Bang Bang," a much wittier film) from the evil Owen Davian (Phillip Seymour Hoffman, cashing in on his best actor Oscar from "Truman"). Davian is some kind of evil gun runner who sells weapons of mass destruction to Bad Guys, and he and Hunt are fighting over the Rabbit's Foot, an undescribed weapon with unimaginable destructive power that also conveniently fits into a small briefcase. Alfred Hitchcock would call this the "MacGuffin."

This "plot" is an excuse to string together some incredibly clever and outlandish "ops" for the Mission Impossible Team. From an early scene where Hunt and his team rescue a captured MI member to a kidnapping in the Vatican to some highwire escapades in Shanghai, Hunt and his gang offer visual thrills galore.

Leave your disbelief at the door, don't try to figure out the physics or the logic, and just have a good time watching attractive people do unimaginably spectacular things. (And try to forget that Tom Cruise is, you know, insane.)

The Howling (Collector's Edition)

When "The Howling" appeared in theaters in 1981, it heralded a mini-revival of the werewolf movie that took advantage of advances in special effects; two films followed later that year: "Wolfen" and John Landis's beloved "An American Werewolf in London." Although "The Howling" doesn't quite match the artistry and continual popularity of Landis's film, it nonetheless has aged wonderfully and is still one of the most enjoyable horror films of its decade. It's scary without getting too gory for the average viewer, has superb special effects that don't overwhelm the story, features a fun cast of familiar faces, and has a quirky sense of humor and loads of movie in-jokes for horror movie fans.

MGM first released "The Howling" in a no-frills DVD that let the movie down: no extras, a cheap and scratchy transfer, and a very dull mono soundtrack. Thankfully, they realized the popularity of the film and are now giving us a nice edition with revamped sound (5.1 Surround), a sharp picture, and a big bowl full o' extras.

John Sayles's script (co-written with Terence H. Winkless) unapologetically drops the classic werewolf legend into the modern-day -in this case, the world of television news and the fad of self-help psychology. News anchor Karen White (Dee Wallace-Stone), while on a special assignment to lure out a serial killer (Robert Picardo from "Star Trek: Voyager") in the city, is attacked by something bestial. On the advice of psychiatrist Dr. Waggner (Patrick Macnee), Karen and her husband (Christopher Stone) head to Waggner's clinical retreat in the woods. However, there's something very disturbing about the other patients in the colony, and those weird wolf howls at night won't stop...

The werewolf transformations supervised by Rob Bottin still have an amazing effect on viewers. Using air bladders, make-up, rubber, and pneumatics, Bottin was able to create a real-time transformation of a human into a nine-foot two-legged wolf. We see limbs snap, snouts grow, claws sprout, the whole deal, and it's damned incredible. (Amazingly, only six months later Rick Baker would do this movie one better with the transformation in "An American Werewolf in London.")

The cast goes a long way to making the film work away from the effects. Dee Wallace provides the serious angle to the film, and is convincingly fragile. The rest of the actors add a wonderful loose humor: Slim Pickens, John Carradine, Belinda Balaski, and director Joe Dante's favorite actor, Dick Miller. The beautiful Elisabeth Brooks steals every scene she's in as a femme fatale who burns with sensuality, mystery, and one weird leather fetishist outfit. Director Joe Dante, who would go on to direct such wacky films as "Gremlins" and "Looney Tunes: Back in Action," puts his nutty sense of humor all over the film and packs it with in-jokes. The names of many of the characters are directors of werewolf movies, werewolf films and cartoons pop up on the televisions, and "wolf" items are scattered all over the place (Wolf Chili, a book by Thomas Wolfe, a reference to Wolfman Jack, a copy of the book "Howl"...and so on).

The extras, most of which are on the flip side of the disc, are excellent. There's a feature-length commentary by Joe Dante, Dee Wallace, Christopher Stone, and Robert Picardo. Dante has plenty to say and is a very lively commentator, and this is a generally enjoyable audio track. "Unleashing the Beast," a fifty-minute documentary (divided into separate parts, but you can play them all together) goes into great depth on the making of the film. It includes new interviews with Joe Dante, producer Mike Finnel, cinematographer John Hora, writer John Sayles, and actors Dee Wallace-Stone, Robert Picardo, Dick Miller, and Belinda Balaski. Conspicuously missing is effects wizard Rob Bottin, but you can see him on "Making a Monster Movie," an eight-minute featurette that was made in 1981. It also contains vintage interviews with Joe Dante and Patrick Macnee. The extras also include two trailers, production photos, and deleted scenes and outtakes (some of which are very funny). But the really major extras for most people will be the new picture quality and the remixed 5.1 sound. If you're a purist, you can still listen to the original mono mix -it's here too.

"The Howling" makes most early 80s horror films, with brute slashers cutting down dumb teenagers at summer camps and slumber parties, look pretty awful. This is fun, funny, scary, smart -and the effects will still make your jaw drop or maybe your fangs grow.

THE HOWLING is a rare original cult-movie, far from the reluctant werewolf pattern. The idea of werewolves instead of a single one hadn't been well developed before, as some legend variations. It has the legendary transformation scene with Rob Bottin's effects, stronger with Pino Donaggio's score (with no CD releasing yet). Rick Baker (Bottin's brother) was consultant and created later the Oscar winner effects of AN AMERICAN WEREWOLF IN LONDON, other historical movie.

Both movies are linked. Contemporaries, they represented a new era. There's no point discussing which one's the better. "AWIL" is more modern in a way, having non-sense humor, bloody scenes and unbelievable effects. THE HOWLING, earlier, has a classical movie profile, surprising plot and ending. Its characters were named after classical werewolf and horror movies directors, like George Waggner, Sam Newfield, R. William Neill, Erle Kenton, Lew Landers, Terry Fischer, Charlie Barton, Jerry Warren and Jack Molina. There are lots of ironies, like THE WOLF MAN quotations during the film and after credits, and the wolf cartoon in a tense scene. John Carradine, Roger Corman, John Sayles and Forrest J. Ackerman appear, giving additional charm. It's the first time more complex werewolves characters emerge, like Eddie (Robert Picardo, the scariest werewolf on movie history) and Marsha (Elisabeth Brooks, 1951-1997). Joe Dante made this classic with $1,6 million and used his own garage for the rated movies scene.

Lots of ideas were borrowed later ("the gift" in WOLF). There were sequels non-related to the original, without the "THE" of the title. Most of them have nothing to do with each other. It's depressing to someone expecting a real sequel to watch HOWLING II.

Comparing to THE HOWLING, Brandner's book is different in many aspects, but both are unique. If you liked one, try the other, but don't get anxious finding total equivalence, some points of one aren't in the other and vice-versa.

Unfortunately, the movie had no lucky on TV. Its first release on VHS had a blueish image. Later, a brighter version came, yellowish, but allowing explicit sight of the effects and a better screen fitting. I can't tell which one has the original color or if none of them has. The MGM VHS release (August, 2000), after years of "out of print", is a very good presentation no cuts, Hi-Fi Stereo. The only possible complaints are a few optical ghosts during the title presentation and a beautiful but not original cover. The light gets closer to the brighter version, with impressive color balancing. But I don't know if it's closer to the original.

Lucky are those who watched it in the theater, with original color and no lateral reductions. We'll have to hope for a DVD version in a letterbox format, with tone color and light fidelity to the cinema's. A special edition, maybe director's, would be wonderful: interviews, soundtrack, theatrical trailler/teasers and more. Otherwise, loyal horror movies enthusiasts are not having what they deserve.

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Karen White (E.T.'s Dee Wallace-Stone) is a TV news reporter who's become the object of serial killer Eddie Quist's psychotic obsession. One night, in a daring attempt to catch the killer on live television, Karen comes face to face with the beast inside him. A rookie cop comes to the rescue, and fills Eddie with lead before Karen can be physically harmed, but she's already the victim of psychological damage. Even the famous Dr. Waggner (Patrick Macnee) can't help Karen remember the face she saw that night, which has been locked away deep in her subconscious. Finally, the concerned doctor suggests that Karen and her husband, Bill, spend some time at his "Colony," a retreat in the California woods for some of his patients who need to "unwind." When the two arrive there, however, they find the place is hardly a relaxing setting. Surrounded by strangers who just keep getting stranger, disturbing howls coming from the woods at night, and a sudden rash of animal mutilations, Karen is not having a restful stay. To make matters worse, the Colony's lovely resident nymphomaniac, Marsha, has designs on Karen's frustrated husband, Bill. Meanwhile, back in the city, Karen's friends and co-workers, Chris and Terry, are doing their best to discover the secrets of Eddie Quist, who they find has mysteriously disappeared from the city morgue. Their search leads them on a path of werewolves and the supernatural, and both will have to come to terms with what they believe if they are going to save their friend from the dangers that surround her before it is too late!

Only a few months before the legendary "An American Werewolf In London" was released, Joe Dante gave us the OTHER best werewolf film ever made, the original "The Howling." Rather than the lone, cursed wolf-man figure, The Howling gives us a very different take on the genre, portraying werewolves as pack creatures much like the real-life animals they take their names from. Everything from alpha leaders, to challengers, to mating, hunting, and socializing is shown from the werewolf's point of view, giving us a much more realistically-based depiction. These tall and very impressive looking werewolves are also able to shape-shift whenever they choose, day or not, making them quite the formidable adversaries. But "The Howling" doesn't disregard the traditional Hollywood legends completely. It still takes silver bullets or fire to kill these werewolves, and their condition is still spread as easily as a single bite. The Howling's effects are fantastic, only outshined by "An American Werewolf In London," released that same year, and just as in that film, the material is handled with great love and respect. It's loaded with humor and cute and funny references to wolf and werewolf pop culture, from cartoons and illustrations, to a can of Wolf brand chili. There's no shortage of gore and horror either though, with some genuine scares for any lone, nighttime viewers. The cast is excellent, studded with camp and horror favorites like Dick Miller, Patrick Macnee, Dee Wallace-Stone, John Carradine, Kevin McCarthy, Christopher Stone, Slim Pickens, Dennis Dugan, and Roger Corman, among others. Elisabeth Brooks is breathtaking as the frighteningly seductive temptress, Marsha. Now, for many, the final scene (or rather, the next to final scene) in which we see a VERY different type of werewolf, tends to "ruin" the scary and impressive style of the rest of the film. Don't let this ruin it for you! According to Dee Wallace in a recent interview at thewerewolfcafe.com, this different look of the final werewolf was done to depict the character in question's unwillingness to submit to the evil transformation. Knowing that makes the whole thing much more acceptable (thanks, Dee)! Overall, "The Howling" adds up to one frighteningly good time that I highly recommend!

6 sequels followed "The Howling," ALL of which have an awful reputation. I recommend checking them out and judging for yourself. They're all very different, and a couple might be rather enjoyable to you, but avoid the no-budget part 7 (New Moon Rising) at all costs.

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PLOT: The film opens in California. A recent occurrence of grisly murders has gotten the attention of the police. Famed newscaster Karen White (Dee Wallace Stone) has agreed to assist the police in a sting operation in order to find the killer. The biggest lead they have come up with is a mysterious man named Eddie (Robert Picardo). Following a phone call, Karen agrees to meet Eddie in a film booth at a porno shop. Karen goes (followed by the police.) Karen meets Eddie in the booth and suddenly a scream is heard which sends the police racing into the shop and firing at the booth. Eddie is killed from the bullet wounds instantly. Karen is left in such traumatic shock that she can't remember what she saw. She starts having strange nightmares and is forced to take a break from her anchor job. Karen's reporter friends, Terry Fisher and Chris (Belinda Balaski and Dennis Dugan) find the apartment of Eddie. It is filled with strange objects and realistic but strange drawings of people covered in hair. "The kid had talent," remarks Chris. By looking at the signature on the drawings, they discover that Eddie's last name was Quist. Karen later visits the psychiatrist Dr. George Waggner (Patrick MacNee). He is affiliated with Karen's news station and recommends that Karen go to his clinic in upstate California called "The Colony", in order to relieve some stress. Karen is accompanied by her husband R. William (Bill) Neill (real-life husband Christopher Stone). The other people at the colony are really weird, especially the eccentric yet sexy nymphomaniac Marsha (Elisabeth Brooks). At night, Karen awakes in her cabin to hear strange howling sounds from outside in the wilderness. By the time Bill wakes up, the sound has stopped. Terry and Chris later go to the county morgue to see Eddie's body, in an attempt to get some information for an upcoming TV special they are working on. When the morgue attendant (screen-writer John Sayles) opens the compartment door, he sees that the body is gone. There are also claw marks on the inside of the door. "You don't suppose someone could have stolen him, do you?," asks Chris. The attendant replies, "Well he didn't get up and walk out on his own." Karen is still having her nightmares and she still can't remember what happened in the porno shop. She has trouble fitting in with the people at the colony, but Bill starts to fit in right away and he constantly finds himself drawn towards Marsha. One night, on the way back to the cabin, Bill is suddenly attacked and bitten by some sort of wild animal. Before he can see what it is, it's gone. He is immediately treated by Dr. Waggner for rabies. Not too long after this, Karen realizes that she is in a place where no one is who they seem to be.

COMMENTS: Joe Dante's The Howling is a delightful film and easily one of the Top 5 best werewolf films of all time. It is based on Gary Brandner's1977 novel of the same name. It is not a faithful adaptation however. Dante and the other filmmakers wanted to make an homage for other werewolf films and they used Brandner's novel as the base. Many people have claimed that this is one of the few times when the movie is better than the book. The filmmakers decided to base the werewolves on original legends: they would look like large wolves standing on two legs, they can only be killed by silver or fire, if they aren't killed properly then they will regenerate, and they can change at will and don't have to wait for the full moon. Many of the character names have been changed to the names of directors of werewolf films. Many other references are made, such as Terry and Chris watching the Wolf Man on TV, Bill's reference to radio DJ Wolfman Jack, a photo of a young Lon Chaney Jr. in Dr. Waggner's office, Chris is seen watching a cartoon with the big bad wolf while he has a copy of the book "Howl" on his desk, and the sheriff of the colony is seen eating a can of wolf chili. Rob Bottin's special effects for the transformation scenes are absolutely amazing and he was only 21 at the time. I think it looks better than some of the CGI crap that filmmakers use today. No more cheap lap dissolve tricks from films like "The Wolf Man." Rick Baker served as the special effects consultant on this film and afterwards he did the special effects on "An American Werewolf in London", which won him the very first Oscar for special makeup effects. The Howling franchise introduced us to sexy female werewolves and Elisabeth Brooks as Marsha was a fine example. This movie was also the first to show a "werewolf sex scene". Since this movie was such a big hit, Joe Dante later went on to direct movies such as "Gremlins", "Innerspace", "The `Burbs", and "The Explorers." Dee Wallace Stone went on to play the mother in "E.T." The Howling started a franchise and was followed by 6 inferior sequels: Howling II: Your Sister Is A Werewolf, Howling III: The Marsupials, Howling IV: The Original Nightmare, Howling V: The Rebirth, Howling VI: The Freaks, and Howling VII: New Moon Rising. Some were o.k. (Howling III), some were so bad that they were hysterical (Howling II) and one was so bad that it wasn't even funny (Howling VII). The original Howling is a timeless horror classic. I would recommend this film to anyone. The new special edition DVD is awesome. The picture and sound have been completely remastered and it can be viewed in full screen or the original widescreen theatrical ratio. It also features deleted scenes, outtakes, photo gallery, original theatrical trailers, commentary w/ Joe Dante, Dee Wallace Stone, Christopher Stone, and Robert Picardo, a 1981 documentary entitled "Making A Monster Movie: Inside the Howling", and a brand new documentary entitled "Unleashing the Beast: Making the Howling." Check out my reviews for the Howling II and Howling III DVDs as well.

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I love Horror films. When talking about the many sub-genres involved and the low percentage of quality horror films, some films stand out as merely "important" rather than achieve a level of greatness (Last House on the Left, Friday the 13th). The Howling is such a film.

When looking at the great werewolf films out there and considering the times they were released, the original Wolfman stands next to An American Werewolf in London as perhaps the greatest Werewolf films of there respective times. The Howling may very well be a challenge to the latter of these two films as the best of it's time. Both were released in 1981, but the Howling was developed before the Landis project. It doesn't really matter, as I do believe An American Werewolf in London to be better film but the Howling is an important film along with being entertaining. Neil Jordon's In the Company of Wolves came out a few years later and is my personal favorite of any in this sub-genre but all that aside, The Howling is a true horror classic and a werewolf movie fan's treasure. It is a must have of hardcore horror fans because it contains and helped identify the many traits we've seen before and after it.

The Howling starts off in a similar vein to that of the original Dawn of the Dead, putting the idea of a werewolf into the mainstream media (disguised as a serial killer) and it ends on a similar note. This allows us to sort of picture this mythical creature on scale with today's society, or at least that of 1981. It's dated and it's thrown right on TV so we can all feel connected. The film is handled as a kind of film noir at first and slowly brings itself from that and into the werewolf sub-genre in fairly atypical fashion. The acting is really only good by it's main protagonist, whose name escapes me. It also has it's share of character actors who we've enjoyed in these kinds of films before. The Howling isn't afraid to laugh at itself either, which I think is almost a must in horror films...it interesting how almost all other notable werewolf movies (i.e. Dog Soldiers, An American Werewolf in London) also make us laugh. This helped me in some respect to look past a lot of the dated special effects and to laugh at them. The film gets more microcosmic later on and sets itself up for some good scares and some eerie and outstanding howls in the night. Unfortunately, the film ends a bit too quickly, but the Howling remains almost as important as An American Werewolf in London for bringing this great myth back to the forefront of horror films again.

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Higher Ground (Two-Disc Blu-ray/DVD Combo) (2011)

Professional critics were fairly lukewarm toward this film, although even then, many acknowledged that elements within it are exceptional. For one thing, it is very unusual to see a serious work that treats religion--and a rather fundamentalist form of Christianity at that--seriously and without insult, irony, or undue reverence. Most films focusing on related topics either satirize people of faith (Saved!) or offer syrupy endorsements of faith Fireproof). Rarely is faith depicted as the mixed bag it often is. While "Higher Ground" doesn't have the same scope and grandeur, in that one particular--treating faith seriously--it reminded me most of The Mission (Two-Disc Special Edition).

I was surprised and delighted to see all of the five-star reviews already posted. My concern is that many people would miss the uniqueness of this film and mistake it for either a hatchet job (because church life and serious spiritual commitments are depicted warts and all--it's not all smooth sailing for this male-dominated, anti-intellectual sect) or an endorsement of fundamentalism (because it's not all bad, either--the movie just assumes that faith provides comforts, joys, principles, and experiences that can have transcendent value for those who hold to it).

Sexuality, which is often a hot topic for fundamentalists, is treated frankly and realistically, and consequently provides some of the movie's greatest moments of humor. C.S. Lewis wrote that Eros is a comic spirit, and "Ground" does not shy away from that aspect of life. It also shows a complex and authentically rendered family life that includes alcoholism, divorce, temptation, and the rigors and amazement of parenting. Too, it tackles illness and loss. It's a complete package...a touching and meaning-filled drama that will stick with you and will likely provoke some reflection and discussion.

From my own experience as a fundamentalist cut from a bolt of cloth not unlike the one featured in "Ground," I can attest to its overall accuracy and authenticity. I can also attest that, as with the main character, Corinne Walker, books, conversation, museums and personal independence can help lead one away from the less healthy, more smothering aspects of fundamentalism. In my case, those things led me to question my faith altogether and to reconstruct my life without it, and I am better and more happy as a result. We never see Corinne abandon her faith, but we don't see her giving up her quest for other, more expansive answers, either.

I think "Higher Ground" will be enjoyable to anyone open to identifying with someone who might not be just as they are. A fundamentalist watching it can perhaps gain a better appreciation for the kinds of things that might make that life seem stultifying to some people; and the skeptic or non-religious person might gain some sympathy for how faith provides a foundation for some people to cope better with life's existential trials.

This is a review of the movie DVD disc only.

The film doesn't have the look of a plotted, story-boarded narrative. There's no imposed arc or resolution to the gentle moments of a woman's life shown here. We see her low-key movement toward, and then away from, religious attendance.

Contrary to what the film's cover might lead one to believe, this is no indictment of another megalomaniacal cult leader. There are no bad guys here. This film does a remarkable job presenting a series of realistic, slice-of-life scenes. We feel as if we are eavesdropping in a woman's everyday kitchen, at her everyday church services.

The producers also did a remarkable job finding actors to play the lead as a girl, then as a teen, then as a mature woman. For once, there does appear to be a continuity of features, unlike most films involving time progressions in which it's impossible to believe that child grew into an adult who would look like that.

This whole film is absorbingly realistic and touching. As movie-goers, we might be used to more dramatic action, so it takes a while to calm down into the more reflective mood of this piece. For example, it was only when I viewed this movie through for the second time, that I caught the moving coincidence of the scene in which Corinne sits on her church steps, patting a stray dog who has temporarily attached itself to her.

This isn't a chick-flick. Nor is it a charge against religious fanaticism. Nor is it any kind of standard beginning-middle-and-end story. This movie is unclassifiable like life itself.

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Vera Farmiga tackles yet another topic that could have been inflammatory although with her, it is not. Using an honesty and bravery as she is so often capable of in this her directing debut. She is looking at the subject of one woman's (Corrine Miller, also portrayed by Farmiga) faith and the eventual questioning of this through the vehicle of the 1970's wave of Fundamentalism.

This portrait has a lovely soundtrack worth noting by Alec Puro. Farmiga directs without the condescending or mocking tone towards Christianity which is often present in films. It has a broad appeal, to the believer and the nonbeliever alike. It is a question of personal faith not of righteousness through Christianity.

The movie starts with Corrine's childhood in Vacation Bible School, with the pastor Bud (done wonderfully by Bill Irwin). The picture quickly shifts to Corrine's teenage years. She is a writer and meets her future spouse Ethan, who wants her to write for his rock band. They eventually marry and a short while after their first daughter is born, a tragedy happens.

This leads the couple to their established adult family life in a fundamental church community. Ethan Miller has given up the rock life and is an elder in the church. Corrine is a devoted and devout young wife and mother. Add to the mix a best friend (Anika-"Nika") whom Corrine is so close to. She adds light, color and life to their friendship. Nika is extremely devout herself as she is also playful and fun for Corrine.

There are so many happenings through the fifteen year marriage; her church life and her personal life. Vera Farmiga handles this with a special skill and precision, which leads our protagonist to her doubting and questioning of her faith. Corrine begs God to help her to "feel" Him again because at this point she says she "feels nothing", when she "used to be so full". One episode that occurs is the happening to Nika and her relationship. I could literally feel the pain of it rip right through Farmiga in a powerful response at the church. I also see the seeds of distrust get planted ever deeper as it would send anyone reeling. Nika is her confidante in life.

Adding laughter of life with friends and family situations, there is injected humor, although the piece itself is in no way a comedy. Humor is brought from the two friends that keeps their union fresh and close. What they say or do may be frowned on by the church although I see it as anything any two women would share. This is another reason I find this movie so relevant as friends in the truest form.

The ending is brilliant (without giving away anything), we simply see Corrine through everything, walking out into the street in the bright sun. This leaves an open-ended conclusion and opinion for the viewer to decide. See this for its great storytelling and provocative theme, also for discussion. It was very helpful for me on a personal level and left me thinking on it for a long while.

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This is a must see. As other reviewers have pointed out, it treats the subject matter in a very non-judgmental way, simply portraying one woman's struggle without caricaturing the faith community. A unique perspective. I highly recommend this one.

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I can't think of a movie in recent memory that has truly risen to treat the subject of religion. Vera Farmiga's new film, Higher Ground, does so with honesty, not reaching for an easy black and white resolution. It raises very relevant questions for anyone who has tried to reconcile spirituality with life in the modern world. And though the topic may seem austere, Farmiga does a wonderful job (as director and lead) of imbuing this film with subtlety and humor.

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She's Out of My League (2010)

Most comedies out there today are complete and utter garbage. Most romantic comedies could be written by brain-dead zombies and have more originality. After watching hours of that drivel (my wife likes them), She's Out of My League was refreshing. For the first time in far too long, I laughed out loud at a romantic comedy. The movie was genuinely funny, meaningful, and not always predictable.

Despite the scenario (hot girl, deadbeat guy), She's Out of My League doesn't peddle the usual bromides about "love being blind" or "good things happen to good people." Rather, it's about self-esteem. This makes the characters and plot more interesting and subtle. I'm not going to claim that there's Oscar-winning character development in She's Out of My League, but Molly, the hot girl, and Kirk, the not so hot guy, do seem like realistic personalities. Kirk does not "refashion" himself into a stud (although there is one incident with shaving a certain area...). Molly isn't the "perfect" hot girl, but has insecurities of her own and a need to play it safe. They're helped by a decent script with dialogue that doesn't seem too forced or awkward (except for the cursing see below). It is kind of possible to see why they fall in love with each other it makes sense in a way that most romantic comedies don't.

My only problem with the movie is the overload of cursing and sex references. I understand that's standard fare in most comedies nowadays. Frankly, I found most of it funny. Sometimes, however, it just became too much (how many times do you really need to drop the f-bomb? You don't actually need it to express anger in every scene). It got to a point where it seemed like the scriptwriters couldn't think of anything better to fill the space. Fortunately, this doesn't take away from the movie too much, but it might not be a good idea to watch this with anybody who's sensitive about those sorts of things.

She's Out of My League had real potential, and I'd like to see more work from this set of directors, scriptwriters, and actors (well, maybe better scriptwriters). Overall, 4 stars.

Ok, we've all seen this story before. average guy gets the hot chick, an unbelievably hot chick I might add. Its the same storyline in a lot of romantic comedies, but what keeps us from going to watch them when we know they are all alike? They each have there own little twist. The particular twist in League is that the guy is an unattractive Security worker at an airport who meets the hot chick by a series of events that we all wish would happen (dont deny it you guys we all wish life worked like it does in the movies). Anyway, after seeing the previews your either thinking 'Hmmm... this might be a good movie' or 'OH GOD another stupid comedy about a loser and a girl' there is no 'WOW, this looks amazing' crowd. I was in the group that thought it looked good, so I had to check it out for myself. I was downright happy with this movie. It was funny, it was loving, not to mention the disney movie references the fat guy kept making. I dont think I'm the only one who thought Stainer, one of the friends in the movie, had a Napolean Dynamite vibe to him. The way he talked and looked just screamed 'Frickin Idiot'. It was good enough to see twice ad it is good enough to be going in my dvd collection when it comes out. I gave it 4 stars because lets face it, its been done before, and I can't help but to think that its just gonna make all the single unattractive guys out there feel a little down!

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'She's out of my league' is a movie that works. Rather than relying on tired dirty jokes and cliche's, and despite it's goofy looking promo poster, it is quite insightful into our shallow perceptions of relationships.

Part of it's success is the main character, Kirk, is just very average and humble. He's not self-deprecating in a rediculous way, he's just very straight-forward, with a dose of low self-esteem. Even his more-attractive love affair, Molly, is a pleasant person, rather then some poster-girl stereo-type. Even better is the fat guy (forgotten his name) who's mature outlook helps him to lead a contented life. It's the good characters that make this movie worth watching.

On the whole, everything is good; the dialogue is usually interesting, the jokes are ok, etc. As you can guess, the movie is about a really hot woman who starts falling in love with a man who considers himself unattractive. The man finds it difficult to accept such a hot girl could like him, or that their relationship is justifiable. There is a raft of side-plots and characters that add to the overall entertainment. Overall, the whole movie is very enjoyable. Rating ***1/2

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When I started to see the previews for the film, I thought it could be a nice mid day typical funny movie. However I was laughing so hard, and when it was over I knew I had to see it again soon. This movie is so funny and because of the somewhat unknown cast, the jokes became funnier.

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Emaciated and timid, Kirk (Jay Barachul) is a man who is referred to by his friends as a moodle man poodle. He's the fixer-upper who never gets the girls. When graded by his friend Stainer (TJ Miller), the best Kirk can be is a 6 out of 10, and that's being generous considering his atrocious car. It's Kirk's fortuitous encounter with Molly (Alice Eve), however, that begins to change not only his mind, but the opinions of his unsupportive friends and family.

Filmed in Pittsburgh Primanti Brothers and Mellon Arena are highlighted the movie really comes off as genuine. Sure, the hot chick never goes for the guy who is so skinny his nipples touch, but it was even less believable thanr that execrable disgrace The New Guy; somehow it worked, and it even had a little Serendipity vibe to it. Tal Bachman said it best with their definitive song: "She's so high above me, she's so lovely." She's too good for him, yet realism oozes out of the movie.

Perhaps it's because the actors played who they actually probably are in real life. Alice Eve looks like she has always been the over-achieving cheerleading captain who buckles men's knees, so the role was probably not a stretch. Similarly, there is no doubt in my mind that Jay Barachul has received multiple toilet swirlies in his time. Stealing every scene, however, is TJ Miller. What a cool, socially aware Napoleon Dynamite might be, Miller is hilarious, and looks like the guy who got big laughs since he was a child. For such a young, somewhat inexperienced cast, there are no lulls or weak links.

The one glaring flaw in the screenplay (other than the aforementioned improbable skinny dude and hot chick connection) is an uncomfortable ball shaving scene the most unbelievable scene in movie history. Yes, more unbelievable than Ben Affleck as an oil worker who goes into outerspace as a temp astronaut to land on an asteroid and mine into it to deposit a bomb which will split the asteroid which is the size of Texas into multiple pieces that will narrowly miss the Earth and avoid an extinction level event.

Fun, quick-moving, and worth the time. I recommend it, even if it does toe the line of chick flick.

Jason Elin

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Lady for a Night (1942)

Joan is a riverboat queen who runs her casino with the aid of political boss Wayne. I saw this movie years ago in California and thought it was corny but cute. Certain scenes are rather ludicrous such as the raven in the window foretelling evil ahead and the malevolent presence of Blanche Yurka as Julia Alderson lingers in the memory for her campy playing. Yurka tries to poison Blondell when she tries marrying into the Alderson clan, but alas the potion is drank by a family member and guess who is charged? There are several musical numbers such as Blondell singing "Up in a Balloon" . A harmless way to while away an hour.

If you don't expect anything amazing, you'll enjoy this film. It's well-intentioned and could have been more, but it just doesn't have that magical chemistry that makes for a great movie. The plot is a bit hokey and predictable, but it wasn't trying to be anything more than that in the first place. Not a must-see, but a nice southern romance full of intrigue type of movie to sit back and relax with.

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If John Wayne is in it, how can it be bad? Joan Blondell and the Duke make a pretty good pair.

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this also helped compleat my set still want more of the early ones i have not got the man betrayed yet

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Kuroneko (The Criterion Collection) (1968)

[KURONEKO aka BLACK CAT (1968) Directed by Kaneto Shindo Widescreen Presentation] From the director of 'Onibaba' and 'The Island', this genuinely creepy, atmospheric (and somewhat obscure) classic finally gets a stateside release; even more blessed are we that it's getting the Criterion treatment. Riding the critical wave after 'Onibaba' was released, Kaneto Shindo, along with Kiyomi Kuroda, whose award-winning cinematography sets the tone for this film, brilliantly delivers the chills with an underlying tragic story of lost love and revenge, and its Chiaroscuro/Noir visuals are nothing short of breathtaking.

In feudal Japan, a warring group of marauding Samurai seeking food emerge from the dense forest when they come across a house that should have what they require. Upon entering the house, they find it indeed has what they want and a whole lot more...it has women as well. The inhabitants, an elderly woman and her young daughter-in-law are both subjected to continuous sexual assault as each Samurai takes his turn while others plunder the women's food stocks. After the Samurai have satiated their appetites, they leave the women, now unconscious, for dead and set fire to their home as they flee. When the fire eventually burns out, all we see are the burned and battered bodies of the women amid the ruins and their vulnerable black kitten as it licks their charred bodies, a dark and grisly moment captured purrrfectly.

Later on, one night a Samurai approaches on horseback and is met by the spectral vision of a woman, who tells him she is too frightened to make her journey home because she has to pass the Bamboo Grove, which is a known haven for bandits and highwaymen. The Samurai agrees to accompany her to her home, where he is plied with sake. The woman then proceeds to seduce the Samurai before brutally attacking him, devouring his throat and sucking his blood...for we then learn that the two women are in fact Bakeneko, newly embodied catlike vampire spirits of the dead women murdered by the Samurai, who have made a pact with the evil spirits, granting them restored life on the condition that they murder all Samurai who pass their way. These nightmarish acts continue until a young man victorious in war is hired to hunt down the vampires, but he soon realizes to his horror that these creatures are the vengeful souls of his mother and wife who died while he was off at war. He is now torn between his lord, who orders him to rid the forest of ghosts or else he will be killed, and his mother and wife's ethereal forms whom he loves and couldn't possibly fathom killing.

Though it may not sound like it, this film is rife with indelible, grotesque imagery that will stay with you forever, yet maintains a Kabuki play arthouse quality right through to the tense final moments. The swamp location is a perfect setting for the film to take place and director Shindo takes full advantage of it, especially during the scenes where the younger of the two women is leading the stray, egotistical Samurai to their inevitable deaths. If you enjoyed 'Onibaba', 'Kwaidan', or even the more recent 'Kaidan' (a modern retelling of this type of flick), you're certain to appreciate this one. Let this 'Black Cat' cross your path and your luck's bound to be good...

This is a film I have only seen on a crappy foreign bootleg copy --the picture was washed out and even muddy in patches and the sound was boxy, but the shortcomings of the poor transfer (from who knows what sources) were soon forgotten as I was immersed in the masterful storytelling and lovely atmospheric world of the filmmakers. This is a classic, old-school, Japanese ghost story, told at a measured pace and more creepy than shocking (which means it may not hold the attention of restless viewers who demand a rock'em-sock'em, CGI rollercoaster ride, and OMG --it's in black & white!), but it's just my cup of tea. I look forward to seeing this film decently presented, and you can always count on Criterion to get the job done.

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I was blown away by this film.

I have really enjoyed films by Akira Kurosawa and wanted to branch out to other Japanese Director's work.

I bought this on a whim.

Its a haunting story that is tragic and romantic. Its also very sexy in its own way.

if you want to take chance and watch something startling and unique please give this film try.

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Previous reviewers have justly praised this film at length, and I'm glad to add my praise to theirs. Simply put, this Japanese tale puts modern attempts at horror to shame. Filmed in gorgeous black & white, utilizing the most basic of special effects, and suffused with a powerful erotic & psychological current that strikes to the heart of the viewer, it draws you in deeper & deeper until the eerily still & silent end.

What makes it so memorable?

First of all, it offers strong characters with powerful, contradictory emotional drives. Torn between family, honor, religious & social demands, they recognize the trap they're in, one determined by outside forces they've internalized. Yet they're unable to resolve those contradictions & save themselves. This sense of the inexorable only grows stronger as the story progresses.

So our young farmer-turned-samurai is faced with the bloodthirsty ghosts of his wife & mother, who have vowed to destroy all samurai, but retain enough of their memories & humanity to want to spare him. For his part, he relishes his rise in social status, yet desperately wants to be reunited with his wife & mother, partly out of guilt for not being there to save them.

Then there's the cinematography & the bold direction of Kaneto Shindo, making superb use of dense masses of shadow & sudden pools of unearthly light. There's a minimum of gore & gratuitous shock; instead, the emphasis is on atmosphere & tension, brought to a slow & almost unbearable boil. It has a dreamlike quality, one that can turn from haunted beauty to outright nightmare in an instant. In a way, I'm reminded of Cocteau's "Beauty and the Beast" -there's the same sense of some ancient folk tale retold in strangely intimate terms -but where Cocteau properly brings his film to a deserved fairy tale conclusion, Shindo ventures into darker & more ambiguous territory.

As with his previous "Onibaba" (which is the perfect companion to "Kuroneko"), Shindo's sympathies are with the women. For all their visual beauty, his films don't glamorize the samurai, or men in general. His concern is more with those who have to suffer the consequences of living in a world shaped by masculine hungers; thus even his historical films speak eloquently to the present.

Most highly recommended!

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It has been a long, long time since I have seen a film and became so enthralled with it that I chose to watch the same movie the very next day.

The film begins with a view of a forest as white fog glides through the trees. A kodo drum beats furiously...this changes to the sound of a cats' claw on a brick wall, then the sound becomes an eerie rattle. A quiet cottage by the edge of a bamboo glade is a scene of peace. Very silently, we see twenty poor samurai who emerge from the bamboo, drink like beasts from a spring, then discover the cottage, Inside the home are two peasant woman who farm for a living. After stealing their food, gang raping and leaving the females for dead, the warriors maliciously burn the cottage to the ground. Only a black cat remains, licking at the womens' bodies.

These two women, a mother and her daughter-in-law, become cat spirits who can shape shift into their former selves, albeit with strange cat eyebrows. In the next world, they pleaded with the god of evil to let them live as vampires so that they could wreak vengeance and bring death to all the samurai. Their aim is to lure the warriors into their forest home, seduce them, then tear out their throats. When victim and victim pile up, the cat spirits discover that the newest samurai they have targeted turns out to be the older woman's treasured son and the younger woman's dear husband. Alas, alas, he has been given the difficult instruction by his lord to rid the land of the cat ghosts. How can he do this?

The black and white photography is moody, sensual, abstract, expressionistic...and absolutely sensational. The contrast between pitch black and silver light creates a sense of the otherworld a technique perfectly suited to a ghost story. But this film is really NOT a horror film it is closer to a Kabuki theater piece or perhaps a morality play. The difference between good and evil is ambiguous.

Consider just one scene the ghosts' first victim is a samurai who had earlier been one of the men who raped and murdered them. As he enters their magical home, the trees surrounding the house move as if on a round carousel. The breeze creates ripples of sound rustling leaves and whispers. The director recreates a Grimm's Fairy Tale translated to Feudal Japan.

This one is a keeper...a film I wish to study for its magnificent effects. (Given the choice, DO select the Blu-Ray version).

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