The Penalty: Kino Classics Special Edition (1920)

Kino on Video has carved a niche for themselves with their fine digital transfers of art, foreign and classic silent films. Four of the towering icons of early cinema were Lon Chaney, John Barrymore, Douglas Fairbanks and Rudolph Valentino. Now, each of these stars has a seminal film freshly available for a new generation to discover and enjoy on DVD (along with a generous sampling of choice supplemental material).

A few years before his death, I got to know Allan Dwan, the legendary film pioneer and director of over 400 features films, who by then was well into his 90s. After a special screening of a his 1922 "Robin Hood," a spectacular comic epic adventure starring Douglas Fairbanks, Dwan told me how he discovered Lon Chaney. "I was at Universal and picked up a new prop man," he said. "Suddenly, every day after work, I noticed a stranger leaving the set where we were shooting. A stranger with a missing leg, or eye, or odd nose, hair or teeth. It turned out to be Chaney in his home-made makeup effects. I said, 'You wanna be in front of the camera?' and began putting him in small parts where he was immediately noticed -not so much for his makeup, but rather his personality. So I took the tip and featured him. He had that mysterious hidden thing that certain people have. He was a star from the very beginning."

When I saw "PENALTY" I understood what Dwan meant about Chaney's sheer force of personalty. Shot in 1920, this Wallace Worsley ("Hunchback of Notre Dame") directed thriller features Chaney as Blizzard, an embittered double amputee and criminal mastermind out to avenge the incompetent doctor who cut off his legs when he was a boy. Blizzard befriends the surgeon's artist daughter and serves as model for her sculpture of Satan. All the while biding his time to enact his demonic revenge. Chaney is electrifying. The disc is loaded with essays, photos, clips, shorts, trailers, a video tour of Chaney's makeup case and a look at the double amputee rig and costume. The atmospheric music score is by Michael Polher. A DVD for the digital library. Trust me.

Like many other movie fans, my only view of Lon Chaney was in The Phantom of the Opera. I enjoyed it a lot and decided to try some of his other work. The Penalty sounded the most interesting since Chaney's legendary makeup skills are used not on his face but on his legs. He is nothing short of amazing in his role as a double amputee/crime lord. Indeed, this is one of those movies that is carried by an actor's charisma.

Unfortunately, the supporting cast is not nearly as fascinating as Blizzard. With the exception of Rose, they are just the standard gangster film characters. (The eager young man, the innocent young girl, the dogged investigater) Whenever Blizzard is onscreen, the movie really works and the viewer misses him when he is not there. Chaney takes a completely horrid character and makes him almost likable. It's no wonder this was the movie that made Chaney a real star.

The plot involves Chaney's character, Blizzard, seeking revenge on the imcompetant doctor who amputated Blizzard's legs at the beginning of the movie. Meanwhile, the police are investigating Blizzard, hoping to bring down his entire gang.

The print is nice enough, quite watchable. The soundtrack is another matter. It consists of NIN sounding loops and drumbeats. Some silent movie fans are purists when it comes to music and some are not. I am in the middle. I would have preferred a more traditional soundtrack (the clangs and bangs are distracting sometimes) but it did not wholly hamper my enjoyment of the film. I just want to give a warning to any traditionalists.

The DVD boasts a suprising amount of extras for a silent film. A 1914 western short starring Chaney. I enjoyed seeing how little a western changed between the teens and the fifties! Also,and a brief but well-done tour of Chaney's makeup case. There is a book-to-movie comparison that explains why the ending was changed. (I think the movie would have been stronger if they had kept the original ending.) I won't spoil it of course but I didn't think it was in keeping with the mood of the rest of the movie.

All in all, check it out for Chaney. It is an entertaining film and a great piece of film history.

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Other than "The Phantom of The Opera" this is Chaneys' best work. I have viewed most Lon Chaney films (All that are in print). I must admit, some of his films are corny, one hour melodramas,that I would only recommend to dedicated fans. However, this story, the acting, and the "Kino" soundtrack, will make this one to remember. Better than "The Hunchback" (and that's saying a lot)

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The Penalty is a superb Lon Chaney film. It has a really sinister, creepy atmosphere and a central performance from `The Man of a Thousand Faces' which is amongst his best. Chaney, in the role of Blizzard, does not use elaborate face makeup, although his face still takes on an incredible number of varied expressions. What makes his performance so memorable is that he is able to convincingly play the part of someone who has had both legs amputated above the knee. Chaney is totally believable as he moves around on crutches. He shows an incredible strength in using only his arms to climb ladders and ropes. Chaney's performance is not merely a physical tour-de-force. His portrayal of the bitter criminal mastermind does not descend into caricature. The viewer sympathises with him even as his violent actions make him repellent.

The story of The Penalty is lurid to say the least and at times rather far fetched. It is basically a story of Blizzard seeking revenge for the unnecessary amputation of his legs as a child. This revenge involves an elaborate plot to trap the doctor responsible for his plight. Alongside this revenge plot Blizzard plans to take over the city of San Francisco using `Reds' to fight the police while his gang robs the banks and jewellery stores. The story is far from plausible, but stories of criminal masterminds rarely are. It is however hugely enjoyable, exciting and also at times quite shockingly violent for a silent movie.

The print used for the Kino DVD is very good. It is nicely colour tinted and is clear and sharp. The score, composed by Michael Polher, is modern in style and takes a bit of getting used to. It has a thumping beat for large parts of the film, which can be a bit annoying, but on the whole the score fits in quite well with the mood of the film. This DVD has a lot of extras. The best of these is Chaney's one-reel 1914 Western, By the Sun's Rays, which shows the younger Chaney already playing the villain. There is also an interesting video tour showing Chaney's makeup case and the costume he wore in The Penalty. Other extras include a photo gallery a good essay on The Penalty. This is a fine DVD with one of Chaney's best films. Silent film fans will not be disappointed.

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This film and this DVD reissue have already received vy competent reviews from prior critics, so I cannot add much. This is one of the best restorations I've seen, superbly mastered and artisically tinted. The music is extraordinary, very well coordinated with the action. I liked it a lot. It reminded me of "Tubular Bells" in Friedkin's "The Exorcist." Chaney is simply astounding in this film. He is known as the Man of a Thousand Faces and most people meet him in his heavily made-up roles as the Hunchback of Notre Dame and the Phantom of the Opera. Here he is himself, just his own face, his own acting skill against the camera lense, and he is astounding. This is one of the great, great silent films and I was reminded of Gloria Swanson's immortal line in "Sunset Boulevard." "Back then we didn't need sound. We had FACES." Chaney's gymnastics as a legless cripple are tremendous -he climbs stairs on crutches and twice lifts himself by sheer arm-strength up a series of pegs driven in a wall, like a giant spider -but in some way they are the least part of the film. It's his face, his acting, his sheer power that carries the film along. It's all expressions, all shoulders and arms and hands. It's an astounding performance. The only drawback is that he just blows everybody else away, every other actor in the film seems made out of cardboard, compared to Chaney. I agree with a prior reviewer: "WHAT ABOUT THE HATS?" That part of the film doesn't make much sense, though it does afford Chaney one of the most terrific and scary moments in his career, when he threatens a hatmaker, wobbling and towering above her like a huge monster on a table. The ending is silly, but one is left with the disturbing and unforgettable sense of having seen something truly demonic briefly released on film. An astounding and powerful film, a real tour-de-force, handsomely restored and presented with many fascinating extras. Even the subtitles are curiously horrific.

A minor note: Rex Beach, who seems to have collaborated on the screenplay, went on to promote Coral Gables as a real estate development south of Miami, along with William Jennings Bryan. Everybody ends up in Florida, sooner or later!

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Clue: The Movie (1985)

Clue is Paramount Pictures' comedic film rendering of the classic Parker Brothers board game of the same name. But don't let that dissuade you from seeing this one. Although you'll recognize the chromatic character names, unlikely murder weapons, and Victorian mansion settings, tracking down the murderer in the movie version of Clue requires a good deal more than a deck of cards and a notepad. (It's a lot more fun this way, too.)

Involving the talents of seven of Hollywood's funniest funny people, including Madeline Kahn as Mrs. White, Christopher Lloyd as Professor Plum, and Tim Curry as Wadsworth, the requisite butler, the film is guaranteed to keep you laughing. The script is packed with sparklingly witty exchanges, such as this one between Wadsworth and an angry Colonel Mustard (Martin Mull):

Mustard: Are you trying to make me look stupid in front of the other guests?

Wadsworth: You don't need any help from me.

Mustard: That's right!

Later in the picture, as the by-now-blasé guests glance down at the most recent victim, Mr. Green (Michael McKean) updates the count to "Six murders." Wadsworth's grave response? "This is getting serious." And Wadsworth's explanation of "who killed whom where and with what" at the end of the picture is packed with the impersonations, facial expressions, and things not-quite-British that rank Tim Curry among the funniest Britons ever to defect to Hollywood.

Madeline Kahn, too, liberally sprinkles commentaries, both vocal and facial, into any and all situations, the sheer spontaneity of which make one wonder whether or not they're actually in the script. The line in the show which had me laughing the hardest, anyway, was not really a line at all, but rather a high-pitched, yodeling scream from Mrs. White. (You'll know it when you hear it.) And her operatic descant over the guests' chorus of "For She's a Jolly Good Fellow" had me rolling in the aisle.

Another facet of the movie, disguised by the humor, but every bit as important to one's enjoyment of the film, is the maze of leads, lies, and leaps of logic which ultimately culminates in not one, but three possible answers as to "Whodunnit." And here's the amazing part: each of the three endings (I checked) stands up to close scrutiny of the clues provided earlier in the film. From the time Wadsworth verifies Yvette's mysterious "instructions" until the last pull of the trigger, each minute detail is essential to the plot. A word of warning to the dedicated popcorn-munching detective: the guests at this dinner party are all experts at using comedy to distract. While you're busy laughing at Miss Scarlet in the ballroom, a desperate dinner guest wielding a monkey wrench is hurrying through the secret passage to the study, trying to silence that unfortunate motorist before he says too much....

The film isn't perfect-the physical humor becomes strained at times, and there are a very few lines whose comedic and textual value I question. Still, the film bears enough good comedy and old-fashioned mystery, garnished with a sound track that adds just the right spice to the flavor of both humor and suspense, to earn a "five-star comedy" rating from me.

This is one of my favorite films of all time. It's loaded with outragous, silly slapstick humor and the entire cast is superb! You'll be amazed at how many of the lines and gags get stuck in your head. I'll never be able to forget the flusterd looks of Mrs. Peacock, the wit and charm of Wadsworth or the subtle facial expressions of Mrs. White. Thankfully I'll be able to see all this and more as Clue is finally presented in anamorphic widescreen! The picture is the best yet of this film since it's initial release, but there are moments when the image appears too soft and the entire presentation leans to the dark side (no Star Wars pun intended). The darkness though, does help to heighten the mystery/suspense aspect of Clue. From a purists point of view it's good that the soundtrack is kept in it's original mono, still I'd greatly enjoy hearing a stero or, even better, a surround sound version in the future. Unfortunately there are only 13 chapter stopsincluded on the DVD. Any film requires at least double this amount to be really effective.

Without a doubt the best feature of this DVD is the multiple endings feature. After you select "play" you will be asked if you would lilke the player to randomly choose one of the three endings for you, or see all three of them at the end. Whoever thought of this feature deserves a raise as it greatly enhances the longevity of the disc and brings the film closer to it's board game roots. Now you have the option of really not knowing who did it until the final scenes play bringing suprise into the untold repeat viewings that are sure to occur.

The technical imperfections mentioned before are slight and I believe are primarilly due to original production decisions and the films age. To make a long review short (too late), this is a must own for any fan of one of the numerous stars, comedy or film firsts. You won't be disappointed.

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Almost everybody has played the game Clue. We all have heard of Mr.Green, Professor Plum, Miss Scarlett, Col.Mustard, Mrs.White, and Mrs.Peacock. Now we actually get to see the game on screen.

The story to Clue is a great mystery. Six individuals Mr.Green(McKean), Mrs.Peacock(Brannen),Col.Mustard(Mull),Mrs.White(Kahn), Miss Scarlet(Warren), and Pro. Plum(Lloyd) have all received invitations to a mysterious house. They all have been invited to dinner and have no idea while they are there. When they reach the house they discover that the master is not there, but his butler Wadsworth(Curry) and Maid Yvette(Camp) are the only poeple there. The guests are informed that they are there by the invitation of Mr.Boddy. Mr.Boddy is blackmailing them all and thats the only thing in common the six people have. Then people start dying in the home and now it's up to the whole group to see who is doing it and to see if they can get out alive.

This really was a great cast. It had a bunch of big stars from that day. All have pretty good performances in there roles as the character from the game.

Tim Curry gives the best performance of the movie. Curry is a very talented actor. He's been quite underrated in Hollywood. He really takes the role as Wadsworth the Butler and runs with it. He is such a weasal and nobody plays a character like Curry can.

The other actors in the movie really do give good performances in the movie.

The movie is quite funny and has a bunch of slapstick in it. Mull as Col.Mustard is the funniest out of the six characters because he sets himself up to be made fun of so well. The dialogue is also quite funny and when the characters start ranting it gets quite good. John Landis(Blues Brother, Animal House) wrote the story with Johnathan Lynn writing the screenplay. They've combined for a fantastic written movie.

It's a great mystery and the three different endings are fun. You get all three of them on the DVD and all are enjoyable though some are better than others. You really are kept quite clueless as to who has killed who and that again is credited to the writing skills of Landis and Lynn.

Thi is a funny movie. If you like to play Clue the game then you will definetly enjoy this movie. If you like slapstick comedies you will definetly enjoy the movie as well. This is a funny movie that can be watched by the whole family. So go get Clue and be prepared to laugh and have a good time.

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Of all the `80s comedies to apparently generate some kind of cult following, you wouldn't have imagined Paramount's holiday `85 offering "Clue: The Movie" to be one of them yet this box-office disappointment arrives on Blu-Ray this month, in a solid presentation from Paramount that suffers from the same primary issue as its DVD predecessor.

Originally a John Landis vehicle (he's still listed as an executive producer and receives co-story credit), director Jonathan Lynn's "Clue" is a fast-paced, wacky whoduneit with all the principal characters from the famous Parker Brothers board game assembled for a night of murder and mystery. The cast tries their hardest to make the frantic shenanigans of Lynn's script come to life (Tim Curry is terrific as the Butler, while Martin Mull and Michael McKean provide some laughs as iconic characters from the game), but the problem with the movie is that it often tries too hard to be funny leaving you exhausted by the time the outcome is revealed.

"Clue" was shot with three different endings (A, B, and C) and was originally released that way to theaters, with multiplexes advertising the specific version of the movie they were showing. On its initial video releases, all three endings were clumsily assembled to create a disjointed finale that didn't really work too well.

For the Blu-Ray much like the DVD Paramount has taken the three endings and presented them in a frustrating manner: you can either choose to watch the movie with all three finales (as it was released on video), OR you can choose to watch the film with a random ending selected from all three conclusions. Good idea, right? Well, not if you've seen the movie once, played one random ending, and then viewed the same finale again the next time out! A better idea would've had the viewer select which ending they'd like to see, but alas, once again that didn't happen.

One area, at least, where the Blu-Ray improves upon its predecessor outside of its generally pleasing, AVC encoded transfer which hasn't been doused with DNR is that all of the different endings (including the home video "trilogy" compilation) are available to view separate from the film in the supplemental section, along with the theatrical trailer (in HD). The DTS MA mono audio is fine for what it is (I haven't looked it up but you'd imagine this was one of the last big studio releases to be released in mono), with John Morris' score working as hard as the ensemble cast.

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OK...I've seen this movie like a million times so I feel that I can offer a fair review:

Clue is probably one of the funniest movies I've ever seen in my life. And yes, it has some plot holes and other problems, but who cares? It offers safe, intelligent fun; quick pacing, and all around murdurous laughs. The cast is perfect chemistry (Curry as butler Wadsworth is satisfying enough alone"there was a rumble of thunder and a crah of lightening") and the ensemble is great: Warren as Miss Scarlet is perfect in the role because of her laid back reactions and fun head-bobbing ("I enjoy getting presents from strange men...") ; Brennan plays the perfect neortic Mrs. Peacock ("and oh my, this soup is delicious, isn't it?"); Kahn shines as the black widow, Mrs. White ("is that chair for you, Mr. Wadsworth?", McKean plays the perfect quasi-homosexual ("we have to find out which one of YOU did it..."), Lloyd masters the uptight Prof. Plum ("What's the phone number?") and Mull personifies Col. Mustard ("I can't take anymore scares!")

This movie is quick-witted, well acted and well-paced. The physical comedy wears a bit thin at times, but is compensated by the actors abilty keep the attention of the viewer. Just as a good mystery should, the movie hides details so that watching it just once won't ruin it for the rest of the time. Pay attention to the clues in the rooms (such as the picture in the dining room, and the picture in the pile that gets thrown into the fire in the Study)and details in the dialouge, not so much to figure out the murder, but to grasp a full knowledge of the era, each characters background (such as the connection between Scarlet and the maid) and hidden tidbits of fun.

Keeping true to the format of the boardgame, there are such lines as "We have to find out who did it and where and with what", the placement of the rooms (although the movie adds 3 more floors to the housethe basement, the upstairs and the attic; and the secret passages (we know these cant really exist because of the house's floor plan, but who cares, they're essential to the movie. Watch for goofs, such as the order of the women changes when they enter the study to find mr. boddy missing, and the diappearing/reaapearing pot on the stove in the kitchen.

Iwas dissapointed, however, when the DVD came out and there were no deleated scenes included. There has to be, the choppy editing in the last 10 minutes of the 3rd ending suggests that it was edited for time, plus the trailor includes scenes that are definatly not in the released version of the movie.

Enjoy!

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Sliver (2013)

Sharon Stone and SLIVER made a lot of sense after BASIC INSTINCT. It gave her a chance to be the hunted instead of the hunter, and also promised a whole lot of male nudity this time around instead of her being revealed so much. Eszterhas was back on board as a screenwriter, and the film was designed to be a sexual thriller about modern voyeurism with video cameras. SLIVER the book was not Ira Levin's best novel (cheesy fun but nothing classic), and I found myself not minding this movie deviates from it. Anyone who's read it knows the heroine's cat saves the day in one of the silliest climaxes ever. So don't worry about the book being better or worse with this one.

The production ran in to problems especially with the ending originally planned inside a VOLCANO of all things. Test audiences hated it, and so reshoots were quickly done. Eszterhas was not happy with the changes to his original script, and some new scenes made the actors seem a little less prepared and rushed. Billy Baldwin chickened out on full frontal nudity planned for his character, and demanded his most revealing shots be cut from the final movie. Despite any changes, the movie turns out to be entertaining fluff that never quite seems as kinky as it could be. It's still a whole lot of fun, and worth it for Stone fans. There are still some interesting ideas here.

This DVD contains a European cut with more nudity and prolonged sex scenes. For the most part you'll see much more of Baldwin, since Stone carefully handled her nudity this time around (she learned quick after BASIC INSTINCT). There are no extras, and that's a real shame. I wanted to see the real ending, but no such luck. Also no trailers on the disc because they included moments from the original ending and not the new version. And oddly enough a Lords of Acid song is removed from the DVD's soundtrack. But at least we get it bigger, longer, and uncut at a reasonable price.

You like to watch, right?

Sliver is a fantastic film. The best out of all the erotic thrillers filmed between the years of 1987-1995, preferably the time in which the Erotic Thriller genre was big. Ending with Eszterhas's JADE. Eszterhas (Basic Instinct, Jade, Jagged Egde) wrote Sliver. A film starring Sharon Stone as Carly Norris, stuck in this age of loneliness after coming out of a 7 year bad marriage. Moving into a slick and sleek sliver apartment building, she is warmly welcomed by all of it's tennants. Including, Vida Warren a woman with a dark double life. Gus Hale, a man that is willing to tell all dirty little secrets. Zeke Hawkins a handsome young man that takes a sexual interest in Carly, FAST. And Tom Berenger a classy writer, with a macho jerk attitude. When Carly gets involved, very involved, with Zeke she begins to learn that inside the walls of this building hides a secret that could reveal everything. With an ending so fast paced it will blow right by you, but a very satisfying ending if I do say so in the least. Again, buy SLIVER in the unrated version, sit down and relax in the darkness and remember that there is no place more frightening than home...

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I absolutely love this movie. When I was in high school, a bunch of us went to see it (yeah, I'm dating myself aren't I?) and I loved it then. Good to know that 13 years later I still love Sliver. Perhaps it was my giant crush on William Baldwin that really made this movie sparkle to me. Or perhaps it was the voyeuristic ambiance throughout it. Either way, this is a fun little thriller that will keep you entertained. For the guys, you can oggle Sharon Stone in all her hotness. And as I mentioned, for the ladies, there's William Baldwin to adore. Basically, a woman named Carly (Stone) moves into the Sliver tower where there have been several weird deaths, most recently, a woman whose looks resemble Carly's, who happened to be the former tenant of the apartment Carly just bought. A variety of suitors attempt to get Carly's attention, one of which brings her a telescope, in turn making her realize that she indeed likes to watch. But who's watching Carly? Ah, to go into it any further would ruin this fine little movie. I'm not saying it's the best ever, but Sliver is plenty of fun for men & women alike who enjoy thrillers.

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On the verge of Basic Instinct 2, a re-evaluation of Sharon Stone's film career is in order.

Looking through the reviews, it becomes apparent SLIVER is not necessarily an acclaimed film, but don't let that discourage you! When you choose a Sharon Stone movie from the shelf, you probably aren't looking for a pretentious "message" picture. You are looking for entertainment, full of glamour, thrills, sex, romance, melodrama, and excitement--and that's just where the priorities are in this film.

It is not a dumb film. The script is well-written, the cinematography was ahead of its time, and the direction is expert. Sharon Stone is at her best as the vulnerable and lonely Carly, and gives a deep, knowing performance, but the supporting cast varies in ability. Nina Foch and Martin Landau are wasted in small roles.

Many complaints concern the ending--which is apparently not true to Ira Levin's novel. Most book-to-screen adaptations are easy to find fault with when comparing to the book. As a viewer who has not read the book, the film is effective, and that is all that really matters! The film holds its own, and is its own piece of art.

And art this really is--the soundtrack, including the score by Howard Shore, is tremendously effective in maintaining the eerie, lonely mood of the film. The glossy, luxurious atmosphere is also an asset.

It's surprising now to read so many negative reviews, because as far as film-making is concerned, SLIVER is not a B-movie at all. It is a very classy affair. It should not be looked at as camp or cheese, because its intentions were not to be a serious message film. It aims to be what it is--an entertaining star vehicle for Sharon Stone at the height of her beauty and stardom!

It really should not be surprising, though, that SLIVER is often ridiculed as a "bad" film, when our society seems to think the only films worth watching are pretentious message films (not that messages are always bad; BROKEBACK MOUNTAIN contained a very relevant and necessary message, but some films just tell messages for the sake of it, and that is the nature of camp, in my opinion).

It also should not be surprising that SLIVER is so hated, considering the conservative nature of much of American society! SLIVER is a film which includes a lot of sex, nudity, and other sophisticated situations which imply "sin." Puritans will surely find something to dislike here! I think in the early 1990s, a lot of people went to movies like BASIC INSTINCT and INDECENT PROPOSAL, enjoyed them, and then bashed them later on because they were ashamed to say they liked such a film. The truth is they were daring, intelligent films which do not deserve their negative reputation. SLIVER is among them!

So, I am proud to be an exception, and say that SLIVER is a thoroughly enjoyable, entertaining, and well-made film! It certainly is a piece of art, and if you are looking for a message, you might just find it has something to say about voyeurism, as well as sexual and romantic independence.

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There's plenty of sex, with heavy breathing, sweat and tears. So if you're looking for a plot, but want to see Sharon Stone get busy as well, this is the film for you. Plot development is not up to par, but I don't think that was the focus of the producer. There is, however, a mystery and a guessing game that does leave you wondering who-dunnit. It's a movie characteristic of the era, so expect some predictable elements. The film is entertaining, though. NOT a family picture.

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Marked for Death (1990)

As someone else said (probably on this website), S Seagal probably became a parody of himself faster than any other action hero of our time. Other than the "Under Siege" pairing, Marked for Death was, to my mind the last really great movie he did.

It is Seagal at his brutal best. As the Editorial Review says, he plays a disillusioned former DEA agent, who comes back home), to find his neighborhood being ravaged by a group of Jamaicans and their drug trade. Seagal cleans it up the situation as only he could: blasting a handful of the bad guys away with pistol and shotgun, and beating the rest savagely.

This movie, like his premier "Above the Law", has some of his technically most proficient Aikido, particularly after he crashes his car into a department store and then takes on about four adversaries in a randori, or challenge of one defender against multiple attackers.

Of course, it would not be some shattering news to reveal here that in the end, Seagal prevails over the leader of this drug posse, nicknamed Screwface (the name comes from a Bob Marley song). They fight with swords, bottles, and ultimately hands. But the climactic fight is equally brutal as it is final.

It was not nominated in the "Best Movie" category. It is not particularly thought provoking. But what it is is an action movie. And as that, it is worth the price of admission.

This is his greatest action film ever. It has everything you want in a martial arts flick. Jamacan drug lords are terrorising Seagal's family and he's SCREAMING FOR VENGANCE!!!!!

Theres arm braking,eyes gouging,decapetation and ofcourse gun stand offs. This movie also makes Seagal look more human in the fact that in th end battle betwen him and Screwface unlike in most of his movis where the bad guy doesn't even score 1 single hit on the guy Screwface actually kicks him around a little bit before getting [beat up] then killed.

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The film is great, but this review is not about the film. Honestly, I am lost for words.... How can Fox issue a DVD in the year 2009, with an aspect ratio of 2.35:1 and the disc is not anamorphic????

Needless to say, the picture quality is exactly the same as the 1998 issue of this DVD awful. This reissue is nothing but the same cruddy disc in a new box, just like the many reissues of Predator Fox have released.

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Marked for Death is by far Steven Seagals best film. John Hatcher(seagal) has just retired from the Drug Enforcement Agency after his partner dies on a case. When a Jamaican Drug Posse marks seagals family for death, seagal realizes that he needs to pay them back, with interest. Seagal, teamed up with a jamaican cop and an old friend of his, to teach the posse that there's just some families that you don't mess with. If you don't like car chases, snapped arms and heads being chopped off, this movie isn't for you. Its's to bad they don't make action movies this great anymore.

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This standard action revenge fare about an agent who wants to get even with the Posse drug dealers who attacked his family is only enlivened by the fury of the fights scenes and the ballistic explosiveness of the gun battles. The frowning Seagal, a seventh dan black-belt aikidoist, is a menacing and overpowering screen presence, though he is not exactly of the calibre of the Robert De Niro "method" school of acting. This film should be watched in addition to "Hard to Kill", "Nico", "Under Siege" and "Out for Justice" by all who enjoy watching him -"like a human bullet seething into the fat guts of the enemy" -disable his adversaries either with a bullet to the head, a chop to the throat, a broken elbow, or a head sent crashing through a jewllery store display...

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Labyrinth (1986)

In the early 80's Jim Henson created one of the most ambitious fantasy films ever: The Dark Crystal. It was a movie that had a completely realized world with its own creatures and flora... and it was performed entirely by puppets. Not the Muppet kind that Henson is famous for, mind you. These were serious creations that involved serious innovations in animatronics. While many loved the movie and it was critically acclaimed many others didn't "get it". There was no human interaction in the movie whatsoever and that put off people. Also the movie was serious with none of that Muppet mayhem Henson fans are so used to. That put off a few more people.

The next evolutionary step in Jim's grand scheme of fantasy puppetry was Labyrinth, and they filled in the gaps that The Dark Crystal left for those who couldn't (or wouldn't) "get" the concept of a fully realized fantasy setting that is outside of our own. How does he do it? Let me tell you...

Step One Human actors. Labyrinth included the young, yet already talented Jennifer Connelly as their heroine and well-established musician and actor David Bowie as her nemesis. Now you get the fun of a complete puppet world while at the same time you have human characters that interact in that same environment. Thus giving the viewer a better connection to the puppet characters.

Step Two Better puppets. The Dark Crystal is a masterpiece in of itself, however the technology used to animate the puppets was in its infancy and if you had to be picky about it you can pick away at the limitations of the puppets in that movie. With Labyrinth you get updated technology, which gives you puppets who can show emotions better. Case in point is the goblin Hoggle, who is the starring puppet. So much attention to detail went into his facial expressions that you can actually see the fear, disgust, anger, and joy in his eyes. Add to that other puppetry innovations and you have a world of cool puppets.

Step Three Keep it fun. The Dark Crystal was a grandiose and serious film that included some funny moments now and then. Labyrinth is the opposite. Is a fun film where the characters meet up with unexpected and often times crazy situations. Makes this fantasy adventure feel more comical in the same way it would reading a fun bedtime story.

Step Four Keep the original concept. Jim Henson did The Dark Crystal with the thought that he wanted to create a whole different world inhabited by beings and creatures portrayed entirely by puppets. Labyrinth is essentially the same thing, but done in a different way. Walking through the movie's namesake (the maze that leads to the goblin city) is definitely like being in another world that's both fascinating and fun. Much of what you see is visually impressive and essentially relish in the fact your eyes can play tricks on you. Brian Froud is again signed on as the conceptual designer and his work shines just as well in this iteration as it did with Dark Crystal.

Labyrinth also has the destinction of having songs specially written for the movie by David Bowie. Keep in mind this movie was in the 80's so what you get is 80's Bowie, and there are a couple scenes that flow more like music videos (or musical numbers) than standard scenes.

You might get the impression I am dogging on Dark Crystal in order to lift up Labyrinth. Can't be farther from the truth. However I do know the differences between the two films and how the other was made in response to the first. Labyrinth is the folk tale while Dark Crystal is the fantasy book. I believe both are fantastic movies.

The original DVD for Labyrinth was a good compilation right from the start, and was superseded with the Anniversary Edition having remastered visuals and a couple new featurettes. Now we have the movie on Blu-Ray, and boy I thought the Anniversay Edition looked good. I was worried when this movie went high definition that a lot of the original film grain was going to be lost in the digital cleaning that's popular with some companies with older films. Luckily what you end up with is the best looking picture to date. I'm not going to say this movie is presented in supersharp crystal clarity, but then again that would ruin it. The movie look as true to the original theatrical release as you can get. Details really pop out without looking antiseptic. Visually the Blu-Ray does breath new life into this classic. The extras are pretty much identical to what was offered on the Anniversary Edition with one exception. Here's what you get:

Documentary Making of the Labyrinth Has interviews with actors, puppet performers and production staff including Jim Henson, Brian Henson, David Bowie (who gives us some insight on his character) and Jennifer Connelly as well as lots of details on design and production of the movie. This documentary is a gem for those of you want solid behind-the-scenes details and was in the original DVD and is included on the Anniversary Edition.

Journey Through the Labyrinth: Kingdom of Characters and The Quest for Golden City These two featurettes from the Anniversary Edition include updated interviews with the cast and crew and never before seen footage from the Jim Henson archives. Kingdom of Characters focuses on... you guessed it... the main characters in the movie including conceptual design for the puppets (although Hoggle seems to be mostly left out, likely because there is so much of him in the original documentary) and background info on the actors. The Quest for the Golden City is mostly design details on the labyrinth, Goblin City and castle itself. These featurettes do well to fill in the gaps left by the original documentary. The extra footage is test footage of the puppets and such, with some production footage as well. I noticed some of the production footage was a rehash of what's on Making of the Labyrinth, but the crosstalk is few and far between.

The Storytellers Picture-in-Picture: This is the Blu-Ray exclusive featurette. When you turn it on while watching the movie occasionally a window pops up with an interview with one of the crew members speaking some interesting anecdote about the film. There isn't a whole lot of these that pop up in the movie, but when they do you get some rather interesting and entertaining production and behind the scenes information. Hearing about the casting call for the Helping Hands scene and the interview with Warwick Davis are alone worth checking out the feature.

Commentary by Brian Froud

You also get Dolby True HD Surround in English, French, Portugese with a Dolby Digigal Spanish track (how many movies have a Portugese dub?) with subtitles in all. Kind of strange they left out the Japanese audio that the Anniversary Edition had. I recall hearing improvements from the previous release's Dolby Digital 5.1 mix, but nothing groundbreaking.

Every release of Labyrinth has been impressive from the very first DVD, and with each new release it gets even better. So is it worth the double/triple dip? Well just like how the Anniversary Edition gave you a better picture with more extras the Blu-Ray ups the ante. I say if you want to enjoy this movie in the best way visually then yes. The new extras are nice, but to be honest as long as they original making of documentary is in there everything else will always come in second.

Labyrinth is a wonderful movie for all ages. The visuals will impress and the hijinks will entertain. If you are a Muppet fan this movie will be much more accessable than the Dark Crystal, and if you like The Storyteller then you have abolustely no choice but to get this (it's like a full length Storyteller movie sans John Hurt).

This is one of my favourite movies, because it truly understands the hearts of grown up girls, their love of fantasy and lure the dark & dangerous lad that leads us down the garden path. It's a wonderful tale, with marvellous tunes that linger on and on. From "It's Only Forever", "Underground" and "Chilly Down" but most especially "As the World Falls Down". Sigh, such a beautiful and deftly filmed Cinderella Ball for Adults. I don't know a woman that loves this film who does not say "I want that dress!".

Sarah is an easy to relate to teen. She is part child part woman, one foot in each world and truly not belonging to either. Added to this, her father has remarried and has little time to spend on his growing daughter. We are not told, but it's clear her mother is dead. Mom was an actress and lover of the magic and she passed this on to her lovely daughter. It's very hard to believe Jennifer Connelly is only 12 years old here!!! She is the perfect Sarah, the beautiful woman-child that has no sense of her place in the world. Too grown for childish things, too young for boys and dating. Her cherished childhood toys are giving carelessly to her new baby stepbrother, again emphasizing her feelings of alienation. Her new mother has little patience, and even when she tries, she meets with a hostile resentful woman-child. Sarah pain at feeling as if she is not wanted anywhere is so heartbreaking.

Left with the crying baby, and feeling that her world is slowly crumbling around her (reflected in Bowie's "As the World Falls Down"), the child side takes control and spitefully wishes the baby to be taken away from the Goblins. In true Muppet fashion, they promptly and cheerful comply. Sarah faces the Goblin King Jareth perfectly brought to life by Bowie and demands he return her brother. When Jareth says he will only return her brother if she finds her way to the Goblin City, Sarah sucks in her courage and goes after him.

Along the way she meets wonderful friends such as Hoggle and Sir Didymous, and finds out her own inner value and worth. Something we all have to do in growing up.

A true faerytale for the little girl in us, wonderfully realized through the magic of the Muppets, Connelly and Bowie. This set is laced with all the wonderful goodies that will thrill all the many lovers of the film.

Kudos for the super repackage.

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I first saw Labyrinth when I was about ten years old and it has been my dream fairytale ever since.

The story was simple -big sister has to grow up, learn her responsibilities and rescue little brother from becoming a goblin.

But what was magical about the whole show was the brilliant M.C Escher sets, marvelously entertaining puppets created by the father of all puppets, Jim Henson, and the beautifully romantic interludes between Jennifer Connelly (Sarah) and David Bowie (Goblin King).

Present-day computer animation can make dinosaurs almost real but I preferred the cute and adorable puppets that created my own make-believe of a world of magic, fantasy and adventure. I could almost see myself running around in that maze, dodging the boobie traps and having great companions like Hoggle, Ludo and Ambrocious with me.

I admit I was pretty charmed by David Bowie's portrayal of the Goblin King but who wouldn't be? Powerful, mysterious and not bad-looking, he seemed to be in the classic Prince Charming genre, except that he was also a little diabolical compared to those in Cinderella and Snow White etc.

Labyrinth is a classic and will always be my dream fairytale, and I am still watching it over and over every now and then. Most of all, like Dark Crystal, it is one of the signature performances by the late Jim Henson and his wonderful family of puppets.

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"Labyrinth", directed by Jim Henson, is one of my all-time favorite children's fantasies. It's about teenage aspiring actress, Sarah (Jennifer Connelly), who's sick and tired of being mistreated by her parents (Shelley Thompson and Christopher Malcolm) because she thinks her baby brother gets all the attention. Sarah soon begins to hate her baby brother and wishes that he would be taken away by evil goblins. Miraculously, Sarah's wish comes true...but now she's afraid of what might happen to her brother and wants him back. So to get him back, she must embark on a journey through an enchanted labyrinth maze to get her brother back from the evil king goblin (David Bowie). Along the way, she meets many magical creatures and defeats dangerous tasks as she learns what's really important about family.

The film's special effects were done by the Lucasfilm company (yes, George Lucas's effects company). The acting is superb from the entire cast, especially a very young Jennifer Connelly and David Bowie. The storyline is wonderful, but the DVD is lacking, with only trailers, production notes, and one documentary on the making of the film. "Labyrinth" might actually not be for all ages, since it can be a little scary...esepcially the goblins might creep some young children out. But it is still a must.

I highly recommend "Labyrinth".

Score:

100/100

A+

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It's hard to believe that when Labyrinth was released in June of '86 it didn't do well. People weren't impressed. Some people say that things get better with age. Maybe this is also true with films.

Labyrinth is the ultimate fantasy adventure story. Sarah, the heroine, has to find her way through the magical labyrinth to get her baby brother back from the evil Goblin King. Along the way she makes friends and enemies as she fights temptation and reminds us what is truly important.

The release of this DVD was a long-time coming. It was worth the wait. Presented in wide-screen, that means we can see all of the goblins in hidden in the drawers and not just the one speaking, and Dolby Surround. The picture quality is good and the hauting soundtrack has been captured excellently.

Also included on the disc is the original cinema trailer and the original production featurette "Inside the Labyrinth". Probably as valuable, if not more, as the film itself. It's a facinating glimpse into the making of a masterpiece. Including interviews from the cast and crew and, more importantly, the Muppet master himself, Jim Henson.

This movie is probably more popular now than it has ever been and for good reason. And for just over ... bucks it's a movie must for anyone who is young or just young at heart.

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Bell, Book and Candle (1958)

Adapted from the stage comedy of the same name, Bell Book and Candle stars Jimmy Stewart and Kim Novak, fresh from their successful teaming in Hitchcock's Vertigo. Novak plays Gillian Holroyd, a genuine, bonafide witch who runs a south seas antiquities shop. Falling in love with her neighbor, publisher Sheperd Henderson (Stewart), Gillian casts a spell on him. With help from her aunt (Elsa Lanchester), she obliges him to dump his fiancee, and ex college rival, and rush to her side. All of this goes against the grain of Gillian's Endora-like mentor Mrs. DePass (Hermione Gingold), who does her best to counterract the love spell. Meanwhile, Gillian's wacky warlock brother Nicky (Jack Lemmon) courts disaster by coauthoring a book on black magic with Sidney Redlitch (Ernie Kovacs). Legend has it that a witch can neither cry or fall in love. If she falls in love, she will lose her powers....can you guess what happens?

Rumor has it that this is the inspiration for the televisions series Bewitched. There are several striking, undeniable similarities. This film was released in 1958, and I find it just as enjoyable today as I'm sure it was then. Memorable performances by Novak as the icy-cool Gillian and Stewart in his last "romantic leading man" role drive the film. Jack Lemmon and Elsa Lanchester add a lot of quirky flavor as Gillian's spell casting family. Fast pacing, clever writing, great costumes and fabulous eye-popping technicolor make this a film worth watching over and over. It's sure to cast a spell on you too.

If watching unpredictable films are your cup of tea, Bell, Book and Candle is the one to watch. The teaming of James Stewart and Kim Novak is excellent. The supporting roles from Elsie Manchester and Jack Lemmon bring a touch of comedy to the movie. And the sloppiness of Ernie Kovacs as the snooping author brings dimension to the story.

A scene at the Zodiac Club where Lemmon bangs on the bongos with his combo brought the atmosphere of the counterculture of the late 1950s in Greenwich Village. It was hilarious when the band blared their tune of "Stormy Weather" and speeded it up in front of James Stewart's character's fiance. You could feel the tension between Kim Novak and the woman since Novak's character was a witch, and was falling for Shep(Stewart) she got Nickie(Lemmon) to get the band to annoy Novak's rival. I thought this scene stood out.

Though some make think the movie is outdated, it is not at all. I loved the wintery street scenes of New York during Christmas time and the swurling colors of purple, pink,and green throughtout the film. The soundtrack was good too.

An excellent romance film, but also a film of relationships of characters from different worlds.

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Shepherd "Shep" Henderson (Jimmy Stewart) is a nice, normal, everyday kind of guy. He is a publisher with everyday problems and works in an everyday kind of office. His fiancé, on the other hand, is much less than everyday, being the beautiful, and slightly obnoxious, Merle Kittridge (Janice Rule). When Shep's neighbor Gilliam "Gil" Holroyd (the always stunning Kim Novak) becomes irked with Merle, she decides to cast a spell on Shep to make him fall in love with her. Be careful what you ask for, sometimes you get it.

At the beginning of this movie Merle acts in a way that makes the audience generally dislike her. While we have yet to like Gil, we know that Merle is a manipulator. Thus, we find it easy to accept what Gil does to Shep and indirectly to Merle. Unfortunately for Gil, the more she is around Shep, the more she grows to like, and then love him. Of course, there is the inevitable heart breaking scene when Shep discovers, and believes, that she is a witch. There are moments near the end of the movie where you want the two to get together, but you wonder whether it can possibly happen. Kim Novak's Gil is perfectly played in the closing moments, where all of us want to smack Shep and tell him to wake up to the fact that Gil truly loves him and that love has changed her forever.

This movie features an excellent cast of supporting characters. Jack Lemmon is Gil's brother Nicky Holroyd. Nicky is the kind of warlock who enjoys doing little things, such as turning lights off and on, and tricking people. However, Nicky is humorously harmless. Hermione Gingold is Bianca de Passe, a rival witch to Gil, who has a more traditional approach to witch craft that appears relatively old-fashioned compared to Gil's modern sophistication. Shep turns to Bianca to help remove the spell Gil has cast on him. Elsa Lanchester is Queenie, a slightly bumbling witch who admires, assists and may be slightly afraid of Gil. Ernie Kovacs is writer Sidney Ridlitch who has been working with Nicky on a book about witches. Gil will never allow the book to be published, so the scenes with Sidney are an exercise in humor and futility.

Then there is Pyewacket the cat, Gil's familiar. The name comes from an interrogation by witch finder Matthew Hopkins in England during the 17th century. The name seemed to fit witches' cats, and other such cats have been name Pyewacket since, though Hopkins did not record what kind of animal Pyewacket was to have been.

The words "Bell, Book and Candle" refer to an exorcism. The movie opens with striking the bell, opening the book, and lighting the candle. The movie ends with striking the bell, closing the book, and blowing out the candle, which is supposed to be how to remove a witch's powers.

This movie was Jimmy Stewart's last appearance as a romantic lead. His costars were getting younger, with some half his age, and Jimmy felt the pairing was inappropriate. For the final third of his career he played father figures or average Joes.

"Bell, Book and Candle" is a charming romantic comedy that is interesting from several viewpoints. It is an interesting artifact of sophisticated New York, and the highly idealized way New York society appeared to be in the 1950's. The treatment of witches is somewhat different from other portrayals, where witches are often old hags bent over a cauldron in a smelly cave or broken-down hovel. The hip Zodiac Club had avant-garde music with a strong beatnik flavor. Few movies captured the essence of the beatnik style, with this movie being one of them. Jack Kerouac could easily have been in the audience.

This movie is a winner that showcases Kim Novak's talents even more than Jimmy Stewart's. Most of the movie is lightly humorous, but the end of the movie is emotionally powerful as Kim Novak's emotional performance pushes the light comedy aside. This movie is a wonderful treat from an era when sophistication still meant high style, and we could still be amazed by happy endings even when we expected them.

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This is a delightful film with Jimmy Steward and Kim Novak that tells story of a family of witches in modern day (1950s) America. Kim Novak is the aloof young witch who makes it her task to take Stewart away from his snooty girlfriend who just happens to be an ex-college friend of Novak's. Casting a spell over Stewart is initially easy but Novak soon falls foul of her own powers when her act of revenge becomes an act of real love for her hapless victim. Unfortunately witches who fall in love, loose their powers, and Novak soon finds she can no longer control her cat familiar Pyewacket who is the source of her powers. This causes her real heartaches as she strives to gain Stewart's love by mortal means and there are many rib ticklingly funny moments as the young witch learns that human love can be painful as it is wonderful. Jack Lemmon in one of his earlier roles plays her nutty but likable Warlock brother who spends most of his time in a nightclub banging out funky rhythms on his bongo drums and Ernie Kovics is great as an eccentric author drawn into the plot by his interest in the supernatural. This is a gentle fun film that sparkles even forty years on, with its wry wit, superb photography and cracklingly good music score that has your feet tapping long after the film has ended. Well worth watching if you like a romantic, supernatural comedy.

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A few months after they made 'Vertigo' together, Kim Novak and Jimmy Stewart made 'Bell, Book and Candle.' Two movies could hardly be more dissimilar, but this one shines as brightly as the Hitchcock film, in a very different way.

Kim's a witch, and Jimmy's a publisher with whom she falls in love. Complications set in when it becomes obvious that Kim is becoming humanised by the experience, and is beginning to lose her witchly powers. Will she give them up? Of course she will, but not without a fightand it's the battle that's such comic fun to watch.

'Vertigo'in a class by itselfaside, this is Novak's most complete and engaging performance. She's gorgeous, she's funny, and she's a woman you'll remember for a long time. It probably helped that she'd learned to adore and respect Jimmy Stewart when they worked for Hitchcock; her comfort level with him is highly evident. It probably also helped that she was doing her first Columbia film after the death of her boss and nemesis, Harry Cohn. Kim was calling a lot of shots on this one, and you can see her blossoming. Her touch is perhaps most evident in her spectacular Jean Louis wardrobe; her most beautiful dress is severely high-necked in front, but completely backless. It's a WOMAN's idea of sexy, not Harry Cohn's, whose tastes ran more to the frontless.

Stewart's impeccable touch with comedy is every bit as awe-inspiring as his dramatic work for Hitchcock. How did one actor get so much talent? He's backed up with a terrific supporting cast, too. Hermione Gingold and Elsa Lanchester are two witches, Jack Lemmon is Kim's warlock brother, and Ernie Kovacs is a tippling writer trying to sell Jimmy an idea. Lemmon is especially good here; this movie was one of the performances that made him a star.

The George Duning score is one of the chief delights of 1950's film; it's what we think Kerouac-era beatnik jazz wasand probably wasn't. Jazz fans will recognise the playing of Pete and Conte Candoli, hired specially for this movie, in the combo playing in the Zodiac nightclub Kim uses for a hangout. For those who appreciate truly esoteric performances, there's also French singer Philippe Clay performing his famous "Assassine", with Hermione Gingold providing a hilariousand accuratetranslation. One of the few disappointments around 'Bell, Book and Candle' is the fact that its soundtrack is not currently available, despite the enormous popularity of the old LP version-used copies sell for a fortune. Rhino owns the rights, I believe, and they could do a lot worse than to do a CD release (hint, hint).

From its witty openingfull of a king's ransom worth of African and Oceanic art used to symbolise the cast members in the title sequenceto its end, this one is sheer elegant delight. At the film's close, Kim gives up her powers in favour of her romance with Stewart, and I've heard a few people say that maybe that was a 1950's cop-out. I see it differentlyall her friends want her to be a witch, and Kim chooses what she wants instead of meeting anyone else's expectations. The power of choice trumps mere black magic, and that, to me, is as it should be.

What you should choose is to see this charming artifact of a time when Hollywood still knew what it was doing. "Bell, Book and Candle" has gorgeous people, places and things, it's got wit and heart, and it effortlessly merges art both high and low. See it as soon as you canyou'll be very glad you did.

State of Grace

New York City's "Hell's Kitchen" is always a great setting for mob movies (for obvious reasons), and here it is used to perfection by director Phil Joanou. Add to that an impressive cast (Sean Penn, Ed Harris, Gary Oldman, Robin Wright, and John Turturro) plus wonderful music by one of the world's greatest composers, Ennio Morricone, and you've got a gripping character-driven mob story. By the way, has anyone noticed that Morricone's score for State of Grace is amazingly similar to his score for Oliver Stone's film U-Turn? Oh well, who cares, I love Morricone's music!

Terry Noonan (Sean Penn), an undercover cop, has just returned to his old Hell's Kitchen neighborhood. His goal: infiltrate Frankie Flannery's (Ed Harris) Irish mob and find enough evidence to put him and his murderous gang behind bars. But there's a problem, Frankie's younger brother Jackie (Gary Oldman) is an old close friend of Terry's, having grown up with him in the tough streets of Hell's Kitchen. Jackie is hot-tempered and is second-in-command with Frankie's mob, a fact that makes Terry's job much harder for him as time goes by. Terry's job becomes even harder when he begins seeing an old girlfriend (Robin Wright), who is the sister of Frankie and Jackie. Terry's love for her and his close bond with Jackie eventually leads to betrayal and murder, culminating in a bloody showdown between Terry and Frankie (and his mob) on a St. Patrick's Day.

Because this type of story has been overdone so much by Hollywood, the story is a little predictable. However, the top-notch cast puts a whole lot of energy and effort into the acting. Previously, I'd thought Ed Harris (with those fierce, piercing blue eyes) couldn't play a more unlikable character than the German sniper who kills a child in Enemy at the Gates, but as you'll see he's even more brutal in this well made thriller. Sean Penn and Robin Wright had great chemistry together and both delivered intense and convincing performances. Gary Oldman was very good at playing a psycho mobster, but maybe a little too extreme at times. Anyway, fans of mob movies will definitely enjoy this underated film. Highly recommended.

Phil Joanou had an incredible palette of talent to work with in creating this dark and troublesome work of art. Even the lesser parts are filled with personalities such as John Turturro, Robin Wright (then without the Penn), RD Call, John C. Reilly and Burgess Meredith. The score composed by Ennio Morricone has a haunting, eerie saunter, infected with an obvious full note that jerks you out of its hypnotic trance. Watching this film in 2005 takes one back to a number of other great and powerful films of the early 90's that used the noir anti-heroes as their central character. Comparing State of Grace to Abel Ferrara pieces such as Bad Lieutenant and King of New York would not be far-fetched.

Penn's performance as Terry is wrought with inner turmoil, culminating in his bedside confession to Wright's Kathleen. While explaining Hell's Kitchen and it's irk to Turturro he wanes "we're Irish, all we know how to do is drink," a telling testimony that typifies the culture soon to be taken over by the newly christened Clinton inner-city development. His inward reflection is mirrored by the exuberance of Jackie, played with perfection by Oldman. With his cavalier swagger he seems to lack the part of the genetic code that relays fear. Jackie takes risk to new levels while seriously jeopardizing older brother Frankie's (Harris) plans to form an alliance with elements of the Italian mob. Harris's taught composure throughout the film is a fine study in character definition; a true Jeckyl and Hyde persona, playing the suburban family man by day, and slitting the throats of childhood friends by night.

We've seen little in the form of feature offerings from Joanou, aside from U2's Rattle and Hum and Heaven's Prisoners. It is interesting to note his continuing contribution to U2's music video collection, as well as a number of TV commercials. His close association with the mega band lent a big break in acquiring music rights for his 2000 production Entropy.

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I think that this is one of the best movies ever made. The elegance of cinematography, a perfect performance of director Phil Joanu, a great casting (Sean Penn, Ed Harris, Gary Oldman, Robin Wright, John Turturo), a complex story, and a very fine ethical dilemma. All these components, in a equilibrated mix, with a perfect result: a masterpiece.

I triend to record it in several times from cable TV, but it's time is over 2 hours, and I forget it every time, and never had a complete record. Often, the TV version it was translatedd to spanish, losing a part of actor's performance.

I don't understand why the DVD wasn't released before 2005. I expected it long time ago.

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This is a great film about rival gangs in NYC's Hell's Kitchen neighborhood. Some of the later revelations are easy to pick up on early in the movie, but, all-in-all, it is very entertaining. Sean Penn is pretty convincing in his anguish over playing both sides. Of course, Gary Oldman is fabulous. When is that not the case? He is so charismatic that I sometimes cannot take my eyes off of him, even when he is not the central character in the scene. Of course, Ed Harris really makes you hate him in this movie, which, in my opinion, is a sign of a really great actor. This film is highly engrossing and entertainig. Give it a view. I watched it once and had to make it part of my collection.

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Three visions ; three gazes , three generations , three points of view . The Yuppie Generation who live in The Kitchen's hell ; a police and a mobster .

The cop -Sean Penn is sent to New York and will meet again with his childhood friends but the life has invited them to complete the circle of the life .

A stunning film where the job , the feelings , the duty , the betray , the honour and the merciless violence intersect searing the screen. Full blooded film but filmed with superb good taste .

Arresting angle shots where you remember some bits of The Citizen Kane , superb illumination , and solid script make of this one of the three best mob films in 1990 with Goodfellas and Crossing Miller .

The cast is fine but Gary Oldman shines with the light of a Supernova in this case . His role is the most complex to follow due the multiple spirit states demanded .

Phil Joanou is a gifted director who should be kept in mind for next releases .