The Bucket List (2008)

Selecting a category for this very fine film results in the all-encompassing label 'mixed media', for lack of a better term. It is smart (with an excellent script by Justin Zackham), addresses some important social issues, and it has moments of touching tenderness and equal moments of very sold comedy. AND it greatly benefits from the casting of Jack Nicholson and Morgan Freeman, two consummate actors playing out a theme that is unexpectedly a solid study of friendship and love.

Carter (Morgan Freeman) narrates the story: Carter gave up his dreams for a college education and major career to support his surprise child from his wife Virginia (Beverly Todd) and has worked as a mechanic to support his own family, including his son Roger (Alfonso Freeman, Morgan's son in real life also!). After his children have all become successful, Carter is suddenly diagnosed with terminal cancer. He is hospitalized for chemotherapy, only to be placed in the same room with the wealthy and cantankerous owner of the hospital, Edward (Jack Nicholson) who also has been diagnosed with terminal cancer and is also in the hospital for chemotherapy. Edward's only 'friend' (he has basically alienated the world through his behavior) is his assistant Thomas (an excellent Sean Hayes) who tends to his every need. Gradually the two disparate men grow into a friendship united by the common bond that they both must face impending death. Together they create 'the bucket list' things they want to do before dying, and because of Edward's wealth, they leave the hospital on a worldwide adventure of skydiving, racing cars, visiting the pyramids, etc. The manner in which these two elderly men bond casts a warm glow over the film without ever touching on the maudlin risk of communication. They simply grow in their appreciation of life as they learn from each other.

Freeman and Nicholson are in peak form here and the supporting cast is very fine. But special credit must go to director Rob Reiner for giving us yet another film about humanism that would enrich the lives of anyone who takes the time to watch this very fine film. Grady Harp, June 08

By what they've accomplished? According to soft-spoken cancer patient, Carter (Freeman), you measure a man's life by who measures their lives by yours.

Edward Cole probably was a lot of people's yardstick. He was wealthy, powerful, and he ran hospitals.

"We run hospitals--not resorts!" E. Cole (Nicholson)

If Cole hadn't been so mercenary, he'd never have been stuck with another patient in his hospital room. At first, the very wealthy Cole doesn't care for the soft-spoken auto mechanic, but as time goes on the two develop a friendship--and Cole begins to both share food and care for Carter.

When Edward sees Carter's 'Bucket List,'(a list of items he wants to accomplish before he kicks the bucket) he realizes it's something the two of them can do--and says they should. That's when the two cancer patients break out of the hospital and go on a world tour. Together, they write out a new bucket list and work to make each other's dreams come true.

"Bucket List" is sentimental, predictable, and yet more than my words can encompass. The film's not just about dying, but friendship, and finding joy to spread to others--even at the worst times in a person's life.

In my opinion, the three best aspects of this film were Morgan Freeman's outstanding narration and Sean Hayes' well-done portrayal of Cole's ever-present assistant (Thomas). Another nod goes to actress Beverly Todd, who played Virginia Chambers. Even the young girls in the film were exclaiming how amazing she looked and acted.

Warnings:

Bring tissue

If 'laugh til you cry' is on your 'Bucket List,' you can check this item off

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The Bucket List tells the sensitive and well thought-out story of two older men who are diagnosed with cancer so severe that they have six months to live--or maybe a year if they're lucky. Look for stunning performances from both Morgan Freeman as Carter Chambers and Jack Nicholson as Edward Cole. Beverly Todd also acts her heart out as Beverly Chambers, Carter's wife.

The action begins when Carter Chambers, a working class black man, and Edward Cole, super-wealthy self-made rich white guy who actually owns the hospital they're in become roommates in the oncology ward of the hospital. At first Carter and Edward don't exactly hit it off but it isn't long before they forge a friendship. When they each learn that by coincidence they have six months to a year to live, they embark on a trip to accomplish certain lifelong dreams and personal goals before they die. The list of things to do is called The Bucket List because it's a list of things to do before they "kick the bucket."

Of course, because Edward Cole is wealthy many scenes in this movie become almost miraculously possible. They travel the world by private corporate jet; and they live more in just a few weeks than most people ever do in a lifetime.

Of course, life has its ways of surprising just about any of us; so still the plot could go just about anywhere. How will Beverly, Carter's wife, react to all this? Will she understand and remain patient while Carter lives out a few lifelong dreams or will she want her husband home NOW? Will Carter and Edward be able to keep their cool when they are stranded in Asia during a monstrous snowstorm and they are not allowed to fly? What happens if one of them gets very sick along the way? What about Edward's refusal to make up with his daughter who disowned him long ago--will he ever decide to approach her or will he remain obstinate in his refusal to even meet with her? The results may surprise you. No plot spoilers here, folks--you'll just have to watch the movie to find out!

As a cancer survivor who is finishing my own chemotherapy soon, I will add that some of the side-effects of the chemotherapy they receive are exaggerated. However, I think director Rob Reiner added these elements to the film to make it somewhat more dramatic.

Overall, The Bucket List is an excellent movie; and I couldn't have enjoyed it more. Jack Nicholson and Morgan Freeman turn in superlative performances that proves these guys can still act better than the vast majority of actors ever could. Beverly Todd does a great job as Carter's wife; and Sean Hayes also does well as Edward Cole's personal assistant Thomas. I highly recommend this film for fans of these terrific actors; and people comfortable with the subject matter will appreciate this motion picture as well.

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The Bucket List

A Universal DVD

This is a story that coveys the close relationship that develops between two utterly different men that must share the same hospital room after being both diagnosed with advanced terminal cancer. The first, Edward ColeJack Nicholsonis the CEO that runs the hospital and is a ruthless persona and the second is a mechanic, CarterMorgan Freeman-, who wanted in his youth to be a history teacher but life circumstances did not allow him to do so. They share the common adversities of the infirmity and they, ant the same time, share a long trip that will tie the relationship even further.

One day, Carter starts to write a "Bucket List" containing all the things that he would like to do before he dies and Cole finds it out. Afterward, they decide to write the "Bucket List" together and start going on marvelous trips around the world and sharing precious moments and becoming the best of friends. Two utterly different persons become the closest friends ever in the last months of their lives.

What really stroke me about this DVD was that it not only applies to two terminal cancer patients: What stroke me the most is its universality. If we think a little deeper, it could apply to two or more persons sharing similar adversitiesor joyfulness for that matterand relying on each other for comfort, understanding, and the sharing of knowledge and experiences.

The performances of the two principal actors are outstanding and make you laugh and cry at different times during the performance.

Highly recommended!!!

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Edward Cole (Nicholson) and Carter Chambers (Freeman) have terminal cancer. They are opposites, with Edward being a rich CEO and Carter being a car mechanic. They are sharing a room at the hospital, and share the same diagnosis: six months to a year. Carter begins making a "bucket list" things to do before he dies. Edward gets in on the list, and having the money funds their attempt to cross everything off that list. They see the Pyramids of Egypt, the Taj Mahal, and the Great Wall of China. The skydive and drive race cars. They share their stories and become good friends. Soon they realize returning home will help them more than traveling the world.

Nicholson and Freeman are always good, and "The Bucket List" is no exception. They give their usual standout performances. On the downside, this is a movie that sets out to make views shed a few tears. This gives the film a feeling of trying to be more important than it really is. If that could somehow be toned down, this would be a better movie. There are some good laughs though, and that is the films saving grace. As it is, it is a harmless diversion for just over two hours. I would probably recommend this one for DVD viewing.

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Pinocchio (1940)

I just saw a special engagement of this latest 70th Anniversary version of Pinnochio at Disney's El Capitan Theatre in Hollywood in advance of the DVD re-release. Though I am happy to see the movie be given public exposure on a big theatrical screen, over the years I have seen many theatrical screenings of the movie on at least 12 different occasions including an original nitrate 3-strip Technicolor studio vault print in the early 1980's (before the studio dismantled its last nitrate screening room) and non-digital film restorations and was shocked to see that this latest restored version has digitally tampered with the film's original color palette for no justifiable reason.

Some of the chosen character hues are modern day, popular color hues, but look out of place in this early animated classic including certain pinks, reds and blues which are reused so often in identical shades that to classic animation buffs it becomes distractingly noticeable. For those animation buffs who know about Pinnochio, Walt intentionally muted colors in some of the scarier or sadder scenes. In the restored version, for example, when Pinnochio gets locked in Geppetto's "birdcage" the nighttime scene is bright and garish where it should intentionally be darker and muted.

The original movie had hand inked character outlines in colors that matched the interior ink colors, none of that is apparent in this restoration. The characters, though admittedly sharper and clearer, look color-wise like they were electronically tampered with, then reinserted in front of the original backgrounds.

At this point, the damage is done and obviously this restoration was "stylistic." But in any case, it might be compared with someone redoing the Mona Lisa with more modern color hues for the purpose of improving the artwork or making it more modern day acceptable. Either two things, perhaps no one at Disney was knowledgeable enough to notice what the outside restoration company was planning to do with the film in early test segments or maybe they figured that modern day DVD audiences would not know the difference or care, but this is the first "DIGITALLY RESTORED" classic Disney film that I have ever taken issue with. What a let down since it is my very favorite Disney film of all!!!

P.S. I was the founder of the former, long time Disney employees' Animated Film Club (later referred to as the Disney Film Club) which included Disneyland and Walt Disney Studio employees. It was founded in 1976 and continued on and off for many years afterward with visits from surviving original Disney animators, screenings of rare Disney footage and more.

The one-two whammy of audience and critical indifference to "Pinocchio" and "Fantasia" killed Walt Disney's desire to experiment with the limits of animation in the 1940s. From then on, play it safe was his motto. This may be one of the greatest tragedies to beset popular American culture in the 20th century; despite the depths of pretension and kitch in "Fantasia," it was at least evidence of a spirited mind in pursuit of the unattained -but "Pinocchio" must have broken old Walt's heart. There are visual effects in this movie that remained unchallenged until the digital age, and it's worth recalling that every single one of them was drawn by hand. It has one of the most beautiful and exciting musical scores in the history of the movies (I can't hear Cliff Edwards' high, pure falsetto holding that final note of "When You Wish Upon a Star" without chills), a deeply plangent sense of emotion that never tips over into bathos, and a wealth of detail that is still staggering after 65 years. But it may be too dark a movie to attain the popularity of more cheerful Disney cartoons like "Snow White" -although even that one can frighten the tots. Now: where is the double-disc Special Platinum Edition???

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Disney has restored this all-time classic to its original brilliance. The universal themes of love, family, friendship and good vs. evil make this educational and enjoyable. Yes, there are some quite scary scenes and evil is shown for what it is. However, just as in most fairy tales, good triumphs over evil in the end.

The story is told by Jiminy Cricket and the start of the movie is peaceful. He arrives at Geppetto's home where there are music boxes, toys, amazing clocks and a puppet who is just "all strings and joints." Geppetto is just painting on the finishing touches before he heads off to bed. The "cutest" black and white cat named Figaro adds warmth and amusement to the story. The sassy fish Cleo is a visual delight.

As the woodcarver drifts off to sleep, he says: "Wouldn't it be nice if he was a real boy?" He then sends Figaro to open the window and sees a wishing star. He makes a wish and while he sleeps, the Blue Fairy brings the Marionette Pinocchio to life. He then must learn to have a conscience, so it is decided that Jiminy Cricket will be his guide so he will know what is good and what is evil.

Pinocchio begins his journey to become a "real boy," but first he has to learn to be brave, loyal and honest. He is kidnapped after he joins a traveling show so he can become a famous actor, but escapes with the help of the Blue Fairy. She is the most beautiful animated fairy I have ever seen. Pinocchio then must learn to survive on his own. He takes a trip to Pleasure Island. This is a place where children go and they are allowed to play and never work, but the sinister truth is that they are all changed into donkeys and end up being shipped off to the salt mines. While he seems to keep making the wrong choices, once he realizes he will be turned into a donkey (his ears and tail already have grown), he goes back home. (Not unlike the prodigal son in a way, yet he is so young.)

When he arrives home, he finds cobwebs and the house has been empty for some time. A note arrives that tells him where he can find his father, so he jumps into the ocean to find Monstro the whale, where his father, Geppetto is trapped. Once under the sea, things get a bit scary and the whale is quite evil, not unlike other creatures from the sea in Disney's movies. Will he find his father? I won't give the ending away.

This is about the magical power of believing in your dreams and also will teach children to be moral and choose the good in life. I have to wonder if some politicians forgot to watch this movie as children. It teaches that lying is wrong and that a lie keeps growing and growing once it is told.

There are messages that reading is good and education is something you should strive for. The illiterate Red Fox is hilarious as he tries to read the ABC book upside down! The fox tries to tell Pinocchio that education is not good for him. I also noticed that because Pinocchio could not read (because he didn't go to school!), he could not read the note about his father and therefore, Jiminy Cricket had to read it for him. See a similar scene in "Mulan" where the lucky cricket in that movie types out the letter like a typewritter, which is also a beautifully animated movie with snow scenes similar to the wave scenes in this classic. I could see many details in this animation which have carried over into other movies.

There are many messages for adults in this movie....I doubt children will pick up on (Note the song that talks about "There are no strings on me!." This seems to be talking about our responsibility to others.)

As an adult, you will find them amusing and thought provoking. I had to laugh when I heard the Cricket say: "What does an actor want with a conscience anyway." That hit the mark! I would like to see more actors develop a conscience.

One of my favorite quotes by Jiminy Cricket is: "A cricket can't be too careful you know." It is laugh out loud funny when he says it.

The first part of the movie is hilarious, the middle is a big adventure and the ending is a wonderful surprise for children. There are a few politically incorrect items, but they are almost tongue-in-cheek and you have to think about when this movie was made!

If you have ever wished upon a star, or a falling star, this is for you! I agree, this is a masterpiece of animation....unlike anything you will find today. It is so detailed and moves at a pace where it is comfortable to watch. This is a thoughtful movie, unlike some of the more fast paced extravaganzas you see today.

~The Rebecca Review

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I am 70 yrs. old, and saw all of the great Disney movies on their original release as a child. Lest my qualifications are questioned, I have TWO PhD's, and am a retired professor who at the moment am building computers and reading at least 2 books a week. I've travelled all of the "lower" 48, and visited over 20 (again) in the last 3 years.

We have become a nation so frightened and split into groups that teach children fear and hatred. I'm afraid of what the children will become. I have a dozen grand children (at the moment) and have bought them all copies of the my fovorite Disney movies, with Snow White, Pinnocchio and (original) Fantasia at the top. Neither I, nor any of my friends my age, thought of those early movies as anything but what they were--wonderful stories. An example of the worst of our society is Eisner--a monster who takes movies off the market for years, and has stated he won't release the great folk tale "The Song of the South" because it MIGHT be "politically incorrect," an ugly concept that divides our country into "clans" walking on eggs in fear of "offending" some other group. I have watched most of the movies with each of my grand children, and SURPRISE, they loved them and are growing up to be intellegent and open minded, without fear or hate or whining. They learn their values from parents,grand parents and friends, not from movies and not from the twisted ideas of people they are pushed to associate with.

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A timeless classic that has been entertaining audiences for 70 years, Walt Disney's "Pinocchio" gets the High-Definition treatment and with Disney's classics on Blu-ray known as "reference" disc's among high-definition fans, "Pinocchio" is the second animated film from Walt Disney to hit theaters (back in 1940) and the oldest Walt Disney animated film to be released on Blu-ray. This Blu-ray disc comes with two Blu-ray discs plus a DVD disc of the film.

VIDEO & AUDIO:

So, far the Walt Disney Blu-ray disc animated (as well as theatrical) releases are among the best in picture and audio quality.

With the 2008 Blu-ray disc release of "Sleeping Beauty" (1958) which definitely benefited from the High-Definition remastering and many videophiles putting it among their top 10 of "reference" Blu-ray discs for picture quality, "Pinocchio" (1940) is a much older release, this film presented in multiplane Technicolor just looks absolutely fabulous on Blu-ray.

For nearly a year, an expert restoration team digitally scanned 380,334 frames of four and half miles of 71 year-old film negative, cleaning 126,778 frames, realigning each scene, removing dirt, scratches and dust and matching colors to the original cels and backgrounds. The clarity of "Pinocchio" is just amazing and I was just impressed how clean the animation was.

From the details of the backgrounds to the vibrant colors used, picture quality was just spectacular.

And the audio is no slouch either as the audio is featured in English 7.1 DTS-HD Master Audio (48 kHz, 24-bit) or a restored original theatrical soundtrack. Of course, the film is primarily a dialogue based film but also a classic known for its music.

So, for those who have been enchanted with songs such as "When You Wish Upon A Star" to "I've Got No Strings", fans of Disney composer Leigh Harline, Ned Washington and Paul J. Smith are going to enjoy how beautiful the music sounds on their home theater setup. The music from "Pinocchio" earned the film two Oscars in 1941 for "Best Music, Original Score" and "Best Music, Original Song" for "When You Wish Upon a Star" which would become Disney's anthem.

For those wondering if there are any audio tracks in any other languages, unfortunately there is not. Although the bonus features do include English, French and Spanish 2.0. The same can be said for subtitles featured in English SDH (for the film) and the bonus features in English SDH, French and Spanish.

SPECIAL FEATURES:

"Pinocchio" is just loaded with special features. Here is what is included:

Blu-ray Disc 1:

* "When You Wish Upon a Star" An all-new music video starring Meaghan Jette Martin (Camp Rock) performing an all-new version of "When You Wish Upon A Star!" Obviously a version to bring any the younger listeners but really, nothing can beat the original version sung by Cliff Edwards.

* Pinocchio's Matter of Facts Learn fun facts about Pinocchio and other related subjects as you watch the movie.

* Optional Video/Audio Commentary An all-new audio commentary with Leonard Maltin, Eric Goldberg and J.B. Kaufman. A very informative and also enthusiastic commentary in which the three discuss their feelings of the film, what scenes touched them and also some informative facts about the film. The optional video commentary allows people to have a picture-in-picture display in which you can watch the three discuss the film and then also some interviews with the original crew involved with the film.

* Disney Song Selection This section allows the viewer to listen to the music portions from the film.

Blu-ray Disc 2:

* No Strings Attached: The Making of Pinocchio Witness the behind-the scenes magic that transformed Carlo Collodi's popular book into a classic animated film. About an hour long and very informative featurette about how the film cost Disney over $2 million to make but the film didn't do well in the box office until later as the music became a big part of Disney and people started to discover it's technical, artistic and musical merit and having become a Disney masterpiece.

* Deleted Scenes In the Disney vault, storyboards for deleted scenes and an alternate ending were found. Without spoiling any of these, the following scenes are:

The story of the Grandfather Tree Kindly Geppetto tells Pinocchio about the Great Pine Tree from which Pinocchio is descended.

In The Belly Of The Whale The most elaborate of Pinocchio's deleted scenes that remain in the Disney Archives, these recently discovered storyboards reveal a different version of Geppetto inside Monstro.

Alternate Ending A recently uncovered set of small storyboard panels reveal plans for a different version of Pinocchio becoming a real boy.

* The Sweat Box The Sweatbox was a small projection room at the Disney studio where Walt critiqued story reels, rough animation, and dailies of films in progress with his anxious artists. This piece traces the history of the Sweatbox and brings to life this important part of Walt Disney's artistic process.

* Geppettos Then And Now A look at the art of toymaking as it has evolved into the 21st Century. A fun featurette showcasing those who make toys, those who still carve wooden puppets to those who have created the Wall-E robot toy and I-Sobot.

* Live Action Reference Footage Older footage of how live action was used in the film, especially with the movements of Jimini Cricket.

* Pinocchio Art Galleries The hand-drawn conceptual art of "Pinocchio" is fantastic. Absolutely beautiful!

* Pinocchio's Puzzles Hosted by Jiminy Cricket, Pinocchio's Puzzles is a multi-tiered Puzzle game that contains six unique wooden puzzles for the viewer to assemble. Each puzzle forms an image from the film that comes to life once they are complete.

* Blu-ray Exclusive Bonus Features -Includes all DVD Bonus Content (*BD-Live not available in Canada)

* Disney BD-Live Network The Disney BD-Live Network is just one of the many ways movie lovers, families, and loved ones can continue to stay connected and engage in their favorite movies.

* Movie Chat Communicate with your remote friends on-screen while in a synchronized viewing party using your remote control or any text enabled device such as a laptop,

desk top or any PDA device such as a Blackberry, iPhone or most other regular cell phones. Your chat session will appear over the movie and occur in real-time while watching the movie together.

* Movie Mail Blu-ray owners will be able to record a personalized video message of themselves, superimpose that capture onto one of many pre-selected clips of the movie, and send it off to a friend, colleague, or relative. This specific feature enables Pinocchio Blu-ray Disc owner to personalize a very special greeting as never before.

* Disney Movie Rewards Live Pinocchio Blu-ray owners will be able to accumulate Disney Movie Reward Points by participating in many Disney BD-Live Network activities. In return, viewers can redeem points for exclusive content such as Avatars, downloadable extras and many more exciting possibilities.

* Disney View A new viewing experience for future generations of home audiences, Disney View brings classic Disney films to the modern era of widescreen high definition viewing by allowing the user to expand their viewing experience beyond the original aspect ratio of the film. Utilizing Disney Blu-ray(tm) technology, artists are able to `draw' beyond the borders of classic full frame cinema and fill the otherwise dark edges of the screen with beautiful original imagery, giving audiences a new view on their animated classic favorites. Legendary artist Toby Bluth is the first artist's work to be featured on Disney View. I hope "Disney View" is a continuous feature because instead of watching the black bars on the sides of your widescreen TV, by having these borders and have it match with the scene was well-done!

* Cine-Explore

* Pinocchio Knows Trivia Challenge 1 to 4-player trivia game that can be played locally or online with your friends. Try to be the first to shrink Pinocchio's nose by answering challenging questions while watching the film.

* Pleasure Island Carnival Games Best the Evil Coachmen at four challenging Carnival games to earn your freedom and escape Pleasure Island.

Also, included is a song that was not used in the final cut for the film and more!

Again, another Disney masterpiece that has its definitive release via High-Definition on Blu-ray. This release is absolutely wonderful!

I was awestruck by how brilliant the film looked and how clean and pristine this 70-year-old film was on Blu-ray. Walt Disney Studios Home Entertainment really showed us how brilliant their restored films would look on Blu-ray starting with "Sleeping Beauty" but since "Pinocchio" was a much older film, it wasn't known if it could benefit from the restoration but sure enough, this release is yet another "Grand Slam".

To have a such an important classic animated film released on Blu-ray to look this spectacular is impressive but to go back into the sealed archives of Disney and to find any video or any type of existing artwork or storyboards was just amazing. This release is just jam packed with special feature and you learn so much about the behind-the-scenes making of the film from the artistic and musical direction, to casting and even Walt Disney and his involvement as well.

Learning how Walt Disney wanted to immediately change his version of "Pinocchio" from Carlo Collodi's original 1911 story "avventure de Pinocchio" (which featured an unlikeable, wiseguy Pinocchio and dark stories about abductions and murders) to learning also how strict Walt Disney was in making sure his staff knew what he wanted and did all he can to bring the best out of them.

Now, as a parent, I did watch this film with my child. For those who are not familiar with the classic Disney films, although Disney films are rated G, Disney films from the past versus a Disney film like "Wall-E" or a modern Disney animated film that is generally fine for children will need to know that back then, Walt Disney's animated films were created for people of all ages and not just children (which was discussed on the commentary).

So, therefore Walt Disney's first film "Snow White and the Seven Dwarves" had dark content. Disney's second film "Pinocchio" has its share of scenes that may make some parents uncomfortable. For example, in one scene, Pinocchio follows a wiseguy who likes to smoke and thus Pinocchio starts smoking a cigar (and of course getting sick by it), scenes with beer drinking and then of course, a scene where the word "jackass" is used a few times. Some may feel the content is inappropriate for their children, so I will leave that up to your discretion.

But overall, there's really nothing negative that can be said about this Blu-ray release. It's everything that a fan of the film can ever want with a High-Definition release. Digital restoration of video and audio, informative commentary, special features and much more!

Absolutely wonderful! Highly recommended!

Frenzy (1972)

Frenzy was a homecoming of sorts as it was Hitch's first film shot in the UK since he left during the 40's. I would disagree with those who claim that Frenzy can't stand with Hitch's best work; Hitch's droll and dark sense of humor change what could have been a run of the mill thriller into a minor masterpiece. The best bits in Frenzy are every bit as startling and powerful as those in Rear Window, Vertigo and North by Northwest. Although his wife Alma's heart attack couldn't have informed the pre-production stages of the script and film, it certainly had an impact on the atomsphere captured in the film. There is an underlying darkness here only hinted at before (most explicitly in The Birds, Vertigo and Marnie).

The performances are uniformly excellent. The fact that Hitch chose stage actors and lesser known British film actors for this film gives it a bit more grit and reality than his earlier films. Anthony Schaffer's script plays with the routine cliches of suspense films. A number of sequences (including the scene where the murderer is trying to retrieve a bit of incriminating evidence from one of his victims) flirt with sardonic humor. The dialog like most of Hitch's films is outstanding. Here Schaffer, again, turns many of the cliches (some from Hitch's own films) from film dialog into a droll commentary on both the action and the film audience as observers.

The extras included on this DVD are particularly outstanding given the standing this film has with most film buffs. The new interviews with Anna Massey, Jon Finch and others sheds considerable light on Hitch's methods during the making of the film and discounts a number of myths about him (including the idea that he didn't really work much with the actors. While he trusted the actor's instincts he also recognized that a well rehearsed film is akin to a storyboarded film; it's clear that preparation for both aspects were equally important).

Why is this film a "lesser" Hitchcock for most critics? It probably has to do with the more contemporary edge in some of the scenes. Frenzy has more in common with the brutality evident in early Hitchcock classics like Murder than with Rear Window or Shadow of a Doubt (a film that shares a lot of the same themes although Frenzy is a darker, more contemporary take on the same type of story). Frenzy clearly is Hitch's last great film and although it occasionally slips, its best moments are every bit the equal of his best films. On the whole the strengths of Frenzy outweight the weaknesses and make this terrific film a must for Hitch fans. One interesting observation in closing about Frenzy. Everybody points to Hitch's classic films as influencing Brian DePalma. It's clear that DePalma (who had already begun making films prior to 1972)borrowed more from Frenzy than other Hitchcock classics. Even a film like DePalma's Sisters (released the year after Frenzy) owes a great debt to this film.

For the first time in twenty-plus years, Alfred Hitchcock returned to his native England to make what turned out to be his final psychological thriller FRENZY. Despite a series of only modestly successful films since his 1963 triumph with THE BIRDS, Hitchcock had not lost his touch when he was handed Anthony Shaffer's fine screenplay (based on the Arthur LaBern book "Goodbye Picadilly, Farewell Leicester Square"). And although his approach to sex and violence is more explicit here (thanks to the ease in censorship restrictions that happened only a few years before), Hitchcock still delivers a film quite typical of his work--suspenseful, chilling, and often quite funny in a blackly humorous way.

The film revolves around a series of grisly strangulations of women occurring around London that have the police totally baffled. The killer's choice is a necktie, which pretty much leaves the door wide-open, since almost every man there wears a necktie. We are then introduced to Richard Blaney (Jon Finch) an ex-RAF officer and divorcee who has this tendency to drink too often and get a little bit too rough with people, including his ex-wife (Barbara Leigh-Hunt). The only real solace he gets is from his friend Robert Rusk (Barry Foster), a fruits-and-vegetables salesman in Covent Garden. What Finch doesn't realize, however, is that Foster is, in fact, the necktie strangler. And when Leigh-Hunt is found strangled in her office, the police, having interviewed her secretary, who had heard Finch arguing with her violently only half an hour before she was killed, immediately suspect and later arrest Finch, while Foster gets away. But an alert detective (Alec McCowen) suspects that there is something to Finch's story that could prove him innocent of the crimes.

Although it was only a moderate hit here in America, owing to an all-British cast (all of whom are extremely good), and also quite controversial because of the grisly nature of Foster's strangulation of Leigh-Hunt, FRENZY is nevertheless a brilliant movie, far more concise and better plotted than many of today's serial-killer films of this day. Foster's performance is extremely complex; instead of the typical mad-dog killer, he is a suave businessman with a thing for women--for seducing and then strangling them. Finch's performance is, by necessity, less sympathetic so as to keep the audience off-balance, thinking that he is indeed the killer.

And unlike too many pseudo-Hitchcock films of our time, FRENZY has moments of dry British wit and morbid dark comedy. One involves two policemen chatting in a bar about the killings, where one remarks, "We haven't had a good murder since (Agatha) Christie", and that such a spree "is always good for tourism." Another involves Foster having to get an incriminating piece of evidence off of the corpse of one of his female victims in a potato truck--and he has to actually break off her fingers to do it. Hitchcock later said, "The remarkable thing about that scene is how it improved the taste of the potatoes." Still another is McCowen enduring the "gourmet cooking" of his dotty wife (Vivien Merchant).

A superior piece from one of the all-time great directors, a man who was an influence on everyone from DePalma to Spielberg and beyond, FRENZY is a disturbing but always intriguing horror opus well worth re-discovering.

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Hitchcock's second last film is a tightly-written, well-acted suspense thriller featuring a luckless and underachieving hero being framed for murder, a cunning and psychotic villain whose murderous itinerary is detailed, a gritty and realistic directorial style from Hitch, a story set in a working-class milieu that is far apart from the glamorous and exotic settings of his earlier films, and one horrific murder scene in which the depiction of brutality and evil reached a new height for the director. This film is quite a world apart from the elegant, smooth, urbane suspense pictures he made in the 40s and 50s. But with the increasingly jaded audiences in the 70s, the change was probably inevitable. Still, Hitchcock's craftsmanship made FRENZY as exciting and memorable as his more traditional thrillers.

This DVD from MGM/UA presents the film in a new, widescreen video transfer and a Dolby Digital monophonic sound track. The picture looks a bit dark for my liking; unfortunately there is no "color bars" on the disc for me to test the display. Colors are bright and realistic, however. The audio is bright and sharp.

There is an original 45-minute 'Making-Of' documentary that features new interviews of actors Jon Finch, Barry Foster, and Anna Massey, a theatrical trailer (showing Hitchcock floating on the Thames), 100 or so B&W production photos, and the usual "production notes" and "cast biographies".

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Think about this.The man was 70 when he directed it---6000 miles away from home.For someone who had enjoyed the comfort and routine of shuttling each day from Universal to Bellagio Road for the last twenty years,this was pretty radical---and it couldn't have been any picnic sitting all day on those wet,chilly London streets either. I never appreciated all of this at the age of 21 when I was running "Frenzy" as a 16mm college rental.At that time,I enjoyed a good,tense---maybe not top drawer,but certainly up to standard---Hitchcock thriller.Having seen it many times in the intervening years, I have modified my opinion---"Frenzy" is a GREAT Hitchcock thriller.I won't say "one of his best",because how much room do we have in a pantheon that includes "Shadow Of A Doubt","Notorious","Strangers On A Train" and so many others?Let's just say that "Frenzy" is utterly different from the rest----another bold stroke from a director who was always ahead of the cutting edge. It's also one of the wittiest pictures ever made---funnier than any one of a hundred celebrated comedies I can think of.Anthony Shaeffer had a lot to do with that---he was the writer---and it's a masterful job he turned in---if only these two could have done a whole series of thrillers together!Besides the well-known set-pieces(the potato truck,the back-tracking shot from Barry Foster's doorway,etc.),there are so many wonderful little throwaway moments to treasure---Jon Finch stepping on the grapes,Foster picking his teeth with the tie pin---so many priceless details.Hitchcock obviously loved being in that Covent Garden---it's teeming with moving crates of fruits and vegetables---people hiding out among the deliveries,casually picking samples and eating---it's all so relaxed and evocative---you feel as though you're right there in the bustle of a typical London day. It's great that Hitchcock was able to share such a vivid and colorful homecoming with us---the fact that it's such a marvellously grisly and twisted ride is like the icing on the cake.Yes,the first rape/murder scene is truly disturbing,and I wish he'd toned it down,but Hitchcock was clearly pushing the limits here---releasing a few of those demons that had been pent-up through so many of the code-compliant pictures he'd made for so many years.It's a lapse in taste,but I've forgiven it.There's so much to love in "Frenzy",it's hard not to---besides,you've all got fast-forward buttons.MCA should release this on DVD---truly a buried treasure among Hitchcock classics.

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Everyone who's seen a lot of Hitchcock and read up on him has their favorite Hitch film, and then they have the one which isn't quite their favorite, but which they feel has been criminally neglected in the general consensus. For me, Frenzy is that second film. For some reason, this late-life thriller has never been accorded much respect (most people haven't even heard of it), but it's one of his most well-crafted and cohesive films, without the demure hesitancy which makes Shadow of a Doubt and Strangers on a Train less effective now, and with a great sense of purpose that keeps the audience focused. Even classics like Vertigo have a tendency to drift and lose the audience, I think; in Frenzy, everything is succint and to the point. Hitchcock also finally found the nerve to show murder onscreen, and its occurence is as brilliant as anyone would expect. A cast of relative unknowns deliver excellent performances, particularly the rough-around-the-edges 'hero.' This is beside the point, of course, but I love the way he rolls his R's 'Rrrrrrrrusk!' Another thing I appreciate is that Hitchcock seems to have lost some of his obsession with unreal beauty. There are no polished Cary Grants or dreamlike Grace Kellys in the lower-middle-class world of Frenzy, giving it a terrific gritty reality; here are ugly men and women doing (and suffering) ugly deeds. Some people, discussing this film with me, have pointed out that it may have been the time frame which made the movie seem so realistic after all, that was more the style in the seventies, when it was made. I don't think so, however, when you consider that he followed Frenzy with the funny but airheaded Family Plot, which is as unlike Frenzy as apples and potatoes. Finally, the role that food plays as a motif and symbol is wonderful, totally relevant to the film. This is Hitchcock's underrated masterpiece, period.

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Batman: Mystery of the Batwoman (2013)

"Batman: The Mystery of the Batwoman" is the first new straight-to-DVD Batman animated project since "Batman Beyond: The Return of the Joker." It was worth the wait. Even if it doesn't match the manic, violent heights of "The Return of the Joker," it's a welcome, more lightweight adventure that's full of action and drama and also a very enjoyable mystery. There's a slew of villains: The Penguin, Bane, and gangser Rupert Thorne. And there's the fascinating new character of Batwoman herself, with her unique abilities and unusual arsenal of gadgets. It's also quite a sexy, steamy Batman story (but don't worry, parents, not THAT steamy), with a strong romantic subplot that gives Bruce Wayne plenty to do when he's not hunting through the night as Batman. Like all of the animated D.C. Comics projects to come out of Warner Bros. since the early 90s, it's enjoyable, smart entertainment for both children and adults. If it doesn't quite attain the level of some of the previous Batman animated adventures, it nonetheless delivers a fun, exciting time in Gotham city.

Directed by Kurt Geda (who also directed "Return of the Joker") and Tim Maltby, and written by frequent writers of the various D.C. TV shows, Michael Reaves and Alan Burnett, the movie takes us back to the days of "The New Batman Adventures" (which means the look and style of the movie matches the more stylized look of the last few seasons of the show). Batman and Robin (the younger Tim Drake version of Robin) are still together fighting crime, but Batgirl has left Gotham City to go to college (no mention is made of Nightwing, the former Robin). But a new vigilante has suddenly appeared in Gotham: Batwoman (voice of Kyra Sedgewick), who wields bizarre technology and seems to have a grudge against the Penguin and Rupert Thorne's weapons-dealing operation. Batman sets out to find out the truth behind Batwoman and also stop the Penguin, Thorne, and their cronies.

There are plenty of suspects who could be beneath Batwoman's mask: scientist Roxanne "Roxy" Ballantine (voice of Kelly Ripa), mobster Carlton Duquesne's beautiful daughter Kathy (voice of Kimberly Brooks, although the character is clearly modeled on Halle Berry), and police detective Sonia Alcana (voice of Elisa Pensler-Gabrielli). Each one, Batman discovers, has a reason for revenge against the Penguin or Rupert Thorne. Things become more complicated when Bruce Wayne becomes romantically involved with Kathy Duquesne.

The animation is, as usual, fantastic. It's limited by budget, but nonetheless is far ahead of most of what appears on television, and the animators use the minimalist, art-deco look to great advantage. The set-pieces are stunning: Penguin's icy-night club, the truck chase action opening, Batwoman's hyper-kinetic fight with Penguin's female goons, the cruise boat slam-bang finale, and a beautiful sunset romance scene. It's sequences like these that make me wish Warner Bros. would give the animated Batman another shot at the movie theaters. (Only "Mask of the Phantasm" has shown up on movie screens.) The voice work is impeccable: Kevin Conroy is always a terrific Batman, Efrem Zimbalist Jr. is still the perfect Alfred, and Hector Elizondo has fun with villain Bane. All the various female actresses mentioned above do great jobs with their characters. The only disconcerting casting choice is David Ogden-Stiers (a frequent voice-over artist) as the Penguin. He gives a good performance, but it's hard to better Paul Williams in the role, who had played the character throughout the TV series. The jazz-oriented score is also a nice change and adds to the steamier and mysterious aspects of the story.

The DVD contains a number of extras, but the best is a short animated film called "Chase Me." It is done completely in pantomime -no dialogue -as Batman chases Catwoman across Gotham City after she robs a jewelry safe at a ritzy party. It's a stunning piece of animation, and if it had been released in theaters would probably have easily snatched up the Oscar for Best Animated Short. It's one of the best explorations of the strange Batman-Catwoman-Bruce Wayne-Selina Kyle relationship, and the jazz score is hypnotic. It's a great bonus feature to have along with this extremely enjoyable Batman film. Buy this DVD! It will encourage more animated Batman features in the future, and maybe, just maybe, get one of them released to the theaters!

First of all, I think it's unfair to compare this animated movie to the works of Paul Dini and Bruce Timm. They are long gone on other series and this was an attempt to take a new turn of the head in the series. And it succeeds. Certainly, don't want to discourage WB from making more of these movies because I love them a lot.

From a story point of view the plot is obvious. Who is Batwoman? The answer will astound you. I can't say I saw it coming or thought it was the most original thing to do but it was executed perfectly nonetheless. I'm not sure if I'm too fond of the new animation style however, it seems to lack detail where detail is called for and there is an abscence of shadows which gives Batman its dark feel but as I said they're trying to take a new direction.

Probably the thing I hate the MOST has to do nothing with the movie but with the franchise itself. You'd think that they'd actually have Batwoman stay once the mystery is solved but instead she is gone like all the other new characters in short, nothings changed AT ALL and it slowly degrades itself because of its reptitiveness. They should introduce some permanent change that encourages fans to stay interested in the series.

So why 5 stars? Well, the special features were great but watch them last or there won't be any mystery. Also I do like the fact that they are trying to show a lighter side of Bruce and the simple fact that they did make another moive. The script is good, the acting even better. To me it was certainly better than Sub Zero for here the viewer is actually drawn into a mystery rather than an adventure.

Bottom line, its a worthy buy. I recommend anyone to buy it or at least see it for its entertainment value. And a note to WB executives if they happen to read this: make the next movie longer than 75 min.

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Mystery of the Batwoman is a decidedly average Batman story. It doesn't come close to the writing triumphs of some of the Batman TAS episodes or even the preceding feature-length ones. The jazzy, laid-back music is completely inappropriate and takes a good deal away from many scenes. The art is clean, crisp, and fluid, but not anything like Sub-Zero's top-of-the-line pre-TNBA art (which honestly is the best Batman has ever looked). Of course, the greatest strength (and saving grace) of the film is the awesome voice acting. Kevin Conroy is still a completely believable Batman, and Efrem Zimbalist, Jr.'s Alfred is as witty as ever.

This film strays from the dark, moody feel of the Batman cartoon, which is a BAD thing, but it does make up for it a bit with a good deal of humor. There is a "Batman breaking-and-entering to investigate" scene that is absolutely hilarious if you understand it.

Finally, I don't want to spoil anything, but I will say that there is a villain in the movie that we all love and is worth watching the film for. I won't say who it is.

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Mystery of the Batwoman has made quite a bad reputation for itself since its release a decade ago. I'm not really sure why, or if it deserves the fanboy hate, but one thing is for sure it killed the Bruce Timm/Alan Burnett Batman continuity that began with the TV series back in 1992. Kevin Conroy has returned as Batman in a few video games but there has been no proper Batman animated movie since this one (unless you count Public Enemies, where he shares half of the screen time with Superman).

The Penguin is in the midst of setting up an arms deal with Carton Duquesne, Rupert Thorne, and Bane when the sudden appearance of a new crime-fighter in the shape of Batwoman causes them all sorts of grief. Not taking kindly to his image being tainted by an unaffiliated vigilante Batman sets out to discover who she really is.

It's a decent plot, but never feels moody or atmospheric. The gothic pathos of the animated Batman entries that fans are familiar with is strangely absent/muted. However there are some good action scenes and a nice twist half-way through that might seem a little redundant on repeat viewings. The animosity it has gathered since 2003 is a little hard to justify, it's still better than Sub-Zero.

The Blu-ray is a marginal disappointment. It IS a great improvement over the DVD, featuring the movie in the correct 1.78:1 aspect ratio instead of 1.33:1. The picture balance looks much better and the colors frequently pop, but there is a very strange blurriness to a number shots which feature fuzzy, jagged black outlines. It is very odd, like they zoomed-in on the original print and lost resolution as a result. It might be a fault of the animation and not the Blu-ray transfer, though if you are annoyed by such things it will lessen the overall quality of the Blu-ray for you. The 1080p transfer would otherwise be impressive if it were not marred by this unusual anomaly. The DTS HD-MA audio fares much better and sounds great. The extras have been simply ported from the old DVD and dumped with no re-mastering. Even the ads, trailers, and 'Chase Me' short are in nasty standard definition.

Warner could have improved the presentation a bit, and with this exception of the aforementioned picture deficiencies it is a good upgrade on the DVD.

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The climax and eventual end of the original series ends with this movie. Watching the cartoon series chronologically, this one should be watched last. It's a good story but I'm sad to see it end on this movie. They could have gone so much farther than by stopping here. Still a great movie however.

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Mad Max Beyond Thunderdome (2013)

The Mad Max films finish their transformation from the edgy, ultra-violent first movie to this kid-friendly adventure picture with slick production values and flawless photography. The violence is toned down and the fantasy elements are played up; unfortunately, this means the post-apocalytpic kick of the second movie (just about one of the greatest action flick -EVER!) has vanished. "Thunderdome" has some fine moments, especially the well-directed scenes with the tribes of children and the haunting images of the coda, as well a couple of good action sequences, such as the face-off in the Thunderdome arena, but it doesn't stay in your memory the way the first two films do. It is still worth seeing if you enjoyed the other movies in the series. Tina Turner's performance is certainly interesting, similar to Grace Jones turn in "Conan the Destroyer," which was made at about the same time.

Of course, if you've never seen a Mad Max films, don't start here. Go back to the first one (available in a great deluxe DVD), then work up to the best of three "Road Warrior" (available in a not so deluxe DVD), then you'll be ready for this finale -and this DVD doesn't have much in the way of extras on it either.

I'm probably one out of only a handful of people that thinks Mad Max Beyond Thunderdome is just as good as The Road Warrior, and for different reasons, too. The Road Warrior was a spectacle of frenetically paced action sequences and it would feel like a complete retread if Beyond Thunderdome tried to do the same thing again. Instead, they added new elements, and the result is a very entertaining and imaginitive action/adventure.

Max (Mel Gibson) has just been robbed of all his belongings in the middle of nowhere in Australia. He searches for the thief and this leads to Bartertown, a unique society built upon methane energy dependent on pig manure, no less.

Max's search leads him to Aunty Entity (Tina Turner), Bartertown's lawmaker, who strikes a deal with him. All Max has to do is kill a certain somebody in Thunderdome arena and he'll get provisions in return. Not everything goes according to plan and Max is banished to the desert where he is rescued by a small group of lost children.

For those expecting the action of The Road Warrior you might be disappointed. While there is a good bit of action in Beyond Thunderdome, it's not as much as its predecessor and doesn't have as much energy. However, Beyond Thunderdome should be noted for having what is perhaps one of the best action sequences in American film history with the gladiator fight in Thunderdome arena between Max and the gigantic Blaster. The sequence is undeniably inventive and clever; it involves the two men tied to bungee cords that allow them to spring and leap throughout the arena and grab any weapons placed all around such as a mace, chainsaw, spear, etc.

What makes the film so good, though, are its successful attempts at creating complex societies. Bartertown is a sight to behold and is made all the more interesting by the rituals the "citizens" perform and the laws they obey.

As for the performances, Mel Gibson excels and gives a fine performance as usual. Tina Turner is a real surprise as the villainess; she certainly knows how to act and delivers a fairly good performance. Most of the supporting cast do a decent job with the material they're given. Angry Anderson, in particular, is quite humorous as the henchmen who rarely talks and mostly grunts, screams, and yells in exaggerated tones.

After Brian May's exciting score in The Road Warrior, Maurice Jarre takes over the job and composes a score that is quite poetic and, at times, lush and beautiful.

As with all the final scenes in the Mad Max films, this one ends perfectly. This time, we get the feeling that humanity has hope so long as men like Max are around.

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The third chapter of the Mad Max films can't possibly outdo the success of The Road Warrior, but it's a worthy successor, an exciting film with a very interesting story.

Mel Gibson's Max is back again and finds himself helping another group of ragtag characters. Max finds his way to a town called Bartertown and is forced to engage in a gladiator battle to the death. After refusing to kill his beaten enemy, he's dragged back out to the wasteland, there he's rescued by a group of tribal children. A small group from Bartertown is looking to escape to "The Promised Land" Max and some of his young rescuers lead the way.

Tina Turner is on hand as the wicked Aunty Entity, ruler of Bartertown. Bookending the film are two excellent songs from her as well. Mad Max "3" is a worthy sequel, while not as intense as the previous two, the story is thought provoking and while a bit slow paced, the ending is more than worthwhile. Maurice Jarre's music score isn't as intense but does create an appropriate epic atmosphere. George Miller and George Ogilvie are the directors and create both a sequel and a film that can stand on it's own.

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Mad Max Beyond Thunderdome receives a great deal of bitterness. This is expected, it is a follow-up to one of the greatest of all action movies, with action scenes that aren't as good. Granted, the action sequences in the movie are quite exciting, but they easily fall short of the grandeur of The Road Warrior.

Indeed, as a follow-up to The Road Warrior, Mad Max Beyond Thunderdome does not deserve a 5-Star Rating. But what Mad Max Beyond Thunderdome does manage to do is build upon the fantastic setting that was only hinted at in Mad Max and The Road Warrior. The wastelands depicted in the first two films are not enough to contain the skyhigh ambitions of the world that director George Miller has created. With the addition of Bartertown, characters like Master-Blaster, and the final jarring vision of civilization presented in the film's closing moments, Mad Max Beyond Thunderdome is still up to par with its much-loved predecessor.

A viewer expecting another Road Warrior will be disappointed; but a viewer that wants to go back to the nameless, post-apocalyptic world of this film's two predecessors will not be.

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George Miller's last installment in the Mad Max Trilogy. Although the film keeps up the apocalyptic setting and theme of The Road Warrior, the plot here's rather far-fetched and seems to undermine the dramatic elements of the film.

Mad Max is now a messiah who seeks to protect a settlement of naive followers against the intrusions of Queen Aunty Entity (Tina Turner), the leader of a hodge-podge city-state named Bartertown. She keeps her subjects entertained by holding gladiatorial contests in the town's Thunderdome; a caged dome in which the contestants lunge at each other with weapons while suspened in the air. Will Mad Max be able to protect his innocent followers from Aunty Entity's evil machinations?

The only fault I find with this film is having Mad Max as some sort of messiah. His followers seemed too naive and ignorant to have been able to develop a sophisticated settlement in the first place. Their virtual muteness accompanied with the silly da-da talk makes them rather unsympathetic characters as well.

This is the worst of the three Mad Max films that is undermined by a rather uneven plot. I would recommend renting this film more than buying it.

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Austin Powers Collection (International Man of Mystery / The Spy Who Shagged Me / Goldmember) (2008)

I enjoyed this series of films very much. The "Goldmember" film a bit less but overall a very creative and funny pop culture feast! One of the big bonus's for me anyway is to finally have the original Austin Powers movie in the proper 2:4 aspect ratio after years of having to watch it on 1:85 on normal DVD. This may not mean much to some viewers but to those interested in seeing what they did at the theater it does. The other two films came out in proper 2:4 aspect ratio on DVD previously so why the original was formatted a bit off was always a mystery to me. The films look great on Blu-ray ...and while they don't have any NEW bonus features to my notice..at least they did import all the old ones and music videos (some blu-rays are coming out WITHOUT the previous bonus features).

I picked the set up for a price that came to about $15 per film so I think its a very good value.

Finally, there are subtitles for "Austin Powers In Goldmember" as I could not get Closed-captioning to work on the DVD version.

Note: Be careful opening the package as the set is shrink wrapped very tight and might cut the loose page on the outside that you might want to keep. (The real box has Austin Powers & Dr. Evil on each side.)

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It's hard to believe almost 10 years have gone by since we first saw Mike Myers' Austin Powers character for the first time. These are among the funniest films made at the close of the 20th Century. For the most part, they are chock full of sightgags and silly puns and give Mike Myers ample opportunity to wear funny costumes and try out as many joke accents as possible. Myers rises to the occassion each time out, eventually playing 4 characters at once ala Peter Sellers.

As introduced in the first film (International Man of Mystery), Austin is swinging 60s' superspy who thinks he's a lot hipper than he really is. Think Sammy Davis Jr trapped in Davy Jones' body and you'll have an idea of what Austin is like before seeing him. Also introduced in the first film is Dr Evil (also played by Myers), a cross between Blofeld and Ed Sullivan. If anything, Dr. Evil has even better lines and gags than Austin himself.

The three films primarily spoof the James Bond series. The first film has strong overtones of both 'Diamonds are Forever' and 'Casino Royale' but Myers goes totally bonkers in the second film (Spy Who Shagged Me), in which 'Star Wars' and 'Moonraker' are yanked in for a well-deserved ribbing. The second film doesn't break as much ground as the first, but is arguably the funniest of the three as leading lady Heather Graham is the perfect partner in crime to Mike Myers' Austin character. Graham is the funniest of Austin's three leading ladies. Unfortunately, the third film (Goldmember) declines after a very strong start, coming across as a stitched-together effort to wring the last bucks out of the Powers franchise. If the series has a flaw, it's that few of the characters seem drawn from life, rather than pieced together as parodies.

If you like one Austin Powers movie, you'll like all three to various degrees. At this price, this is a good time to replace your battered VHS copies with nice, fresh DVDs.

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This trilogy is worth your money and will give you one hell of a good time. There isn't really much for me to say about them though. The plots are very simple and pointless but the movies are absolutely hilarious.

Mike Myers is genius and makes the movies funny because he plays Austin Powers, Dr. Evil and Fat Bast***. That's lots of talent!

Beware because if you didn't know, these movies are very silly and dumb but will definitely make you laugh your head off.

This is how I rate the three:

Austin Powers: International Man of Mystery4 stars

Austin Powers: The Spy Who Shagged Me4 and 1/2 stars

Austin Powers: Goldmember3 and 1/2 stars

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I purchased the "1-3 Collection" on DVD. I know enough about the other versions that I can compare/contrast. If you're looking for information about the movies themselves, look elsewhere I'm not going to mention the plots, the cast, etc. in this review.

First, the "Austin Powers 1-3 Collection" on DVD. You get two DVD's. The first and third movies are on a 'flipper' disc, with the second movie on its own disc. A little strange, perhaps, but no biggie.

Comparing it the the Blu Ray collection, other than packaging difference (3 blu rays in their own slim cases instead of two dvd's) the contents are identical. All movies are in 2.4:1 aspect ratio. Each movie features commentary, deleted scenes, etc. And while the DVD transfer is perfectly acceptable, I can see how these movies would really "pop" in HD. If you like these movies enough, spend the extra $ for blu ray.

Comparing it to the first release of individual DVD's, note that (1) the first movie is presented in its proper 2.4:1 aspect ratio here, but not on the individual DVD (I don't know what aspect ratio was used, but it was wrong) and (2) that the extras on the individual discs are less. Since you can easily find the "1-3 Collection" for about $8 shipped, I recommend purchasing the "1-3 Collection" if you choose to buy on the DVD format.

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Pierre Etaix (Criterion Collection) (1971)

Passionate music lover since he was a child and of circus world and influenced by the silent screen comedy artists he love Langdon, Keaton, Laurel & Hardygreat french comedy master Pierre Etaix started his cinematic career in a brief cameo scene of Robert Bresson's Pickpocket and at the side of also comedy genius Jacques Tati. Painter, professional clown he shared stage with Charlie Rivel in the Medrano, joined Tati at the Olympia, on his show "Jour de fete", became a popular comedian on his country working first in famous salas like "Le cheval d'or" and then with his wife Annie Fratellini as comedy couple and graphic artist he drew between others the film posters of Tati's Mon Oncle and Les vacances de Monsieur Hulot he jumped into film direction and the filming of his own stuff joining Jean-Claude Carriere whom Etaix considers his script writing teacher in the short film Rupture(1961),co-directed with Carriere himself. Tagged sometimes as the french Buster Keaton one of his most beloved and admirated comedy artists with Stan Laurel and Charlie Rivel -probably for his precise "mise-en-scene", exquisite and very calculated sight-gags and his way of acting Etaix joins in his films slapstick, classic circus routines and acrobatic bits with sophisticated comedy in films plenty of surreal visual invention. His movies also shine for his great taste for the coreographic visual gag and the funny, very creative use of sound and music. This DVD/Blu-Ray collection as the previous french edition collects all the flicks of Etaix as director five feature films and three shorts: Rupture, Happy anniversary and his episode bit and tribute to Hulot "En pleine forme", added originaly by Etaix, with the other 4 comedy sketches, to his first montage for the 1966's premiere of "As long as you're healthy", and later delated for the 1971 re-release. After a long legal battle (20 years) at the side of his friend and usual film collaborator great french scriptwriter Jean-Claude Carriere for the recovery and exhibition of his films, Pierre Etaix extraordinary films has been shown again at the film theaters and finally edited in DVD in what has been in only few years a metheoric resurrection and recognition of the art of this true comedy genius. A wonderful chance to see in wonderfuly restored copies his absolute feature films masterworks: Le soupirant his feature film debut as director with a plot that reminds in some parts to Buster Keaton's Seven chances -, and YoYo Etaix's personal favorite and a very beautiful tribute to circus world -, so as his great films Le grand amour that contains a delightful dreamy scene in which Etaix's bed goes out of his bedroom taking off down the road, stopping to pick up a gorgeous nightied hitchhiker and passing other beds stopped for repairs, having accidents... -, the episodes movie "As long as you're healthy" that contains between other brilliant comedy sketches a bedtime Hammer style vampire story and Pays de cocaigne, a satyrical candid camera documentary shot after the events of May 68 and focused on french people vacations that was surprisingly punished by the critics, stopping during many years Pierre Etaix's film career.

Passionate music lover since he was a child and of circus world and influenced by the silent screen comedy artists he love Langdon, Keaton, Laurel & Hardygreat french comedy master Pierre Etaix started his cinematic career in a brief cameo scene of Robert Bresson's Pickpocket and at the side of also comedy genius Jacques Tati. Painter, professional clown he shared stage with Charlie Rivel in the Medrano, joined Tati at the Olympia, on his show "Jour de fete", became a popular comedian on his country working first in famous salas like "Le cheval d'or" and then with his wife Annie Fratellini as comedy couple and graphic artist he drew between others the film posters of Tati's Mon Oncle and Les vacances de Monsieur Hulot he jumped into film direction and the filming of his own stuff joining Jean-Claude Carriere whom Etaix considers his script writing teacher in the short film Rupture(1961),co-directed with Carriere himself. Tagged sometimes as the french Buster Keaton one of his most beloved and admirated comedy artists with Stan Laurel and Charlie Rivel -probably for his precise "mise-en-scene", exquisite and very calculated sight-gags and his way of acting Etaix joins in his films slapstick, classic circus routines and acrobatic bits with sophisticated comedy in films plenty of surreal visual invention. His movies also shine for his great taste for the coreographic visual gag and the funny, very creative use of sound and music. This DVD collection as the previous french edition collects all the flicks of Etaix as director five feature films and three shorts: Rupture, Happy anniversary and his episode bit and tribute to Hulot "En pleine forme", added originaly by Etaix, with the other 4 comedy sketches, to his first montage for the 1966's premiere of "As long as you're healthy", and later delated for the 1971 re-release. After a long legal battle (20 years) at the side of his friend and usual film collaborator great french scriptwriter Jean-Claude Carriere for the recovery and exhibition of his films, Pierre Etaix extraordinary films has been shown again at the film theaters and finally edited in DVD in what has been in only few years a metheoric resurrection and recognition of the art of this true comedy genius. A wonderful chance to see in wonderfuly restored copies his absolute feature films masterworks: Le soupirant his feature film debut as director with a plot that reminds in some parts to Buster Keaton's Seven chances -, and YoYo Etaix's personal favorite and a very beautiful tribute to circus world -, so as his great films Le grand amour that contains a delightful dreamy scene in which Etaix's bed goes out of his bedroom taking off down the road, stopping to pick up a gorgeous nightied hitchhiker and passing other beds stopped for repairs, having accidents... -, the episodes movie "As long as you're healthy" that contains between other brilliant comedy sketches a bedtime Hammer style vampire story and Pays de cocaigne, a satyrical candid camera documentary shot after the events of May 68 and focused on french people vacations that was surprisingly punished by the critics, stopping during many years Pierre Etaix's film career.

Buy Pierre Etaix (Criterion Collection) (1971) Now

Criterion has done it again...I want to personally thank Criterion for taking the time and effort to remastering and releasing the films of Pierre Etaix to the public. Like his mentor Jacques Tati, Etaix is a comic genius whose humor is rooted in the classic comedians of the silent era (Buster Keaton, Chaplin, Harold Lloyd). Also like these comedians, Etaix uses humor to comment upon modern society (or what was considered modern at the time he was working). My personal favorite film out of this collection is Le Grand Amour, which takes the cinema trope of the troubled marriage, and brings it to a brilliantly surreal level. This is, without a doubt, the blu-ray release of the year!

Read Best Reviews of Pierre Etaix (Criterion Collection) (1971) Here

A previous reviewer heaped praise on Criterion for "remastering and releasing" Etaix's films to the public. I don't disagree with that sentiment, though it should be limited to releasing the films to the US public. Criterion isn't in the job of remastering, and this was done for the Etaix films by Etaix himself in 2010, with financial support from the Groupama Gan Foundation, and Technicolor Foundation for Cinema Heritage. We have these versions here, with new subtitles and various features.

Again, this isn't to slight Criterion. If it wasn't for them, it's difficult to think of another publisher that would purchase the US rights to these films. Praise all around, then.

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I saw The Suitor 50 years ago, and was delighted with the beauty of the film, a series of carefully crafted images that told a simple story with a quiet surface but great underlying emotion. Etaix managed an uneasy balancing act of telling a comedic story without making his protagonist a clown.

Now, with the re-release of all his films, I find that Etaix was literally a clown at one time, and brought that background to film. So far, I've watched The Suitor, Yoyo (in which Etaix' background is a major aspect of the plot a rich kid who runs off to join the circus) and two highly inventive short films. All are beautifully filmed on low budgets, but the Blu-Ray restoration helps show the highly polished works that they are.

I would recommend these films to anyone who enjoys Jacques Tati (Etaix's mentor) or Bill Forsyth movies. They are in that quiet spirit, but evoke hearty laughter.

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