Playtime (The Criterion Collection) (1967)

Why was Playtime a failure, sending Jacques Tati into bankruptcy and costing him control over his life's work of films? His previous film, My Uncle, had been a commercial and artistic success. M. Hulot's Holiday and Jour de Fete had gained Tati world-wide recognition and respect. He had become recognized as one of the few authentic geniuses of film.

Watch Playtime and I think you'll find the answer. Tati in his earlier films placed Hulot in situations where we could empathize with him. Hulot was an innocent. As we came to like him, we also came to like the people he encountered. Even with their pretensions and idiosyncrasies, we could see something of ourselves in them. Tati might be holding up a mirror for us to look in, but M. Hulot was such a gentle companion that we smiled as we recognized ourselves.

With Playtime, there is little Hulot. Instead, we have Tati's view on all sorts of social and cultural issues, from the sterility he saw in much of modern life to modern architecture, group behavior, impersonal offices, loneliness, boorishness and American tourists. We're observers, and our job is to share Tati's viewpoint. Hulot, now middle-aged, has become a minor player in the film. In his earlier movies, Tati was careful to give us small numbers of people with whom, along with Hulot, we could come to know. In My Uncle, for instance, it was essentially one family and one modern home, along with Hulot's own apartment and his neighbors. In M. Hulot's Holiday, it was a small seaside hotel and its guests. With Playtime, we have a large, impersonal office building, all glass and right angles, filled with people -employees, visitors, exposition guests, customers. Then we have an apartment building with huge curtain-less windows allowing the pedestrians to look right in, and we're among the pedestrians. Then we have a nightclub filled with customers, waiters and managers. There is little opportunity to get to know any of these people, much less develop affection for them.

However, as with all his movies, Tati fills Playtime with streams of intricate and carefully developed comic situations (although comic is too broad a term), often that build from small happenings we've barely noticed. There is only sporadic and incidental dialogue, but sound effects are vital to the movie, as subtle and amusing as what we see.

As sterile and unattractive as Tati makes the airport, the office building, a convenience store and the apartment, there are such odd and subtle sights as the bobbing wimple wings on two nuns, a floor sweeper staring at a booted officer, Hulot suddenly sliding down a floor, glass windows and doors impossible to tell if they're there or not, a table lamp that dispenses cigarettes, strange-looking and wobbling food at a self-service counter...and the list simply goes on. And it's not just one thing at a time. Tati can fill a screen with all sorts of amusing occurrences, some happening in the foreground, some in back, some at the sides.

The last hour of the movie takes place in a modern nightclub, the Royal Garden, which has just opened and is barely ready for its customers. A dance floor tile sticks to a maitre d's shoe, a fish is ostentatiously finished table-side by a waiter...then finished again and again by mistake while the two customers ooh and ah. A bow tie falls in the sauce. A bus-load of tourists suddenly appear. When Hulot manages to accidently shatter one of the glass doors to the restaurant, it is a culmination to all those glass walls we've been looking through and walking into. The follow-up gag with the round door opener is almost worth the price of the DVD. As the modern restaurant gradually disintegrates around us, Tati finally begins to ease up on personal viewpoints and let's us simply enjoy the sight of people becoming more like people. And that, I suspect, is the point Tati wanted to make. In an odd sort of way, the last ten minutes evoke the humor and warmth of previous Tati movies...a packed traffic circle with all the cars moving slowly together; a father taking a toy horn from his little boy and blowing it, too; the bittersweet last look at Hulot walking past a bus where a young woman he met at the nightclub is being taken to the airport with her tourist group.

If you like Tati's viewpoint on the impersonalization of modern society, you'll probably like Playtime. Some critics call it his masterpiece. If you like Tati, I think Playtime is essential, if only to understand what happened to him. The movie is an idiosyncratic and gallant failure, in my view, and much too long. Still, I'd rather watch Playtime than most of what passes as genius in films today.

The new Criterion release looks very good. This edition has several extra features including supplements about Tati and an audio interview with him. The case also contains an insert with an essay by Jonathan Rosenbaum, identified as a film critic.

French director Jacques Tati is considered as one of the best directors of all time. Known for his comedic work in France, his character Monsieur Hulot has appeared in several successful comedic films such as "Juor de Fete", M. Hulot's Holday", "Mon Oncle", "Traffic" but there is one film that will be his accolade. That film is "Playtime".

Considered a masterpiece by critics, the film was also a commercial failure and was the most expensive film ever created in France as Tati created a set featuring a whole city block with high rise buildings that looked incredibly real. But the film was ahead of its time.

"Playtime" is a visual film with no significant plot, nor does it have much dialogue. It's a film that is driven by its many characters onscreen and the elaborate setup as characters, buildings and vehicles are treated with so much detail on the film, that it just a feast for ones easy as Tati absolutely created a film that was sheer brilliance.

But part of the problem was his risky gamble on 70 mm widescreen and stereophonic sound. Many theaters were not equipped to handle that and to make things worse (but understandable) is the lack of dialogue which can easily turn off audiences. So, needless to say, the film didn't do well in France and also in America.

It's after Tati died in 1982, is when people found admiration in his work and seeing how his films were truly amazing.

"Playtime" is like a smorgasbord of life being changed by modern technology and as Tati was known to do, lambast modern society as he was a man that was definitely "old school" to the time of his death.

The film revolves around Tati's famous character Monsieur Hulot and an American tourist named Barbara.

For Monsieur Hulot, he easily gets lost in the city and leads him to adventures to various areas such as an office building (which he had a problem with today's modern architecture) as he gets lost trying to get to his meeting and ends up being pulled away to a high-tech trade expedition, a high-tech apartment and then leads him to nightclub known as the Royal Guarden.

As for Barbara, she just wants to experience the beauty of Paris. She accompanies her (loud) American friends but she rather enjoy France her own way. Obviously Barbara had different ideas in mind of Paris but instead she receives a modernize setting.

The film culminates with the carousel of cars as Barbara must leave the city and sees almost a carousel/parade of all these vehicles all around her and how all the people react. What we see is a city that has been transformed to a festive, enormous metropolitan playground.

"Playtime" focuses on these two characters (and other characters who shows up more than once), Tati showcases modernization (which looks beautiful) but it's that demolishing of the France that he loves and now getting used to this new France is what makes "Playtime" quite entertaining.

Viewers can watch "Playtime" with its original French audio but also an International version which features the film in English.

VIDEO & AUDIO:

"Playtime" is presented in 1080p High Definition (1:85:1 Aspect Ratio). Accord to Criterion, the black bars at the top and bottom of the screen are normal for this format. The HD digital transfer was created on Spirit Datacine from the 35mm reduction internegative made from the 65 mm interpositive. Thousands of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system and Pixl Farm's PFClean system, while Digital Vision's DVNR system was used for small dirt, grain and noise reduction.

"Playtime" is featured in its original French language but also a alternate International soundtrack which features a few scenes with English dub.

As for the audio, the audio is presented in lossless stereo. Criterion mentions that the soundtrack for "Playtime" was remastered at 24-bit from the orignal stereo audio stems. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube's integrated audio workstation.

Subtitles are provided in English.

SPECIAL FEATURES:

"Playtime" comes with the following special features:

* Video introduction by writer, director, and performer Terry Jones (6:13) Terry Jones talks about "Playtime" and what he remembered when he watched in on the theater for the first time, what he thought about the film and also a little information about Jacques Tati.

* Selected scene commentary by film historian Philip Kemp (46:44) A well done commentary by Philip Kemp as he talks about certain scenes from the film. Kemp definitely giving an intelligent and yet smooth delivery for commentary for the film. Very informative!

* Au-delà de "Playtime," a short documentary featuring behind-the-scenes footage from the production (6:30) Featuring a behind-the-scenes look of how the set was created for "Playtime" and video footage of Jacques Tati with the cast and crew.

* Tati Story, a short biographical film (20:38) A featurette celebrating the work of director Jacques Tati. Featuring photos and video of Jacques Tati from when he was a child to when worked on his final film. Very good insight to Tati's personal life and his career.

* "Jacques Tati in Monsieur Hulot's Work," a 1976 BBC Omnibus program featuring Tati (49:28) Featuring an interview conduced by Gavin Millar who interviews Tati at the Hotel de la Plage about M. Hulot and films that the character has appeared in.

* Rare audio interview with Tati from the U.S. debut of Playtime at the 1972 San Francisco International Film Festival (Courtesy of Pacifica Radio Archives) Featuring Jacques Tati at the 1972 SF International Film Festival (discussion moderated by Albert Johnson) and insight of Tati's feelings of the film being showing in the US and his appreciation for the American fans who enjoyed the film. A great audio recording that gives us insight of Jacques Tati.

* Video interview with script supervisor Sylvette Baudrot (12:09) Sylvette Baudrot talks about working on the film and reveals some secrets of how Tati made this film work.

* Cours du soir, a 1967 short film written by and starring Tati (27:41) A short film in which features Tati teaching a mime class.

Also, included is an essay (in the insert) by Jonathan Rosenbaum (a film critic for the Chicago Reader from 1987-2000) titled "The Dance of Playtime".

JUDGMENT CALL:

"Playtime" happened to be the first Jacques Tati film that I have ever watched. I was familiar with his character of M. Hulot but for years, I have wanted to watch and experience the film.

The first thing that I found surprising is the attention to detail as the unbelievable set Tati's company had created was just fantastic. The buildings look modern, the set looks like a major section of Paris with all the people, buildings and vehicles. And sure enough, "Playtime" is a film that utilizes everything on screen to show how modern technology has literally chanted the landscape. Some who embrace the changes and convenience of modernization and some who feel they are left behind and are literally lost.

What makes this film work outside of its incredible set is that Tati is a perfectionist. He literally directs each person in the film. Everyone has an import part to play. May it be how characters have this choreographed walk as they go off in several directions to characters at a restaurant as we see people dancing on the dance floor, each person dancing differently. While servants are trying to get the food out and you see visual gags as one servant clearly has their eyes on something inside the club, while another is attentive to the female patrons and those who are desperately trying to get their food out. It may seem chaotic, but Tati knows what he wanted to get onscreen and succeeds.

"Playtime" features absolutely beautiful cinematography as we see bungalows on the work floor which work almost like a maze. We see buildings that appear to be metallic and the lighting automatically synchronizing when they turn on. We see vehicles move almost in synch with other vehicles.

We see people throughout the city in similar routines at work, we see people promoting the latest in modern technology ala the late 60's and what is most amazing is that there is hardly any dialogue. It's like you are given an upfront look at how life is in the city and seeing how various people react to each other.

The film plays out quite interesting as the first half is dedicated to various characters such as M. Hulot who has a business meeting but ends up getting lost in all the modern settings. Barbara is a tourist who has accompanied several American women to Paris and finds the city to be quite breathtaking. We see Monsieur Hulot getting lost in offices from buildings that look alike.

But then the second half of the film focuses on a nightclub known as The Royal Garden that is opening and yet not ready. We see how the builders and the restaurant staff prepare for their major night despite the nightclub not yet ready. Where the first half was quite visual, the second half focuses more intimately on the people of the nightclub and the film becomes more gag-driven but yet with so many people in the film, Tati did a wonderful job in making sure each character had some part in the film and contributed in some fun or hilarious way.

A visual film without dialogue may seem boring and monotonous but fortunately Jacques Tati included a good number of gags to make the whole 124 minutes a bit lively. I did feel the film went a little long and that scenes could have been cut but with Jacques Tati putting all his energy into this film, I understand how difficult it was for him to even cut any scene out. But I do feel that the film could have been much shorter but then again, I would have been curious to see Tati's original, longer cut.

If anything, I really enjoyed what Tati did to create such a beautiful film. Three years of his life and also the crew and talent who made this film a reality is very much appreciated as I was entertained visually and I just felt so much respect for Tati after the film was completed. I did find it a bit disheartening to learn how this film which cost over $15 million (which was incredible for 1967 and was the most expensive French film at the time) caused problems for Tati as he was left bankrupt and unfortunately damaged his career. As much as it was critically well-received, it was a failure in the box office but partly that was because Tati chose 70 mm instead of 35 mm and Stereophonic sound which many theaters were not equipped to play during that time.

The Criterion Collection really did a great job in presenting "Playtime" on Blu-ray. The film looked absolutely beautiful for a film that is over 40 years old and because this film and what takes place onscreen is so immense that each time you watch this film, you will see things that you just didn't catch the first time. You can't help be amazed of how Tati and crew were able to create a modernized city. Tati made sure to really utilize his large cast in this film and what you see maybe different from what others are seeing because there are many things going on in the background. So, definitely a film that I have no doubt will require multiple rewinds because too much is happening in one sitting.

Also, The Criterion Collection edition of "Playtime" on Blu-ray features many special features that Jacques Tati fans will enjoy.

I've heard that the film is a statement by Tati of how much society has changed along with the city he has loved. The modernization with the use of electronics in buildings and restaurants and just making sure he has enough gags to make the audience laugh. If only Tati can see how much has changed today, that would definitely be an entertaining script.

A film that showcases beauty in various ways. This is absolute a film that was the highlight of Jacques Tati's career and despite how this film may have done in the box office, anyone watching now and seeing what the director was able to accomplish with no discernible plot and very little dialogue is fantastic. And again, the visuals are just fantastic. I was really blown away with how beautiful and intricate of a film "Playtime" truly is.

"Playtime" is highly recommended!

Buy Playtime (The Criterion Collection) (1967) Now

This is a singular masterpiece in film making but totally unlike anything, even for it's day. By today's attention deficit disorder standards, this film is really really odd. But no doubt it is a masterpiece if the viewer is willing to put the effort in to catch all the nuances because this is a film of nothing but nuances. Tati himself is just one of many participants.

There is a plot of sorts dealing with a group of female American tourists and the one women who is the odd duck among them. She meets Tati and they spend the night together dancing at a night club and see in the dawn at a coffee shop. Various bits of business are constantly swirling around them and you could view this picture 10 times before seeing everything. There are many jokes but they are gentle visual puns. Don't expect belly laughs, just a wry but amazing view on modern life.

As is standard practice for Criterian these days the extras on disc two are spectacular. The documentaries on Tati's life and this film are brilliant and helped me understand his art and this film much better.

A gentle film with brilliant use of wide screen (this film would make no sense pan and scan) you need to fall into the picture to enjoy it. But there is an endless wealth of material to enjoy.

Read Best Reviews of Playtime (The Criterion Collection) (1967) Here

To say too much or to say too little? I see greatness here, and the more I learn about this film and Jacques Tati, the brilliant, wonderful Jacques Tati, the more I admire this great piece of film treasure. Tati is one of these pure joys that came out of nowhere in my life, and has now fueled me beyond belief. I am in love. This is a film fan's greatest wish to find unexpected little gems like this one and to have it consume them until it becomes an obsession, and then familiar, like an old comfy hat. This is a masterpiece, and it gives me faith in the human race when I see someone go all-out like this. This may have been folly but we are so very, very lucky to have this precious classic!! I grew up with Gilliam's folly, Brazil, and it is so nice to see another person putting themselves so far out over the edge for the sake of TRYING TO SAY SOMETHING IN THE GUISE OF COMEDY. This is a remarkable film and the commentaries on these discs, the Terry Jones intro, the making of features it's all tremendous, and I cannot recommend it enough. We have movie clowns today who waste their time farting and looking at booties and hating so indirectly -you see something like this, and it's like...we need more. That's all I can really say: we need more like these. This is visionary, and a gift for the ages. Remarkable, brave, timeless. This is what film is about.

Want Playtime (The Criterion Collection) (1967) Discount?

My review will be hated by many, but the Truth must out: I just saw this in the Criterion blu-ray on my ten (10) foot screen at home. It was magnificent. I am a comedy afficionado and this may be the greatest of them all, although definitely not the most laughs-out-loud. Anyway, the awful truth: if you don't see it in blu-ray on a large screen (at least 60", I imagine), I think you'll be missing a lot. Tati fills the frame with all kinds of mishegas in the background and on the far reaches of the image. Further, the simpler shots draw power from the large scale of the sets. Now please don't be ticked off....I'm doing you a solid!

The Dark Knight LIMITED EDITION Steelbook Blu-ray / Ultraviolet Includes Sneak Peak of the Trilogy

What has been said about the Dark Knight cannot be elaborated on so I won't. The film is muscling its way into my #1 favorite comic movie adaptation of all time.

The reason for my review is in hopes of saving you some money. This double disc Special Edition doesn't deliver the price you pay for it. There isn't even deleted scenes!!! I would save your very hard earned dollars and buy the single disc version and wait for the inevitable ULTIMATE re-release that will come later on down the road.

But nonetheless, a great film you will not be dissapointed; I just wish the studio would have given a better Special Edition release than what we have here. So enjoy!

Christopher Nolan has a vision. And whether you agree with it or not, he undeniably completes it in "The Dark Knight"--a vicious, engrossing, overwhelming, intelligent eventfilm that re-defines 'comic-book-flicks'. In Nolan's grim, dark-depiction of Gotham-City (the crime-ridden hell protected by legendary superhero Batman), the director strives to make everything real (something he began in the well-received "Batman Begins"). He makes it plausible, possible. And yet there's more to it: just as 'Begins' was a dissection of myth, the nature of symbols and heroes, 'Knight' is the escalation of that notion. It's a biblicalconfrontation of 'good-and-evil', yet as 'good-and-evil' really exist: a conflict of ideals, something that can't be purely-defined but that is relative to a viewpoint. In Nolan's world, the line of villainy and heroism isn't crossed... it's non-existent. The bad-guys don't see themselves as bad-guys, and as such something so unnervingly-real comes across it might fly past some people's minds (no insult to anybody, it's just common that people don't look deep into 'popcorn-flicks'): the battle is a complete ambiguity.

The film runs at nearly 2.5-hours, yet never ceases to lose interest or momentum. It doesn't waste a scene or moment; every event is utilized and necessary. 'The Dark Knight' tells a story worth telling and it takes the proper amount of time to tell it. Action-sequences are frantic, old-school, eye-grabbing stunts (vastly superior to 'Begins') and in their chaotic intensity we see that they serve purpose to the story, yet more interesting are not played for pure entertainment-value: we are meant to watch, petrified, simply hoping that the outcome will go the hero's way. Attention is never lost because we are immersed in a breathtaking, almost completely-unpredictable story (it packs many a shock), that makes us think and more importantly gains our emotional-investment. We come to care for the characters, because they are believable, developed, and personified fully.

Everyone has great-chemistry together. Maggie Gyllenhal is a more mature Rachel Dawes than Katie Holmes. Morgan Freeman provides his authoritative presence to the role of badgadget-inventor/Wayne-Enterprise CEO Lucius Fox, and under anyone else's portrayal, the part would be less-memorable. Gary Oldman underplays his world-wearied lawman with such honest-nobility, you never feel for a second any of its forced-acting. The irreplaceable Michael Caine makes a gentle, reassuring, father-like presence as Alfred, and the movie would surely fail without his strong-presence and interjected-moments of light-humor.

And while everyone (rightfully) pours the praise unto Bale and Ledger, I think most are glancing-over Knight's breakout-performance. As Harvey Dent, Aaron Eckhart does more than hold himself in the company of such a renowned-cast. He makes his presence known, whether he's playing on the easy-going charisma of Gotham's 'White-Knight' or the broken and damaged, twisted-soul of Two-Face. He achieves a full-impact with the tragedy that comes unto his character, and so closely connects with Dent, that he makes his pain tangible for us: we sympathize even as we become terrified. He captures both facets of each personality flawlessly.

Now, some people cite that 'Knight' has a potential fatal-flaw in the supposedly woodenacting of Christian Bale. Admittedly, his development is not as grand as in 'Begins' (yet that film gave us such a good psychoanalysis of Wayne, we hardly need more), yet what Bale pulls off is admirable. Wayne is not an eccentric personality. He is a disillusioned man who can hardly find any joy in having no family, giving up his love-interest and spending his life fighting a battle that may never end. He's dark and conflicted, and Bale plays up on that brooding-mood by making Wayne look as though a thousand dark-things were on his mind. He's not wooden...he's a humorless, quiet individual. Even when Wayne is acting as a frivolous playboy for the public, every now and then Bale offers us a powerful glance that reminds us its all a façade; that deep down, something more disturbed irks him. Occasionally he offers a broken-smile when exchanging banter with Alfred, letting us know that beyond the dour depression of the Caped-Crusader lies a damaged human-being. It is only in the guise of a growling masked-man, that he can unleash his true, ferocious personality.

Finally, who could forget Heath Ledger. Now, when he was first-announced for the part, I was (along with many other people) asking myself: "Why?". Mr. Ledger had proved with 'Brokeback Mountain' he could deliver a potent performance. But he hadn't before. It is only, after seeing this film, that I know the answer to 'why?': I see the significance of his loss.

When Heath appears in this movie, he is completely unrecognizable. His voice is distinctly-altered; a near-whiny, pedophile-like tone that sends shivers down the spine. His face is completely splattered with makeup that renders him both freakishly-nightmarish and strangely-funny. And when you see him, you don't think it's him. In this, his final performance, Ledger proved he was a chameleon. His two iconic performances in this, and 'Brokeback', could not be more different. I am convinced he could have been anything in his career. He commits so intensely to character that the line of actor/portrayal dies. His every tick and gesture only further-enhances his character. Heath never hams the role up or goes for something cheap: he delivers a fully-immersed display of psychotic madness...or do we just label him that to feel safer? The movie writes the character brilliantly; blending terrifying truth into his every social-accusation, and making us question why we laugh at his sick-jokes.

'The Dark Knight' has had an incredible-amount of hype running for it, from the get-go, mounting ever-higher, until Heath Ledger's too-soon death. And the finished-product does more than exceed all of the near-impossible expectations placed on it. It becomes something much richer than a super-hero-franchise-saga. Christopher Nolan has opened a new door in cinema: allowing action-flicks to become more serious, capable of intelligence. He has transformed this into a piece of artwork, full of beauty, terror, moral-conundrums. This movie has changed things...forever.

There's no going back. 10/10

Buy The Dark Knight LIMITED EDITION Steelbook Blu-ray / Ultraviolet Includes Sneak Peak of the Trilogy Now

Ok, the movie is a 5 star, this is a little info on the case and bat pod if anyone is curious about it size. We have it at work and I have already seen it. It is actually VERY small, the case and the bat pod. The bat pod is maybe 4"-5" long, and the case is just a bit larger then the blu rays. I was expecting a bat pod the size of the one available at in the toys at most stores which is 10"-12" long.

AT $50+ dollars, I would get the Bluray 2 disc and the $20 12" bat pod, which s a much better bat pod and value in my opinion.

Read Best Reviews of The Dark Knight LIMITED EDITION Steelbook Blu-ray / Ultraviolet Includes Sneak Peak of the Trilogy Here

First of all, this is a GREAT film, not just a great Batman film.

Others have compared Christopher Nolan's two Batman films to the Tim Burton Batman films, so I won't repeat their observations. Let me simply say that everything about this movie, from the script to the casting to the CGI to the acting and ultimately the directing is superb.

Now to Plato. The meta-message of The Dark Knight is a meditation on the nature of good and evil, the veneer of civilization, the virtues of principle and the necessity and the danger of bending principle in emergencies, the differences between evil for gain or power and evil for mere destruction and chaos, and the tension between public duty and private loyalty. Finally there is the question of the place for facts and the place for "sacred" myth.

(Caution: this review refers to specific scenes and characters.)

The mafia in Gotham is evil for gain and power. They want money and they want influence. They also want order. When the manager of the bank objects to the robbery he complains that the usual rules and courtesies among criminals are being violated. The corrupt police officers are evil for gain as well. They too need general acceptance of rules and procedures.

The Joker is evil for evil's sake. He sows chaos and disorder and wants to expose the thin veneer of civilization. He seeks only to unmask what he sees as contradiction and hypocrisy in human nature and to demonstrate that so-called good citizens are really evil underneath.

Scarecrow, who was featured in Batman Begins and has a minor role in the drug bust scene in The Dark Knight, is a deranged psychiatrist whose evil comes from desire for power over others as he uncovers the weaknesses in the minds of others.

The Mayor is out for power but does not resort to evil. Police Lieutenant James Gordon represents incorruptible good. This is ultimately stressed when Gordon must make a choice between public duty and personal relationship. Batman faces that same dilemma when he must decide whether to rescue Harvey Dent or Rachel Dawes. Likewise, the passengers in the ferries must choose between what they are told will be personal survival and the deaths of others, in another of The Joker's nefarious experiments. When the Wayne Industries accountant is about to reveal the identity of Batman, The Joker announces that the accountant must die, and citizens try to assassinate him. Personal safety trumps adherence to the good sometimes, but not all times.

Batman seems weaker than The Joker because he adheres to rules. The Biblical injunction, "Justice, justice shall you pursue," has been understood as demanding that justice be pursued justly. Evil, especially evil for its own sake, makes no such demand. We see this every time terrorists deliberately target innocents and hide themselves behind children knowing that those in pursuit will not purposely aim at innocent bystanders. This gives evil a huge temporary advantage.

Yet sometimes the good must bend and even break the rules. Abraham Lincoln suspended the right of habeas corpus during a critical interval during the Civil War. Batman asks Lucius Fox to preside over such a broken rule to locate and catch The Joker. When and how can we know when good can break rules to catch evil? Batman answers by creating a mechanism to restore the rules as soon as the crisis is over.

Alfred Pennyworth indirectly poses the question, "Knowing that evil, if attacked, will double its efforts and create even more destruction, is it really wise to go after evil?" The bad guys cause huge destruction after Batman and Gordon squeeze the mafia, creating enormous conflict and guilt in Batman. But without disturbing the hornet's nest, evil would prevail anyway. So the battle must be joined in any event.

Harvey Dent is extremely complex. He berates Gordon for compromising his police unit by accepting some corrupt officers to his staff. Gordon answers by claiming that sometimes those who know corruption can be the most effective in fighting it. Dent is identified as the "White Knight" whose public persona will rally the public against evil. But Dent himself participates in an untruthful diversion to help trap The Joker. Even he compromises good for the sake of fighting evil.

When Rachel and Dent are being held in danger Batman and Gordon each race to save them. Batman declares he is going to save Rachel but is tricked into going to Dent's location. Rachel dies and Dent is severely injured. In a brilliant make-up creation the right side of Dent's face remains normal and the left side is severely and dramatically changed. He has physically transformed from a White Knight into his derisive nickname, "Two Face." Reminiscent of Jekyll and Hyde, Dent's nature is now permanently divided.

The death of Rachel has destroyed Dent's belief in good and has dissolved his commitment to the public's welfare. Now he only thinks of his own personal pain and loss. But he is not a creature of pure evil. His hurt and grudge turn him into a near nihilist. The lucky coin with two heads has been transformed. One side is now ruined and becomes for him the oracle of ethics. Life and death depend solely on chance; solely on the flip of a coin.

Furious at Gordon for the actions of the corrupt police officers in Gordon's unit who betrayed Rachel, Dent finds Gordon's wife and children. Recognizing that Gordon's young son is dearest to him, Dent demands that Gordon reassure the son as Dent flips his coin to decide the boy's fate.

Batman, for whom good and evil, life and death, are not decided by chance, intervenes. In their fight Dent and Batman both plunge to the ground from a height. Batman survives and tells Gordon that the myth of Dent's goodness must become the rallying point for the city. Dent remains the White Knight, while Batman allows himself to become The Dark Knight, spurned by the public, identified wrongly but necessarily as the source of evil, who can then secretly work for the good. Only Gordon and his son know the true story behind this myth. Gotham thus gets the hero it deserves.

The Joker is captured but his fate is left hanging, literally and figuratively. We do not even know for certain whether Dent died, or unconscious, has survived his fall. All we know for sure is that the complexity of fighting evil and the compromises permitted for good are unsolved. Civilization continues but only barely. The Joker has destroyed Rachel, transformed Dent, and caused everlasting turmoil and doubt within Batman.

The need to resort to myth over facts after arguing previously for the absolute value of Truth, ends Plato's Republic, with the famous story of the myth of the cave. We too are left in the dark, in the company of The Dark Knight, at the end of this superb film.

We can only wonder what the sequel might have been, with The Joker and Two Face challenging Batman, had Heath Ledger survived.

Speaking of Heath Ledger I want to mention a few things about his performance as The Joker. There is a small pantheon of presentations of psychiatrically deranged individuals in film. Among the best are Olivia Thailand in Snake Pit, Gregory Peck in Spellbound, Jack Nickelson in One Flew Over The Cuckoo's Nest, and Heath Ledger in The Dark Knight. Ledger's perhaps surpasses them all.

For those with a psychiatric or medical background like myself, the use of his slight head tics and the seemingly random movement of his tongue suggest that The Joker has been in a psychiatric institution and medicated with drugs that left him with a case of tardive dyskinesia, a rare but serious and irreversible movement disorder that can be a side effect of certain psychotropic medications. This touch, which I believe was meticulously and masterfully added to the portrayal by Ledger, makes The Joker both more convincing and more dangerous.

I am told that Ledger immersed himself in The Joker's state of mind before and during the filming. It is not unknown for an actor to have difficulty extricating himself from such a wrenching and demanding role. Joaquin Phoenix and Faye Dunaway have each spoken about this as they worked to emerge from Johnny Cash and Joan Crawford. If this was so for Ledger then The Joker got an undeserved bitter laugh while we have only tears.

Addendum July 23, 2008: One of The Joker's henchmen must have gotten into my spell checker to change Olivia De Havilland into Olivia Thailand. Sorry for that.

I want to expand on one point distinguishing Batman from Dent. When The Joker reveals the locations of Rachel and Dent, Gordon asks Batman which location he is going to. Batman says Rachel's but I believe he is aware of The Joker's double crosses and switches, and knowingly goes to Dent's location. That Batman expresses no surprise at finding Dent rather than Rachel confirms this view. Bruce Wayne would have rescued Rachel but Batman, a true hero, puts his public duty above his private preferences.

After Rachel is killed Dent loses his sense of public duty and loses faith in goodness. Batman, equally in love with Rachel and equally convinced she will marry him, retains his public duty and goodness, though he is burdened with grief and guilt. Perhaps a White Knight cannot endure crushing disappointment. Perhaps only a Dark Knight, who has already experienced the crushing loss of viewing the murders of his father and mother, and holding himself responsible for that tragedy, can make his way through darkness without losing his way.

A final note, in response to a commenter who took issue with my portrayal of Gordon as incorruptibly good, I agree that Gordon made pragmatic choices, and refer to them in the essay. But as a person he is beyond bribery and never loses sight of his duty to the citizenry. So how about personally incorruptible but one who made some seemingly necessary but ultimately unwise alliances.

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This is just some information regarding the Bat Pod. Please be aware, the Bat Pod and the display stand are 100% plastic. The Bat Pod is also not removable.

In my opinion, they are not worth the extra money.

Get the film, but don't splurge on this plastic toy.

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Dreamgirls (Two-Disc Showstopper Edition) (2006)

For those of you who aren't familiar with DREAMGIRLS it was a hit Broadway musical, created in 1981, based "loosely" on the real monster girl group The Supremes, Berry Gordy and Motown. And although it took almost 25 years to make, the movie version is spectacular.

Following the meteoric rise of the fictitious "Dreams," the story takes place in Detroit in 1962 and ends in Los Angeles in 1975. In between you witness the joy, sorrow and bitterness--as some dreams die, while others live. And being a period movie, DREAMGIRLS doesn't feel dated or unrealistic. It captures the excitement and turbulence of the 60s or at least the romanticized ideal of it...perfectly.

Anyway enough about the movie and on to the DVD.

This dvd set contains two dvds:

***DVD #1 FEATURE FILM; 12 EXTENDED/ADDITIONAL MUSICAL NUMBERS

I won't list the 12 songs but the title track "Dreamgirls" and the show stopper "And I Am Telling You..." are not part of this 12. With the exception of the song "Effie, Sing My Song," at least from what I could tell, most of these musical numbers are just different edits/film cuts than those that made it into the film. For instance, you'll see more of the performance rather than the cutaways to other scenes, which you see in the movie...so they're not sung differently.

What's good about this is that you get to see the entire performance of the opening acts(The Stepp Sisters, L'il Albert and The Tru-Tones, Tiny Joe Dixon) without the cutaway shots that show what's going on behind the stage. No additional lyrics: the songs are exactly as they are on the deluxe edition music cd of Dreamgirls: Music From The Motion Picture [2-CD Deluxe Edition].

One alternative musical number that's very different is the song "Effie, Sing My Song." In the movie, the lines are spoken. However they did film the song version where C.C. and Effie share a duet. And that's included here.

***DVD #2 DOCUMENTARY ON THE MAKING OF DREAMGIRLS; ORIGINAL AUDITION AND SCREEN TEST VIDEOS; FEATURETTES ABOUT THE FASHION, FILM EDITING, THEATRICAL LIGHTING; PRE-VISUALIZATION SEQUENCES; IMAGE GALLERY

In all fairness, I haven't seen the entire second dvd. The reason being is that the documentary on the making of DREAMGIRLS is nearly TWO-HOURS long! Running at one-hour and fifty-five minutes, the documentary called "Building the Dream" chronicles the journey that started as an idea from Broadway creators Tom Eyen, Henry Krieger, and Michael Bennett to finally becoming the most hyped and anticipated film of 2006. But don't worry, that's not the beef of the documentary. Most of it takes you behind the scenes of what it took to put this huge movie together from the set design to the casting; from the choreography to staying true to the original score.

It's a fascinating look at the challenges director Bill Condon faced when deciding to take on this project. I always thought that "Dreamgirls" would've been easy to make into a film because you already started with everything in place. How wrong I was! Not only are you competing in a genre not too popular today, but you have to compete with the beloved original. Well, I must pay homage to Condon. He pulled it off.

Anyway, the documentary is told through home video of the recording sessions, casting calls, set design, rehearsals etc., as well as principal cast member interviews and of course the main people working behind the scenes like director Condon, executive producers, choreographers, music producers etc.

If nothing else, this documentary alone is worth the extra price for the two-set dvd of DREAMGIRLS.

And for those of you die hard fans of the original Broadway show or soundtrack, who liked this movie version, will be happy to know that the song "A'int No Party" is supposed to be included in the "audition tapes" section of the special features. There is a snippet of it in the documentary and Anika Noni Rose was working that song. So I'm sure it has to be included in the screen tests. But even if it isn't, remember I haven't seen the entire second dvd, the documentary "Building The Dream" makes up for it.

Anyway, if you enjoyed the movie, you'll enjoy this dvd set. It's a dream that will give you "more and more." If you haven't seen the movie, well you're in for a treat. It's exciting and keeps you at the edge of your seat. And not being an action film, that's saying a lot!

Musicals aren't really my thing. Many feel forced as the cast breaks out into song at the most bizarre of times. Cheesy is perhaps the best descriptor, but occasionally I enjoy a good toe-tapping flick if it's done right. And DREAMGIRLS is definitely done right. It certainly ranks up there with MOULIN ROUGE and CHICAGO as one of the more recently successful musical films, it too being a period piece (covering the late 50s through the early 70s).

Acting in these style of films tends to lend itself more to dance moves than actual roleplaying of characters, but there are two highly mentionable performances in Dreamgirls: first time actress Jennifer Hudson of American Idol fame, and a major comeback role for Eddie Murphy. Hudson took home Best Actress trophies from The Golden Globes, The BAFTAs, The Screen Actors Guild and The Oscars for her portrayal of Effie White, the powerful and ultimately embittered lead singer for The Dreamettes. Eddie Murphy as James "Thunder" Early is surprisingly excellent, perhaps helping wash away the stains of DADDY DAYCARE and THE ADVENTURES OF PLUTO NASH from his more recent, acting, downward spiral. Murphy can sing alongside Hudson and Beyonce and hold his own, too.

The added entertaining fact about Dreamgirls is that there's an actual story behind the music, making this film much more watchable than many musicals which rely solely on their high notes rather than acting skill. This story is firmly entrenched in the early music industry as a "white-washed" form of entertainment, separating it from "black music"...until Curtis Taylor (Jamie Foxx, JARHEAD), a car salesman in search of more, jumps into the music biz and launches his own record label (Rainbow Records). Foxx's Taylor character is another smashing success for him in that he makes this man both lovable and despised as he turns from caring manager to control freak.

Likewise, Murphy's Early character is someone who's moral ground we're never quite sure of. He's a married man with womanizing tendencies, but he's also a musical purist, trying to create sounds that are true to him while at the same time dismantling what he once was (a great, yet small, singing sensation). His fall from grace hits the viewer hard as heroin, time, and his own industry begin taking their toll.

But veterans Murphy and Foxx can't hold a candle to newcomer Hudson's performance. She is the crux that holds the entire production together, and she does so with power, grace and a great emotional range. The ending is sure to choke-up many viewers.

The only complaint I can lodge against the entire film was within one small section where Effie (Hudson) breaks out into a long chorus about being wronged by Foxx and the other Dreamettes. This seemed rather awkward and I would've liked to have seen this acted out in dialogue rather than burst into song.

Still, this is a powerful musical film that deserves much praise ...and has rightfully gotten it.

Buy Dreamgirls (Two-Disc Showstopper Edition) (2006) Now

"Dreamgirls," originally a hit Broadway production in the 1980s, is a lavish musical inspired by the history of Motown and its super group The Supremes. Like the songs in "Grace of My Heart" which is clearly based on the career of Carole King, the soundtrack music of "Dreamgirls," good as it is, can't match the power of the real Motown sound. Actually the film's musical numbers hardly sound like Motown Sound, but still some of them are real showstoppers thanks to the film's gifted stars, especially the dynamic singing voice of Oscar-winner Jennifer Hudson.

In "Dreamgirls" you should not expect much from the story, which runs a familiar course of superstars or celebrities, with the meteoric rise of three R&B singers (played by Beyoncé Knowles, Jennifer Hudson and Anika Noni Rose) to the fame and their subsequent troubles and ego-clashing within the members and their shrewd, business-minded producer/manager (Jamie Foxx). It is a same old story you have heard somewhere else in gossip magazines. .

Once the three girls' dreams come true with the glitter of showbiz, it takes the center of their lives, and once it does, none of the characters are allowed to breathe much. Anika Noni Rose and Danny Glover are not given enough time for their characters, and even the role of Beyoncé Knowles is not fleshed out satisfactorily. Eddie Murphy is outstanding as a popular singer and ladies' man named James "Thunder" Early (with a haircut like Little Richard's), but there is nothing new in Thunder's story about his love affair and fading stardom.

Still I enjoyed watching "Dreamgirls". I know it has lots of shortcomings, and I hear the complaints from the fans of the original stage (which I haven't seen). Yes, I know. Perhaps the number of the film's shortcomings depends on each viewer's taste or expectations, and I liked the filmed version of "Dreamgirls" for what it is. I like it for its entertainment values such as gorgeous costumes, beautifully staged live scenes and cinematography, plus the powerful, emotionally-charged songs by Jennifer Hudson, all of which compensate for the lack of a better story.

Read Best Reviews of Dreamgirls (Two-Disc Showstopper Edition) (2006) Here

Firstly I really enjoyed the musical numbers from every character. The loose story of the Supremes, I mean Dreams is fairly entertaining but not as engrossing as I would have hoped. I found I didn't really care that much about any of the characters. I especially didn't like the Hudson character Effie. I was hoping for her fall since her first minute on screen. She has a nice voice, but I couldn't stand her character. I guess I was hoping this would play less like a broadway show and go deeper into the characters like a movie. As it jumped forward in time, often I was hoping it would slow down a bit to see the transformation that every character seem to go through. This is worth seeing if only for the great music.

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This film belongs to Hudson and Murphy who are both far more talented than most ever expected.

I knew Jennifer Hudson could sing from her stint on American Ido, but I had no idea that was an actress too and I mean a top quality actress capable of pulling off an Academy Award in her very first film. It's my sincere hope that we will see much more of her in the future even if the roles don't include music. Hudson is simply an acting find and a visual delight to behold on the screen. She is a charming as she is talented.

Eddie Murphy's performance is as much high energy, flamboyant, and satrical as it is subtle, emotional and insightful. I was floored by his flawless performance in this film and found it a terrible shame that he followed this dynamic performance with the totally distasteful Norbit which was released just prior to the Academy Awards and in which some believe cost him the Oscar.

Members of the Academy are well-known for voting out an actor or actress based upon his or her personality as was the case with Madonna who gave an Oscar-caliber performance in Evita, but was shunned because she was . . . well . . . Madonna, and for voting out an actor or actress based upon a poor follow-up film released the same year and don't want to reward what they may consider a "fluke" performance as with Whoppie Goldberg in The Color Purple (thankfully she finally got her well-deserved Oscar for Ghost) years later.

I believe Murphy really blew his Oscar chances for this film because of "Norbit" and that isn't fair, but it was predictable based on past Academy voting tendencies. I generally believe in not holding things against a performer or a specific performance, but I have to admit that even I have moments of extreme bias, like anyone else, so I can understand how that happens. This may have been Murphy's only real good shot at an Oscar, but we can always hope that he will be given another juicy role like this one to strut his considerable talents.

Beyonce Knowles is no great actress, but she has terrific stage/screen presence that more than compensates for anything that she is lacking in genuine acting talent. To her credit, I actually had trouble recognizing her early in the film. I even asked my wife, "Where the hell is Beyonce? I thought she had a big role in this film." My wife then pointed her out and I was rather surprised at how well she disappeared into her role. However, the more I thought about it the more I thought she didn't just "disappear" in what started out as a supporting role, but was simply more out shined and out-acted by Jennifer Hudson. I don't mean that as an insult to Beyonce or her acting talent as she does have acting talent, but when surrounded by more genuine talent her limitations are clear no matter how beautiful she is, or how gifted she is as a singer, or how engaging she is generally as a stage performer.

Moving on to Jamie Foxx I have to say that I was somewhat disappointed with his performance in the film. I can't pinpoint the problem, but I just feel that he felt somewhat out of his league amongst these great female performers. His performance was simply below what he is capable of delivering, but that doesn't mean he was awful or miscast; he just wasn't at his best.

Now, one might question that with all this talent in the film why so many on here haven't given it 5 stars. I think the problem with this film is with the director. The film seems disjointed somehow. The editing isn't very smooth, transitions are weak, and the lack of focus on just who the "stars" are in the film creates an uneven film that works better in clips. In other words, the sum of the parts don't equal the whole. That may explain why so many "liked" the film, but didn't "love" it. It goes down smooth enough, but it never became what it could have become and that feeling is usually the fault of the director.

Overall, this is a fun and entertaining musical with some strong, dynamic performances, but still somewhat weak for this genre.

Downfall (2004)

"Downfall" is one of the most astonishing movies I have seen this year. I am a little baffled that it hasn't received more attention in the United States. Bruno Ganz should have gotten an Oscar nomination for best actor. But it did get a nomination for best foreign film. "Downfall" is easily as good and gripping as the renowned hit "Das Boot". It's probably the case that foreign movies don't get as much attention now as they did in the 1980's. Nevertheless, this fine film should have a long life on DVD.

"Downfall" has caused some controversy because it depicts Adolf Hitler not as a demon, but as a human being who was kind to his young secretaries and his dogs. In fact this makes his evil all the more insidious and monstrous. "Downfall" can be seen as an attempt by Germans to come to terms with their part in Hitler's crimes. How could a not-entirely-bad man like Albert Speer or an innocent like Traudl Junge retain their loyalty and admiration for such a diseased figure? We see the terrible events of April 1945 through German eyes. This involves acknowledging the horrible suffering of the German people as they were bombed and smashed into surrender. (Definitely, however, without letting them off the hook for their moral responsibility for the Holocaust and other crimes against humanity.)

We see Berlin turned into an apocalyptic landscape that would not seem out of place in the Book of Revelation. Gangs of murdering Nazis roam the rubble, looking for final victims to lynch. The Volkssturm, the army of old men and little boys recruited for the last defense of the city, is slaughtered by the advancing Russians. Officials of the regime are committing suicide right and left. (Some historians say there were more suicides among the Germans during the end than among the Japanese.) Down in the fuehrer's bunker Hitler's young secretary Traudl Junge (the wide-eyed, pretty, sweet Alexandra Maria Lara) witnesses the death throes of the Reich. Bruno Ganz is amazing as Hitler. The warm, human angel of "Wings of Desire" is entirely gone, replaced by this occasionally lucid, frequently rabid being. For long stretches of the movie, I swear, I entirely forgot there was an actor working up on the screen and it seemed as if I was watching Hitler himself in all his malignancy.

The movie turns the screws of suspense as things get worse and worse, and you get a solemn sense of justice being done at last. (Although there are still crimes that can be committed, like the diabolical murder of Goebbels' small children by their mother, shown in graphic detail.) The key to the movie perhaps can be had in a little speech by Goebbels. An army General protests the wanton slaughter of civilians and the Volkssturm. Goebbels replies, "I have no sympathy. No sympathy! The German people gave us the mandate. And now you cry because your little throats are being cut." It's a chilling moment. And a sobering reminder that politicians must be held accountable, and the people of a nation have to be responsible in their choice of leaders.

I saw this film in Germany in November, 2004, and picked up a copy in Berlin this March...my pre-ordered Amazon.de copy was waiting for me on my return.

This film is essential for anyone who wishes to understand "the evil that men do" (and women, for example, Frau Goebbels, who killed her children because she did not want them to grow up in a world without National Socialism, Nazism). It is a deep film, based on the historical novel of Joachim Fest, and the stunning documentary "Blind Spot" (Bis Zum Toten Winkel) revealing the thoughts of Hitler's personal secretary, Traudl Humps (married to an SS officer on Hitler's staff who was killed in 1943, she became Traudl Jung), shortly before her death as the millenium turned.

The acting is superb. The best new crop of German actors, as well as Bruno Ganz portraying Der Führer himself, are excellent. Most of the elements that led to the coming of the Holocaust, the Third Reich, and its downfall are cleverly intertwined in this phenomenally staged docudrama. In several viewings, I could find virtually nothing to criticize, down to the china used in the bunker, or so-called Führerbunker, to the attitudes of the many Field Marshalls, who were in many ways as "apolitical" as General Tommy Franks, attitudes of resignation, as suicide as the last honorable gesture, of "doing the right thing."

Such films have to be seen in context. After 60 years of banishment of the swastika (Hakenkreuz in German) in Germany, we see the swastika in its full "glory" throughout the film, the beautiful and attractive uniforms originally designed by Hugo Boss (no kidding). In context, in 2004, Germans were suddenly faced with an extremely well-made film that shows Hitler as nearly human (hiding is Parkinsonian tremor of his left hand behind his back as he presents the Iron Cross, 2nd Class, to Hitler Youth defending Berlin after the declaration of "Clausewitz"--Berlin as a war front. While other officers plead for the evacuation of women and children, Hitler responds that the German people (das Volk) do not deserve to survive, because they have lost this war. National Socialism is revealed as the death culture it was. In other contexts, there are excellend books, articles, and documentaries revealing how willing the German Volk were to turn over all thought, conscience, morality, to the Führer, who encouraged them to do so. Unfortunately, the next 60 years would show that the attitudes of National Socialism did not die with him.

I could individually commend the performances of the many players and people behind the scenes. I have been to Berlin, and this IS Berlin, to any approximation I have seen in photos of the time, and I have been in the last remaining Air Raid shelter (bunker) for the populace and it is no different from this soundstage, save the furniture that was probably taken from Jews years before by the party, which ended up as furnishings in the many homes of the high command and Hitler.

After viewing the film, I do recommend that the viewer take in "Schindler's List" or "The Pianist" to complement it. As we are faced with worldwide conflagration against a non-uniformed enemy of Western culture and democracy, it is hard to think of World War Two as the last of the "civilized" wars, even though it was perhaps the last of uniformed armies facing one another (the Cold War, which never went hot, excluded).

This film does show, through the characters of Traudl Junge and her young friend, the Hitler Youth decorated by Hitler personally, as they walk through the Soviet line on their way back to Bavaria, that the policy of war as a solution to any international dispute is at best fragile. Perhaps that fragility is our best hope for peace.

Buy Downfall (2004) Now

If you want to know how it feels to enter the abyss, then watch this movie. The viewer is crushed by the heartache of the coming end of the Reich, and wonders how any person could emerge from it with a measure of sanity remaining. Civilians trapped in the street fighting; children enduring tank assaults; the constant drumbeat of incoming artillery; and meanwhile against the constant backdrop of the unreality of the Fuhrerbunker, the men and women living in their "wolkenskukushiem."

What is it like to experience total and utter defeat? The world you have known is collapsing around you, and you are totally helpless to stop it.

Watch the face of the actor who plays Brigadefuhrer Mohnke as he hears Göbbels telling him that the German people will have their "little throats" cut. What would go through YOUR mind? Watch as an SS doctor works his way through the bunker, even as men of the Nordland and Charlemagne SS troops (yes... Norwegians and French volunteers fighting the last battle around the Führerbunker) recheck their equipment and load what little ammunition they have left. The shock on Gen. Helmut Weidling's face, the commander of the famed 56th PanzerKorps, as he is told that HE's now the commandant of Berlin's defenses. The flash of reality that crosses Eva Braun's face when she gives away her mink coat to Traudl Junge, a rare glimpse through the forced happiness she otherwise displayed.

But in the midst of the carnage there is real courage. Forget the politics, forget the Nazis, as you see that there were people who displayed REAL courage in hopeless circumstances... soldiers and civilians fighting hopeless battles through the crumbling streets of Berlin. My mother saw and experienced some of this same anguish in Southern Germany.

But now for the problem-a BIG problem. Soviet atrocities are completely expunged. Even Traudl Junge is shown to have escaped the Russians unscathed... pure fantasy. She was raped by the Soviets numerous times. While SS and Nazi atrocities are shown repeatedly, (guys hanging "defeatists" for example), there is not ONE Russian atrocity displayed. Not one. Thus, despite the fact that the movie is well done and reasonably accurate historically in many areas, it actually strives to rewrite and sanitize history.

Nevertheless, the acting is well done. Ganz does a superb job of humanizing Hitler, which of course makes this movie controversial. Despite the problem above, and my three star rating, the movie is still worth seeing, or even owning. The scenes are riveting and heartrending, and will remind us of the tragedy that became known as the Battle of Berlin. It should also remind us of what happens when people surrender themselves to the power of the State, to let the State run their lives and "care" for them in its brutal maw.

Read Best Reviews of Downfall (2004) Here

Why did this movie not win an Oscar? It goes to show how retarded holywood has become. This is one of the best movies of the last decade.

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One of the most significant statements of the always reminded master of the cinema, Robert Bresson, was :"To be models; instead of look like actors." I would say that Olivier Hirschbiegel unconsciously followed this wisdom advise. This (Should I just label it film, or perhaps this term be insufficient, why not better to design it supreme artwork?) masterpiece simply surpassed all the eloquent adjectives of previous reviews.

The impressive narrative dissection, supported by a sinewy script, is loaded of such burden of mesmerizing, engaging and delirious realism, that literally involves you from start to end. This outstanding work is a true radiograph that explores with merciless crudeness all the insights of the last ten days of Adolf Hitler.

Bruno Ganz followed his bliss and stole that coveted pearl, that justifies the supreme artistic achievement of his lifetime. From the initial shot when the nervous secretaries wait for him, until his last Farewell; his delirious anger accesses, increasing withdrawal of the reality, eloquent grimaces deserves for him (without forget Javier Bardem in Sea Inside) the most towering performance in years.

On the other hand the camera leads us to the struggling and increasingly claustrophobic environment. The camera handle and the fabulous angle shots from the floor accent still more that oppressive atmosphere (Do you remember Orson Welles The Trial?).

The inner tragedy is expressed with vibrant expression. Three expressive sequences are enough to support it: watch for instance the ominous sequence in which Goebbels wife dismisses from her children, the child `s horror at the moment he will have to face the death in its portent in the middle of the flaming wrecks and finally the elusive gaze of Eva Braun in her last supper.

On the other hand, the dialogues are never superfluous. With a visible resources economy, Hirshbiegel built a huge stage that reminds us the true intention of the Greek Tragedy or Wagner in Gotterdamenung, to shake the soul through the catastrophe, is what we experience after we leave the Hall a true cathartic experience.

That superior coherence, the fact of fixing without congealing the feat of communicate expressions without the use of words is what it makes of this artwork a supreme masterpiece.

Ip Man 2 (Two-Disc Collector's Edition) (2010)

I was lucky enough to get an advance copy of this new film starring Donnie Yen (You may remember him from "Hero") entirely in Cantonese with English subtitles which will be out in theaters in the U.S. and Canada on January 28th. Donnie Yen is reprising his role here as the real-life kung fu grandmaster Ip man in this martial arts film. I never saw the original but apparently in it, he escaped the Japanese occupation of his hometown and with his pregnant wife and family have moved to Hong Kong which is living under British colonial rule.

Ip Man begins his life in Hong Kong barely making ends meet renting an apartment and trying to start a martial arts school to teach his Wing Chun style. He is challenged by several neighborhood ruffians who eventually grudgingly give him respect and ask to serve under him as students. Being a kind-hearted man and pleased with the opportunity to teach, he does not push them very hard for their student fees knowing they are also struggling financially under British rule. His school is put up against other martial arts schools in the area competitively and they all clash and fight with territorialism. Eventually all the schools must unite together in order to face the British for their honor.

The British are demanding payments from the schools in return for allowing them to stay open (like offering "protection" in gangster movies). The British do not respect the Chinese and often ridicule them in public. A Western-style boxer named Taylor "Twister" Milos comes to town to fight and entertain the British and by mocking and insulting the Chinese martial arts demonstration opening act, Ip must step up to defend the honor of his people and his own kung fu, Wing Chun.

I know that was a lot of summary, but it seemed needed to really get across the themes in this movie. This film is a delightful throwback to the good ol' days of kung fu. Though I love the wire martial arts styles in films like "Hero", "House of Flying Daggers", "Fearless", and "Iron Monkey", classic kung fu battles of men hitting and kicking each other in defense of their homes, family, country, honor, etc. still are a pleasure to watch. I loved Donnie Yen in "Hero" (basically loved EVERYTHING about that movie) and it was so enjoyable to see him in this role and to find out it was based on a real person's story who eventually went on to train a young Bruce Lee. Wow! This probably won't be a very wide release in the U.S., but if you happen to see it is in your area and you love martial arts movies, go have a fun afternoon in the theater! Yes, you will have to read subtitles, but that's ok. I felt like I could have watched the entire movie muted without subtitles and still understood easily what was going on since everything is so physical not only in the fighting scenes but in acting and reacting in conversation.

Ip Man is still the only martial arts film I've ever given a perfect score. Similar films usually throw in those silly bits of humor that come off as lame rather than actually being humorous. It probably hits its target overseas audience well, but the difference in culture probably has something to do with how American audiences don't appreciate those bits as much. Either that or the storyline is usually fairly simple or borderline atrocious while the fighting scenes are spectacular. If you're a fan of martial arts films, you see these types of films for the action scenes. A good storyline and exceptional acting are usually just a bonus. Ip Man broke those boundaries. It had an intriguing storyline and a fantastic cast to compliment its jaw dropping action sequences. The only flaws the film seemed to have was that it eventually had to end and left the audience wanting more especially the way the film ended. The desire for a sequel was extremely high and, for the most part, the sequel doesn't disappoint.

I had originally thought that Ip Man 2 wasn't able to capture the same amount of heart that the original film had, but I no longer believe that to be true. Ip Man 2 still has all the heart and emotion that the first film did. Everything from Ip Man realizing his friend Quan (Simon Yam) is brain damaged because of him to Ip Man trying to restore honor to the east by taking on a western boxer, the emotion is still there. It just isn't as strong or as powerful as it was in the first film. The same atmosphere is established quite easily, but the struggle to show the world that Wing Chun is a respectable martial art seems to take a backseat to other plot points that aren't necessarily less important but seem to take away from what made the first film so special.

The sequel is still very solid and extremely entertaining. Any scene in the film featuring Sammo Hung is gold. His adamancy for the Chinese culture is half of his character's charm. The other half is split between him trying to provide for such a large family and the amazing action sequences he's a part of. The sole reason to see this film is for the Ip Man/Master Hung match that takes place on a table top. If you've seen S.P.L. Killzone, you know how fantastic a battle between these two can be. However, the Yen/Hung match in Ip Man 2 tops the one in Killzone though. Their encounter will be the thing fans will remember and be talking about the most after walking out of the theater and for good reason.

Just a few sidenotes and nitpicks, the sound effects seemed to be off at times. The main occurrence being when Ip Man goes to meet Master Hung at his dojo after their pupils get into it for the second time. After Hung tells his pupils to leave, the sounds of their footsteps just didn't feel genuine and seemed like the sound was too loud or excessive or something. The film also features the fastest baby delivery ever in recent film memory. The woman goes into labor one scene and two scenes later, she's holding a baby. No mess and no 27 hours of labor? Why have an old fashioned pregnancy when you can just DVR it and fast forward through it later? Lastly, the film leaves you wanting even more than its predecessor did. Mostly due to the Bruce Lee tease featured at the end of the film.

Ip Man 2 doesn't sweep you off your feet and smack you in the face quite as hard as its predecessor, but it's still very worthy of carrying the "Ip Man" name and is a joy to watch. If you enjoyed the hard-hitting action of the original film, then you'll have no problem being entertained by this sequel.

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Due to the limited release of this follow up to the original Ip Man movie I wasn't able to see this in the theater. So, I waited for this to come out on DVD and also on Amazon Video Streaming. The wait was well worth it.

This is a great martial arts film, and movies along at a very nice pace, with lots of tension as you cheer on Ip Man.

Though I really liked the film, I gave it four stars rather than five because I liked the first film much better. That's because the story in the first film was a bit more original, meaning this story was predicable (reminded me of Rocky), but still worth watching.

Viewers should know that this film isn't exactly a biopic, but loosely based on the life of Yip Man, who taught Wing Chung to Bruce Lee.

If you've seen the first Ip Man, you definitely need to see this film.

Donnie Yen is outstanding. Looking forward to seeing more of him in the future.

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great movie if you liked the first ip man u will like the second. i personally am an Ip man fan, wish there were more movies like this one. Donnie Yen (awesome)

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I said it could be better because this Blu-ray only features 5.1 HD Surround Sound (NOT DTS-HD).

Original Language: Cantonese (Amazon list it as Mandarin Chinese).

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For Greater Glory (2012)

This is an excellent film, but read no further if you are concerned about "spoilers"....

As explained by Steven Greydanus,"The 1917 Mexican Constitution included harsh anticlerical provisions that went unenforced until the regime of Plutarco Elías Calles....In 1926, Calles introduced legislation -the 'Calles Law' -specifying penalties for violating the constitutional prohibitions: Clergy could be imprisoned for criticizing the government, fined for wearing clerical garb in public, and so forth. Calles also moved to seize Church property, close Catholic schools, seminaries and monasteries, and deport foreign priests" (National Catholic Register, 5/29/2012).

I particularly enjoy historical films and have grown accustomed to learning that certain characters in these films can be composites or created for dramatic impact. I guessed incorrectly with this film: "At the center of director Dean Wright's sprawling epic stand two remarkable figures: retired but restless military hero Gen. Enrique Gorostieta (Andy Garcia), a religious skeptic who becomes the unlikely commander of those taking up arms in the name of faith, and Jose Luis Sanchez (impressive newcomer Mauricio Kuri), a saintly adolescent volunteer in Gorostieta's forces who, decades later, was beatified for his role in the struggle....Out to defy the government by peaceful means is another real-life character, also since beatified, Anacleto Gonzalez Flores (Eduardo Verastegui). A pacifist lawyer, Gonzalez is sometimes referred to as `the Mexican Gandhi'" (John Muldering, Catholic News Service)

Greydanus speaks to what will be this film's enduring relevance: "Visiting Mexico earlier this year, Pope Benedict XVI highlighted ongoing restrictions on religious freedom in Mexico's Constitution. In the United States, the U.S. bishops have made a top priority the defense of religious freedom against encroaching federal tyranny....The magnitude of the conflict around religious freedom today is something no one could have predicted when production began on For Greater Glory. Some might call the film's timing providential" (National Catholic Register, 5/29/2012).

It was largely because of that "providential" connection that my wife, myself, and two friends chose to respond to a call to see "For Greater Glory" on its opening night. Including ourselves, it was disappointing that there could not have been more than 20 people in the theater of our suburban multiplex (Interestingly, the six middle aged men sitting behind us later confirmed that they themselves were priests.). I will pray that the poor showing does not signal a poor interest in the topic of religious freedom.

I saw the movie in the theater on Saturday, June 2, just after the June 1 release. I have been waiting a long time for this movie to be released. The story of the Cristeros has finally come to the screen. This much forgotten and much ignored part of Mexican history is finally remembered.

I can look at the movie from two perspectives. First, the film has a huge religious, inspirational impact: fidelity to Jesus Christ and the Catholic Faith, acts of heroism and love, martyrdom under terrible persecution run throughout the entire film. Secondly, as a long time movie fan, the film is incredibly well done with superb actors.

The critics hate this film because it is not PC and it defends principles that myopic, closed minded ideologues will not even discuss.

Many films depict the horrors of the holocaust, and rightly so. The Catholic Church has had many holocausts throughout history. The brutal persecution of the Catholic Church by President Plutarco Calles is just one of them. It is a story that must be told and studied so that it does not happen here.

I found the movie especially moving, because I have lived in Mexico for six years. I have exercised my ministry in many places where the movie takes place. I was particularly moved by the film's superb depiction of the martyrdom of Jose Sanchez del Rio.

Viva Cristo Rey!

Father James Farfaglia

Our Lady of Guadalupe Catholic Church

Corpus Christi, TX

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A truly inspiring and deeply moving account of the events and characters struggling for Faith and Freedom in the little known persecution and Christero's War in 1920's Mexico. Superp cast and excellent production values. A must for people who believe that the real "Super Heroes" are not found in comic books but in the Grace, Faith and Courage of ordinary human beings who respond to the assault on their God Given Rights, and live and die for values that transend their mundane needs and desires.

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I went with my husband to see this movie twice at the theatre! It is based on truth, an action-packed spiritual, uplifting, inspiring, deeply moving historical drama that is A MUST-SEE!!

The acting is impeckable!! Not a flaw throughout. It keeps you interested at every minute, and it is 2 1/2 hours! The story line is very clear, and you know WHO is WHO, because the faces are very distinct from one another and nothing is confusing at any point.

I would recommend this movie of course for everyone (not for young children though).

Please surprise yourself wonderfully by seeing and supporting this most excellent movie!!

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This film is excellent and the fact that it is true makes it even more so. It is interesting to note that all the major networks, NBC, ABC, and CBS, were silent in reviewing this film from the films coming out on June 1st. Perhaps they felt it would be wrong to show the people of Mexico in a good light. Perhaps the attack on the Catholic religion is, at this time, too close to home. The story of the fight to stop people of faith, by a government without faith, not only restores one's beliefs but shows to what extent people will go to to defend their beliefs. Several of my Mexican relatives had no idea of what had happened under the evil rule of Calles. They have been in United States too long and forgotten their Mexican roots. Many of them came across the border to escape the tyrany of a corrupt government. Hopefully they will not encounter such corruption here. This is a film worth seeing.

Richard Fandel

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The Fifth Element (1997)

This is a really fun, fun movie. It's not the beat all of science fiction as it was hyped when it was released, but it certainly is a good combination high adventure, situation comedy, cyberpunk, and Bruce Willis gun fighting action. Doesn't make sense? Don't worry. I'll explain.

High adventure comes from the plot: save the earth from evil by finding some mystic items and a perfect human before the appointed zero hour. That much is obvious. Cyberpunk explains in a way the setting of the futuristic urban scenes, which are fantastically portrayed in this movie. All of the settings and technology were impressive as well as stylish. The special effects were well above average and in many scenes very impressive, but a situation comedy? You got it. I won't get into the details. I will say there are quite a few scenes that involve the kind of subplots you find in sitcoms. This is a good thing by the way. A lesser movie would mess this up. Director Luc Besson made all of these elements (no pun intended) fit seamlessly.

Acting is great. Despite popular opinion of models not being very good actors the models that acted in this film did a good job of being campy in an entertaining way without hamming it up. I can go on an on about each of the reas actors and how they succeeded in pulling off whatever character, but I will digress to two ends of the spectrum. Chris Tucker as Ruby Rhod is priceless and worth the price of admission alone. One exception I would have to say is Tommy "Tiny" Lister as the President. Up until the final scenes his acting was pretty dry. I also have to criticize whoever decided to hype up the fact the movie has Luke Perry in it, who played Billy. Billy did nothing to carry the plot and only had a cameo role in the beginning. Ugh... Hollywood.

The movie can get too trendy. The music, though nice, didn't really fit the setting. The very last scene is totally lame and if you ask me unlikely (sorry Korby...). And there is a scene or two that was just trying too hard to be hip. I can forgive all that because the comedy, action and drama do fit in to what ends up being a mirthful romp in high flying action.

Sony dropped the ball on their first blu-ray release of The Fifth Element. The uncompressed PCM and Dolby 5.1 surround tracks blew you away, but the video quality was merely on par with regular DVD resolution. This time Sony listened to their fans and remastered the movie so that you get the full 1080p love you deserved the last time. Bought the first blu-ray? No problem. Sony seems to be offering an exchange program. Just contact Sony and they will set up a way you can pass your old blu-ray for the remastered one. Contact info is below:

Phone: (800) 860-2878

Email: consumer@sphecustomersupport.sony.com

One downside though: no extras. That's right. All the cool stuff in the ultimate edition is gone. Getting this DVD is just like getting the first one they released. You get only the movie and some trivia text. If I were you I would still wait until they make some kind of special edition in blu-ray so you get the higher resolution AND the goodies.

If you want to experience a varied range of pleasant emotions without taking any one of them too seriously then you're going to love The Fifth Element. If you want high definition and special features then you better wait. I am betting this is going to be the case with most (if not all) new HD-DVD and Blu-Ray DVDs that first come out.

"how can you tell the difference between the old and new packaging?" It's a good question because outside of a few minor visual clues there's nothing obvious that really separates the discs from one another, at least not until you know what to look for. First off the new disc has a TrueHD logo on the back, the original obviously didn't. The security tape across the top of the disc case reads "FIFTH ELEMENT, THE RMSTD BD" on the new version, the catalog number on the spine of the re-master is 21520, the originals catalog number was 15018 and lastly the bottom border (front cover) area that contains the "Experience High Definition" slogan is set against a silver/foil background on the re-master versus a flat gray border on the original.

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The story goes that director Luc Besson began writing THE FIFTH ELEMENT in his teens, incorporating all the Sci-Fi elements he loved into one over-the-top, grand space opera...sort of an "E.E. 'Doc' Smith 'Skylark' Meets Flash Gordon and Barbarella" hybrid with sex, intergalactic action, and even some pseudo-religious overtones tossed in...in other words, a teenage daydream come true! Critics panned the end result for this very reason, sneering at Bruce Willis' Earth-saving (yet again!) Korben Dallas, and Besson's then-girlfriend, clothing-optional Milla Jovovich, as the innocent demigod, Leeloo.

The critics were wrong!

THE FIFTH ELEMENT is, in the best sense of the word, a classic 'B' movie, a space opera where a prologue vaguely similar to STARGATE leads to a future Earth where traffic jams occur thirty stories above the ground, humanity is ruled by beefy 'Tiny' Lister Jr., and where the Ultimate Evil is served by everyone's favorite villain, Gary Oldman, sporting a Southern accent! If this DOESN'T convince you that this is a 'popcorn' flick, not to be taken too seriously, there is Chris Tucker, sporting a blond hairdo, as the Galaxy's favorite media personality, promoting himself as he hits on his adoring female fans; Ian Holm, as the monk who knows 'the Secret', forced, despite himself, to become an active participant in the adventure; and some of the most ... ugly alien mercenaries you'll ever see, terrorizing a space resort, until they meet their match in Bruce Willis' 'DIE HARD in Space' protagonist! Yippee-Ki-Yay, indeed!

The FX are astonishing, the comedy, broad and sly, the heroics, macho, and as Leeloo, sent to save Earth, Jovovich manages to be both naive and sexy, with broken English and a gymnast's grace.

Bruce Willis is a joy, as always, to watch, and he carries the film with charm and self-depreciating humor, whether dealing with endless phone calls from his mother, driving his sky taxi recklessly (cabbies change very little in the future!), taking on terrorists single-handed, or falling for the exotic Leeloo. When he blows away a roomful of hostage-holding aliens, then asks, "Does anyone else want to negotiate?", you KNOW Besson picked the right guy for the lead!

If you want Profound Science Fiction, watch 2001: A SPACE ODYSSEY again...but if you want to kick back and just have fun, look no further...THE FIFTH ELEMENT delivers!

Read Best Reviews of The Fifth Element (1997) Here

FIfth Element is a raucous sci-fi journey that plays like a 2 hour MTV music video. Strap yourself in, and enjoy the ride.

The plot...the personification of all that is EVIL in this world is on a crash course with earth. Corbin Dallas(Bruce Willis) is an unknowing hero sucked into the chaos that unravels in this non-stop action movie. He must unite the 4 elements(wind, earth, fire, water) with a mysterious 5th element before the EVIL destroys Earth.

Other than Bruce Willis' straight man role, virtually every other performance is WAY over the top. Opitimized by Chris Tucker in his debut role as a Futuristic Radio DJ of the #1 Galatic Show. And in this case, Over-the-Top is good. For it marries perfectly with Luc Besson's directorial style. You feel like Bruce Willis' character being swept into a whirl-wind world that is glitz, glam, grunge, techno to the MAX.

The most enjoyable parts of the movie are the Music Montages. There are several with which Luc Besson shows off his roots(directing music videos) in a brilliant array of MUSIC, ACTION and tremendously fast-paced cut scenes.

The DVD is absolutely stunning. If you are into featurettes, cast/director commentary, dvd-rom, and other ancillary items...this DVD is not going to please your palette. The 4 menu items are: Play Movie, Audio Set Up, Subtitles, Scene Selection. Basically the barebones of DVD features. But do NOT be turned of by this. Because if you are an audio/video-phile looking for the BEST image quality and the BEST sound quality...this dish will feed your hunger. This DVD is one of the first 5 SUPERBIT encoded DVD's ever. Basically, the information on your DVD is bits of digital information. Your DVD player will get information from the DVD in bits/sec. Now double the bits/sec of a standard DVD, and the result is crystal clear image quality(the best I've ever seen on ANY DVD), and ear shattering sound(once again, the best I've ever heard on ANY DVD). Star Wars, Episode I is close, but this is the king of the hill right now. I couldn't imagine a better movie to show off the Super Bit technology.

This DVD may lack the frills of a "Collector's Edition" DVD, but the great story, incredible directing, and superlative image and sound quality makes this DVD a must have. Especially if you have a 5.1 stereo and HD-TV that you want to show off. But do keep the Subwoofer down, you'll wake the ENTIRE NEIGHBORHOOD.

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This is a review for the remastered Bly Ray disc.

The difference between the Superbits standard DVD and this new Blu Ray disc are obvious. They are extreme. If you love this quirky Science Fiction film and have a Blu Ray player and the right equipment, just buy it! Be sure to order the remastered version since they had some resolution problems with the first Bly Ray release. The Supebit version is very nice, but this new Blu Ray version is an absolute revelation!

It is SO sharp and the uncompressed sound is SO good, that it leaves the other version far behind. Every red hair on Milla is seen in extreme clarity. Her performance, as fine as it is, is actually enhanced in close up clarity. Chris Tucker just explodes on the screen in a performance which is part Prince and part I'm not sure just what. The colors are just great and again, the sound is beyond an improvement over both the Dolby Digital as well as the DTS mix on the older Superbit version.

If you love this quirky science fiction film, as I do (one of the very best Science Fiction films ever made), then you will LOVE this version. You'll never look at your television in quite the same way again. There isn't a single speck on the transfer. It is just a remarkable job. It is just as perfect as we're likely to get today. It looks and sounds far better than even in the theatre when I first saw it.

This should sell many of the new Sony 300 series machines. MANY! Just who, with the proper equipment wouldn't want to have THIS!? I also have a Toshiba HD-1 HD DVD player and as fine as it is, this new machine from Sony definitely has the edge. Everything seems to be moving in the direction of Blu Ray and I really don't care who ultimately wins the HD wars, so long as we get to watch dream stuff like this movie in our homes. Amazing beyond belief!