New Comedy Movies

South Park: Bigger, Longer & Uncut (1999)

Simply amazing. You can say that it is nothing but fart jokes and toilet humor, but it is so obviously much more than that. What Trey Parker and Matt Stone have done is created one of the most thought provoking and clever comedies of all time and the greatest musical of the decade. Not only is it truly hilarious, it is also one of the most controversial movies of all time. It is mocking the hypocrisies of the MPAA and the average American parenting, as well as many other countless subjects. Not that it isn't a bad thing :) I would have rated it the day I saw it, but I decided to look it over more carefully to see all the undertones that it contains. It is also a great musical. With the help of Marc Shaiman, Trey has created greats like "Mountain Town", the infamous "Uncle F**ker", the Oscar-nominated "Blame Canada", the Les Miserables parody "La Resistance Lives On", and the Disney-based "Up There". However, it is definitely not for children and actually holds the world record for the most profanity in an animated movie, with 399 swear words, 221 acts of violence, and 128 offensive gestures. This wanton swearing is objectionable, but that aside, this is one of the greatest movies of all time, and not even the angry parents can deny it.

For some reason, I can't sit through a half-hour of the South Park TV show. I enjoy it well enough, but it never really holds my attention. The humour always seems stunted on the small screen, very ribald but always in an inconsequential way. Well, free from the restrictions of television, Stone (no relation) and Parker have made a tremendously funny companion movie that manages to weave social satire using thread made up of curse words. And surprisingly, it became one of my favourite movies in recent memory.

And not to be forgotten, but it's a damn fine musical as well.

From the opening refrain of 'Mountain Town', it quickly becomes apparent that the satire will be witty and tight, parodying Broadway musical standards for their own twisted purposes. But the whole thing takes a wicked left turn with the infamous song 'Uncle F**ka' (I truly despise having to put the asterisks in, but then I guess that's the kind of thing this movie is railing against). It's a nonsensical, roll-on-the-floor-laughing, swearing-for-swearing's-sake song from the movie-within-a-movie starring Terrance and Philip. And it throws down the gauntlet for all that is to come.

The remaining songs are all perfectly placed parodies, which serve to advance the narrative, provide character development, and serve up more opportunities for poopy jokes. All noble causes, I'd say. Favourites include 'Kyle's Mom is a B**ch' (which if you listen close enough, is actually quite poetic), and 'What Would Brian Boitano Do' (or WWBBD, in which the 1988 Olympic Champion is held up as an all-knowing superhero). And of course, the closing credits contain a soulful, sincere performance by Doobie Brother Michael McDonald of 'Eyes of a Child' ("Sure, life is kind of gay/But it doesn't seem that way/Through the eyes of a child") that spoofs the drek David Foster and Diane Warren regularly churn out.

Special mention should be made for 'Blame Canada'. Any true Canadian knows who the target of that one is, no?

The brilliance of this movie, it appears to me, is that Stone and Parker figured that the only way to top their TV show would be to up the ante with the movie. Thus we get Saddam Hussein as a butchy homosexual lover of Satan, the execution of Bill Gates, and of course 'Operation Human Shield' in which all the black residents of South Park are not only expected to shield their white army mates from Canadian attack, but are strapped to the tanks as well.

And of course there's the swearing. I read somewhere that this is the movie with the greatest proliferation of cuss words. Well, bravo I say. Bring your grandma and your kids, cause in the end all that swearing actually makes a very powerful point. And Cartman's final coup de grace -in which his cussing actually saves the day -is as good a condemnation of the censorship of speech as anything this side of Newspeak from George Orwell's '1984'.

Buy South Park: Bigger, Longer & Uncut (1999) Now

Ok, ok, this is one of those guilty pleasures. I have to admit that I hate listening to people swear, think the animation in South Park is unbelievably lame, don't care what happens to Kenny and I like Canada (well, sort of.) So what makes this film so funny?

Probably the over-the-top raunchiness that characterizes all South Park. The first time someone played a tape of the cartoon for me, I was gasping with laughter and had to rewind the tape to catch the stuff I was missing while I was convulsing on the sofa. (It was the 70-foot satellite dish issuing forth from Cartman's posterior that caused me to nearly lose consciousnes.)

A little bit of vulgarity is annoying. Somehow, a ton of it, big heaping gobs, is hysterical. When you get to Terrence & Phillip's song number in their "film within a film" you will know what I mean.

There's not only a lot of Terrence & Phillip (Canada's hottest action stars) but also a catchy, Academy-award nominated theme song (Blame Canada) and a very funny Satan who finds Saddam Hussein just a bit insensitive and uncaring.

I laughed hysterically through the entire film. If you like South Park, the full-length movie will not disappoint you in any way.

Read Best Reviews of South Park: Bigger, Longer & Uncut (1999) Here

This movie takes all of society's politically correct garbage and puts it in its rightful place the trash. This brilliant musical with the South Park characters tells it like it really is. Poking fun at censorship, racism, religion, Les Mis, and Saddam Hussein along with other topics too numerous to mention, this movie will have you crying from laughter. If you have any type of education (and sense of humor) you can't help but appreciate the movie not only for it's over the top antics but it's well thought out message(s) and underlying themes.

However, if you are easily offended by cursing or can't handle reality stay as far away as possible and go back to the mindless safety of Disney.

Want South Park: Bigger, Longer & Uncut (1999) Discount?

I missed this when it was on the pictures over here in the U.K., so I thought that I'd try the DVD. What a laugh. I've been watching the series from episode one. To be honest, I thought that it was starting to get a bit boring.

This film re-instated my enthusiasm for the whole South Park thing. If you like or have ever have liked the series, then I guarantee that you will love this film.

If you can find humour in foul language, sex, death, pornography and politically incorrect satire, then this fella's for you.

If you don't like South Park or you're easily offended by... Foul language, sex, death, pornography and politically incorrect satire then you would be wise to give it a wide berth.

It's easy. If you like South Park or that kind of humour then you'll absolutely love this film.

If you don't like this kind of stuff, then don't bother, because it will offend you, with ease.

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Indian Summer (1985)

"Indian Summer" is a wonderful film saluting "the Golden Era" of Camp Tamakwa (a real camp in the Canadian/New York wilderness), but it's also about reconnecting with youth, friends, love and nature. Uncle Lou (Alan Arkin), Camp Tamakwa's camp supervisor for many years, invites campers from "the Golden Era" (the early to mid 1970s) as a reunion of sorts, and a group of friends and ex-campers make the trek back to the woods and their youth. Matt (Vincent Spano) and Kelly (Julie Warner) are on vacation to "work on their marriage;" Matt's having a mid-life crisis, and Kelly just wants to know where she stands. Jennifer (Elizabeth Perkins) is Matt's ex-camp-girlfriend and Kelly's best friend, swept away by the nostalgia of camp. Brad (Kevin Pollack) is Matt's cousin, business partner, King of the Shreks (camp pranks), and a constant commentator of how small everything's gotten. Beth (Diane Lane) is a ex-camp tomboy, whose husband Rick recently died. Jack (Bill Paxton), Rick's best friend, was expelled from camp by Uncle Lou long ago, but still rated an invitation. Jamie (Matt Craven) never really grew up, and brought his young fiance Gwen (Kimberley Williams) up for a week of fun & games. Helping Uncle Lou out is the camp maintenence man, Stick (Sam Raimi, taking a hilarious step from behind the camera). Through the week, these friends reconnect, relive camp memories (first kiss), pulling camp gags (short-sheeting, hand-in-warm-water, etc.), participating in camp activities (the Tamakwa-thon), and working out their various problems. Over these precedings looms the prospect of Uncle Lou closing the camp for good. Everyone does an admirable job; you can actually feel their joy and pain. The photography is beautiful; the washed-out opening credits give way to the awesome colors of the woods in early autumn. The DVD edition says fullscreen, but is thankfully, and deservingly, in WIDESCREEN. This is a funny, touching film filled with the ongoing process of 'growing pains', and it's a special tribute for 'campers' and ex-campers alike. Pack your gear, it's definitely worth the trip.

"Indian Summer" isn't the sort of film I normally watch. A light comedy about the innocence of childhood contrasted with the problems of adulthood, the film engages in deep sentimentality on a regular basis. I am rarely suckered in by sappy, syrupy movies. "Indian Summer" is different; I first saw the film on cable back in the early 1990s and quickly learned to like its ensemble cast, wonderful scenery, and funny moments. Since I usually watch horror films, the irony of viewing a movie set at a summer camp where no one expires at the hands of a machete wielding madman still makes me chuckle. When I stumbled over a DVD version of "Indian Summer" recently, I knew I had to revisit the movie. I suspected I wouldn't enjoy it as much as I did ten years ago. I was wrong. The movie resonates even more deeply because I am ten years older than when I first saw it. I never went to summer camp as a child, except for a weekend stay as part of a sixth grade project, but I can completely identify with many of the movie's themes nonetheless. I think most of us tend to idealize memories of our childhood even if the recollections aren't as poignant as we would like to think. "Indian Summer" captures perfectly this tendency and throws it back at you with a few laughs.

The owner of Camp Tamakwa, "Uncle" Lou Handler (Alan Arkin), has finally decided to sell his summer camp and retire. He feels that the kids today don't identify with him like they once did, so he wants to move on. Before he sells, though, he decides to hold a reunion at the camp and invite as many of his former guests as he can. Only seven show up: Jamie Ross (Matt Craven), Beth Warden (Diane Lane), Jack Belston (Bill Paxton), Jennifer Morton (Elizabeth Perkins), Brad Berman (Kevin Pollack), Matthew Berman (Vincent Spano), and Kelly Berman (Jennifer Warner). Ross brings along his young girlfriend Gwen Daugherty (Kimberly Williams), which brings the total to eight. All seven of these people are now in their thirties, with busy lives in the city and a host of adult problems. For example, Brad and Matthew Berman run a clothing company, but Matt wants out so he can pursue his dream of becoming an artist. His wife Kelly, whom he met at the camp as a child, has issues with Matt that could very well lead to divorce. Beth Warden's husband recently passed away, so she has serious recovery issues with which to deal. Jamie Ross is an arrogant dolt that treats women as objects, perhaps due to some inferiority issues and a fear of growing older. Jennifer Morton is the chain-smoking cynic who has yet to find a husband. And Jack Belston was the one kid kicked out of camp for an unspecified incident, and whose life has since been one long downward spiral.

Camp Tamakwa might not heal all wounds, but it will fix many a problem. As Uncle Lou runs the adults through the daily routine of summer camp, such as sailing, swimming tests, hikes, boxing, and foot races, the old identities of childhood start to reassert themselves. The group complains about the lousy food, play practical jokes on one another (called "shrecks," for some reason), and generally reconnect with the important things in life. Gradually, problems that seemed insurmountable and best left unsaid in the city come out at Tamakwa. We discover why Lou kicked Belston out of camp, and see the issue resolved. Brad and Matt hash out their business problems, and Kelly learns to stand up to her husband in the boxing ring. Beth learns to face the death of her loved one head on with a little help from Jack Belston. Gwen Daugherty, although not a member of the Tamakwa clique, learns to stand up to her domineering boyfriend and make her issues heard. And the whole group gets a lot of laughs by poking fun at Lou's clumsy helper Stick Coder (Sam Raimi). By the time the campers leave, they have a better grasp on their personal issues.

Director and scriptwriter Mike Binder has fashioned an immensely enjoyable picture with "Indian Summer." It is tough to make an ensemble movie with characters and plot threads as well developed as they are here. By the end of the movie, you know these characters intimately. All the actors do a superb job, but special mention goes to Alan Arkin, Kevin Pollack, Bill Paxton, and Julie Warner. I cannot remember a film where Arkin failed to turn in a bravura performance, and he does so again as the benevolent father figure Lou Handler. Paxton has the troubled drifter role down pat, and Pollack charms with his usual humor (no William Shatner impressions here, unfortunately). The incredibly beautiful Julie Warner never fails to catch my eye in any film she is in. She was probably the reason I watched the picture in the first place. The best part of the film happens at the beginning when the adults arrive at the camp and the scenery's colors suddenly explode into bright brilliancy. What a great way to show the dreariness of adult life compared to the memories of childhood!

"Indian Summer" is definitely worth seeing. Unfortunately, the DVD doesn't have any extras, not even a commentary track from some of the actors, which would have been nice. I really ought to quit renting this one and just buy a copy. Of course, I would have to hide it behind a mountain of horror movies on the shelf just in case anyone I know happened to see it sitting there. I have a reputation to protect, after all. Give "Indian Summer" a look the next time you're in the video store. Chances are you will probably enjoy it.

Buy Indian Summer (1985) Now

It's apparently very difficult to make a film that is sweet and sentimental without also being mawkish, manipulative, corny, insulting, witless or juvenile (or one of dozens of other entertainment maladies). It makes one very partial to films, such as this one, that manage to succeed. Perhaps it is really an older person's film for those who have seen the treasures of their youth destroyed by decay or progress or just changing fashions. Alan Arkin takes an indirect path to save the summer camp his family has run for decades. It doesn't sound like much, but the film is well written, extremely well cast, and manages in the end to be very touching, without the aforementioned ailments. Given that the Blu-ray disk costs no more than going to the theater (and a lot less if you pour your own soda), it is a real bargain. Highly recommended.

Read Best Reviews of Indian Summer (1985) Here

After being a kid 15 or so years ago and being a huge fan of films of all types, this was one of the movies I always talked about and never set out to buy. I mean I won't spend 20 bucks on the DVD, but if the Blu Ray is 10 bucks and easily accessible, why not. If it sucks I lose 10 bucks, so what, if not I could do some serious walking down memory lane and remembering how I watched an "old people movie" and laughed a lot when I was younger.

So after learning that it was getting released I was pretty excited and wondered if I would laugh at the same parts or think that the movie was cheesy stupid crap and gave it to someone as a gift. I shouldn't have doubted myself. This movie was every bit as amazing as it was when I watched it so many years ago. I laughed at all the same parts and understood more clearly some of the parts that I didn't get or didn't care for when I was younger. Not to mention the cast is great, Bill Paxton as the rebel camper, Alan Arkin as the lovable former camp head "Uncle Lou" is just charming. Let me not forget Kevin Pollack among others (horror master director Sam Raimi plays a huge part..sort of) that are part of this cast of characters find themselves returning to camp long after each of them have established themselves as adults and left camp Tamakwa a part of the past.

No sooner than they dock their canoes does old drama stir up, old flames re-kindled, and thankfully to one camper bringing along his new girlfriend, does new life breathe into some old cabins deep in the canadian woods.

This movie is great for when you need a good movie that is just heartwarming, funny, touching. This is a great escape from all the crap mostly that is out there now, bad acting, shotty directing, sub par cinematography, mediocre scripts. Finally a film from my childhood that I could show my kids. No gory violence, no gratuitous nudity, no graphic language, this is just a really good movie. Not to mention that the transfer wasn't that bad on the blu ray, no special features, but for the price you really can't beat it.

Give it a shot, I'm sure you won't regret it.

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My DVD copy (ISBN #0-7888-3699-4) plays Widescreen: a letterbox with black bars on the top and bottom. The DVD cover says in one place, "Fullscreen (1.33:1)" and in another, "This film has been modified from its original version. It has been formatted to fit your TV", but it's not true. Don't know the real aspect ratio, but it's certainly not Pan-N-Scan. How odd, and welcome in my case.

Gentle, warm and well made. A film that does not rely on grenades to advance the plot.

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My Name Is Bruce (2008)

Bruce Campbell seems to have a kind of love/hate thing going with his fan base. Sure, like any actor he enjoys having fans, but as he's stated in his book and elsewhere that his fans can get a bit outrageous and push things far. This seems to be what sparked My Name Is Bruce. Here he pokes fun at his fandom as well as his career.

In the film he plays Bruce Campbell, but a more fictional Bruce Campbell. He's egocentric, a drunk, lives in a trailer, un-liked and un-respected by the cast and crew of his films, and just an all around jerk. A teen in a small gold mining town called Gold Lick has mistakenly unleashed the ancient Chinese god of war, Guan-Di, and now the angry god is killing off the folks of Gold Lick. The teen, Jeff, also happens to be a Bruce Campbell fanatic. He manages to kidnap Campbell and bring him to Gold Lick where he has convinced the townspeople that Bruce will destroy the evil demon. Bruce is under the impression that he's doing some kind of movie(it doesn't totally make sense why he'd think that he's in a movie when there's no film crew around or why the townspeople would believe that a horror movie actor could really be a ghost buster, but who cares?). He goes coward when the reality of the situation becomes clear, but soon learns how to be the Bruce Campbell he's always portrayed himself to be. I know what you're thinking! My wife tapped my shoulder half way through the movie and said to me, "this reminds me a lot of the Three Amigos". True, it's a very similar concept-the idea of egocentric actors finding themselves in real danger when they think they're only in "reel" danger, but in the end discover that they are heroes.

Needless to say it is a fun movie. Naturally we're dealing with a comedy here, not a horror film. While the laughs are hit and miss, some of them predictable and a bit cliched, this movie really works because of Bruce. We all know that Bruce has a helluva screen charisma and can singlehandedly carry practically any movie just off of his charm. He also directed this movie. It's low budget of course, and Bruce certainly makes the best of that. He built the town of Gold Lick on his own property in Oregon. The supporting cast is decent too, mostly unknowns. Ted Raimi has multiple roles, each a different nationality, allowing him try multiple accents. His Asian character just isn't funny though. Too much of a stereotype Chinese guy. He reminded me of Mickey Rooney in Breakfast At Tiffany's.

It's great how Campbell makes fun of his fans and fandom, yet doesn't totally insult them. He's also able to take potshots at himself and his career. At one point he steals a kid's bike to get away from Guan-Di, and the kid yells at him, "McHale's Navy sucked!!" Funny stuff. He really lays into his flop, Alien Apocalypse, but thinly disguises it here as a film called Cave Alien. Plus there are many more in-jokes that you will definitely pick up on if you're familiar with many of Campbell's films.

Campbell is touring the country right at the moment showing the film and doing 20-30 minutes Q&A sessions after. I'd highly suggest attending this if possible. It's good support for Bruce as well as low budget cinema in general. Plus the man is a treat to see and hear in person. Just as funny and charming as you think he'd be.

There is an audio commentary by Bruce Campbell and producer Mike Richardson. Campbell points out that the entire film was shot on his property in Oregon and they built all of the town of Gold Lick from scratch. He points out all of the intentional goofs in the Cavealien 2 film within the film. Campbell also points out all of the people in the film whom he's known or worked with over the years. He talks about his public persona and how it mixes with his actual life in this film on this entertaining track.

"Heart of Dorkness" is an hour-long making of documentary that starts off riffing on Apocalypse Now. Dark Horse Comics wanted to branch out into independent films and approached Campbell who agreed only if he could direct and star. To cut costs and be more efficient, Campbell hired actors and crew members that he had worked with on other films often going back many years. This is an entertaining and informative look at how this indie film was made.

"Awkward Moments with `Kif'": features two useless bits of the film's associate producer engaging in pointless banter with another crew member.

"Bruce On..." sees the actor pontificating about film budgets, talking about the dangerous wildlife near his home, and jokes about DVD extras.

"Cavealien 2 Trailer" is a pretty funny, intentionally cheesy faux trailer for the movie within the movie.

"Beyond Inside the Cave: The Making of Cavealien 2" parodies those fluffy making of promotional featurettes that populate most DVDs with the cast and crew talking up a film that is obviously crap.

Kif is back in "Kif's Korner" as he talks about the faux DVD and poster art he put together for the film.

Also included are several galleries poster art (of all the fake films), a gallery for various movie props, and one of movie stills.

"The Hard Truth" is the E! True Hollywood Story-style profile of Bruce that is shown briefly in the film. This is pretty amusing stuff.

"Love Birds" documents the "romance" between two actors who play rednecks in the film.

Finally, there is a trailer for My Name is Bruce.

Rounding out the impressive amount of extras are several Easter Eggs buried throughout the menus and a mini-comic book adaptation of the film.

Buy My Name Is Bruce (2008) Now

One of the best Bruce Campbell films made. There's no need to rant and rave if you enjoy his films, you must see this one. No, you must own this one. Bits and pieces (pardon the pun), pokes and prods of the best and worst of the Bruce Campbell legacy. There's a little something for everyone eye candy for Bruce wanna-be's; quaint locales and characters for those who are into scenic adventure; comic creativity from the understated Ted Raimi; and a peek at the new shy side of an even sexier Campbell. It's painful to be given a sneek peek at something wonderful and then have to wait over a month to be able to own it, but pain is part of the beauty of a Campbell venture, isn't it?

Read Best Reviews of My Name Is Bruce (2008) Here

MY NAME IS BRUCE

**** ½ Out of 5

Release DateOctober 31st, 2008

Running Time84-Minutes

RatingR

ScreenplayMark Verheiden

DirectorBruce Campbell

StarringBruce Campbell, Grace Thorsen, Taylor Sharpe, Ben L. McCain with Ellen Sandweiss and Ted Raimi

To your average film fan being a B-movie actor may not sound like a big deal, but what some people fail to realize is that for every Brad Pitt you have a whole slew of B-actors and for every B-actor you have people who never go further than being an extra or simply starring in short films made by friends. And the same goes for writers and directors. Fact is Bruce Campbell has gone further in his career than most people do who get involved in film. But who knew back when the Evil Dead came out that it would make Bruce Campbell a cult Icon. Of all the cult actors or filmmakers none have reached the status of Bruce Campbell; he is by far the definition of cult Icon.

There's a lot of praise among Bruce Campbell fans for My Name Is Bruce and some might wonder is it really that good? The answer is without a doubt yes it really is that good. Sure there are some Bruce Campbell fanboys who will blindly praise anything he does and everyone in film or music or whatever has someone like that who just praises them no matter what. I'm as big of a fan of Bruce Campbell as you'll find, but that doesn't mean I have to like everything he has done; and let's be honest here over the past couple of years his films haven't been as good with the exception of Bubba Ho-Tep, but My Name Is Bruce again shows why Campbell has legion of fans.

The screenplay by Mark Verheiden is excellent; My Name Is Bruce is a B-movie and Verheiden never tries to make it more than that. He knows what kind of movie he's writing and he writes one great screenplay. The movie is always funny in a silly way and that is what this movie is all about. I wasn't sure what to expect from the script, but it was very funny and smart, but always stays true to what it is.

Besides starring and producing, Bruce Campbell also directs and while he's not exactly Sam Raimi, but in his own right Campbell proves to be just as talented behind the camera. The problem these days with cult cinema is filmmakers try too hard. A lot of those who grew up with cult movies of the 70s and 80s are now making their own films and the problem is can you really make a cult movie on purpose? Grindhouse by Quentin Tarantino & Robert Rodriguez was excellent, and while they did make a cult flick, but at times that's the problem, but they got it right where most filmmakers failed.

With My Name Is Bruce, Bruce Campbell sets out to make a B-movie and he gets it right 100%. The pacing of the movie is excellent with never once a dull moment. From beginning, middle to end, My Name Is Bruce is always fun and entertaining and never once will you be bored at all. Campbell sets out to make a cult flick and he delivers big time. Again he may not be Sam Raimi, but he clearly knows what he's doing and delivers one of the best cult movies of all time. I have no doubt in my mind My Name Is Bruce will be remembered by fans. The only reason I didn't give this the full 5-stars is the ending was kinda lame, but besides that this movie was amazing.

Bruce Campbell plays an exaggerated version of himself and this is by far his best performance in years! My Name Is Bruce in my opinion is easily in his top 5 performances. Bruce really is an underrated actor and what I love about him is he's not afraid to ham it up and make a fool out of himself on camera and here Bruce was brilliant! Bottom line is this; no actor can deliver a one liner like Bruce can and here he has plenty of them. Actually this may be in his top 3 performances rather than top 5.

Every year actors get snubbed on an Oscar nomination, but my question is what happened to Bruce's nomination? All kidding aside this was a brilliant performance. Bruce made me laugh and cry when he sees the error of his ways. Ok so maybe I didn't cry, but seriously his performance was amazing. Ted Raimi also stars and plays 3 different roles and he was amazing in all 3. I just love seeing Bruce and Ted together again in a movie. These two really work so well together.

My Name Is Bruce is strictly for Bruce Campbell fans I suppose if you don't know who Bruce is you might get some enjoyment, but odds are not much. But if you are a fan of the cult Icon that is Bruce Campbell buy this movie right away!

As for the Blu-ray; while the picture quality is solid at times you can notice the low budget, but I've read some negative reviews on the quality and I don't think it's fair. Granted this may not be the best Blu-ray out on the market, but it's still pretty good. I bought this here on Amazon and at the time it was only $1 more for the Blu-ray so it was more than worth it. The features are solid and are the same as the Blu-ray.

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On the scale of low budget movies that are tongue in cheek this is a good one. Ok, on the regular scale of movies this would make some movie watchers dismiss this as a low budget horror comedy. I don't think that you have to be a Bruce C fan to enjoy his self parody of a fallen star who is gets some redemption from his disgusting lifestyle. Bruce has always been able to inject comedy into his movies but this time it's the reason for this movie. There are some people in the film industry that are as loathsome and self destructive as the character that bruce protrays here. But's It's not a true picture of the real Bruce C. This character is a total washout as a human being until he finds redemption

and courage due to bravery of one of the characters fans.

This movie is over the top and everything is played to the comedic except of course for bloody violence that is done by the bean curd protecting monster. And Bruce who has done alot of roles that had no campy element in them does excel in this type of comedic role. So this only shows that the man can excel in either field. This movie looks excellent on blu ray so this is the superior

version to have. However if you don't like low budget horror movies

and bruce has been a few classics of that genre, you may still enjoy this sometimes silly movie because it's a comedy too.

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Peace Love & Misunderstanding (1000)

I NEVER write reviews; however; after watching this film I felt it absolutely necessarily to do so. "Peace, Love & Misunderstanding" is now in my top three favorite movies. The characters are well-developed and brilliantly acted. Jane Fonda shines--as always. Elizabeth Olsen is a powerhouse in the making--and Jeffery Dean Morgan is just an absolute pleasure to watch. The film chronicles the difficulties of bridging gaps between generations, and social beliefs systems. The true lesson is how to let go of the past in order to start the future...just a beautiful movie.

Thoroughly enjoyable film, which is no surprise considering the cast. Great characters, beautiful locations, and a totally uplifting story. I thought all three leading female roles (Fonda, Keener, and Olsen) played their parts beautifully. Have never seen Nat Wolff (Jake) in anything before and found his character to bring much color and humor to the story.

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Perhaps I am a little bias, but I think this is a really great movie. The characters are funny, interesting, and entertaining. The views of the land and the wildlife are terrific! A good portion of Peace, Love & Misunderstanding was filmed next door to where I live. It has captured all the beauty of the land. I feel lucky to have been able to observe a lot of this movie in the making (including "howling at the moon") and to see Jane Fonda in person. It has given me many wonderful memories!

Read Best Reviews of Peace Love & Misunderstanding (1000) Here

Wow great acting. Jane Fonda was AMAZING. Loved the little stories and relationship trials. Loved seeing upstate NY, wanted to go there. Young'un Chace Crawford is WAY cute. The singing duo between Keener and Morgan was awesome. Beautiful film. Gift worthy.

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This film is heart warming and well worth it just to see the performances. Jane Fonda is in top form. There are also great turns by Catherine Keener, Jeffery Dean Moran and the always excellent Kyle MacLachlan. This was also the first film that the up and coming Elizabeth Olsen made, you see why she is making such a name for herself.

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Monkeybone (2001)

"Monkeybone" is the type of experimental, twisted movie that is destined to become a cult classic. Mixing shades of Tim Burton's "Beetlejuice" with an enormous variety of influences such as "Who Framed Roger Rabbit," "All of Me," "Alice in Wonderland," and even "Regarding Henry," this movie is a stop-motion cartoon, a live-action love story, a dark comedy, a fantasy, a Freudian nightmare, and more. It contains an extremely diverse and unusual cast, including Brendan Fraser as a cartoonist in a coma, Bridget Fonda as his fiancee, Whoopi Goldberg as Death (yes, you read that right), Chris Kattan as the decomposing corpse of a gymnast, Megan Mullally as the cartoonist's sister who is very eager to pull the plug, Dave Foley as the cartoonist's manager, and Rose McGowan as a kitty cat (yes, once again, you read that right)! It also contains bizzare, strange, and cool animation by director Henry Selick, who also directed Tim Burton's "Nightmare Before Christmas."

Ostensibly, "Monkeybone" is the story about an artist's struggle between artistic integrity and cartoonish commercialism, about the difference between a work of art and a mere doodle, a satire about the consequences of "selling out." It is also a Freudian fairy tale about a man whose sexual id is represented by a cartoon monkey. Monkeybone is literally this man's erection. The story is an examination of what happens when one lets one's id take over his whole life. It is a psychological analysis of what nightmares are made of. It is a surrealistic comedy containing some of the most startling, visually stunning images you are likely to see on film for a long time, including strange representations of many classical, mythological creatures. It is a love story. While this might sound like the premise of an independant film, this is actually a big budget film that was marketed to look like a children's movie. Not a good idea.

It's no wonder this movie did so poorly at the box office. Believe it or not, this film is the type that should have been playing at small art houses, not mainstream movie theatres. Even the cover box says it's the crudest movie since "South Park." In short, the studio didn't know how to market its own movie.

This movie is an extremely likable one, hilariously funny at times, always seriously bizarre, and obviously the work of a demented genius. It is hard to deny the brilliant artistry involved, and the all-around great acting by the cast. In fact, I respect every actor in this film immensely, especially the big budget ones such as Whoopi Goldberg and Brendan Fraser. This is the type of weird movie they didn't have to do, but chose to do. It is a project they wanted to be involved in, and I respect them for that.

Typically, most of the reviewers, mostly in the middle of the country, panned this film. However, many major newspapers and publications, such as "The New York Times," and "Entertainment Weekly" gave it great reviews, despite its messy nature.

And this is one of the few movies in recent history in which its mess actually adds to its likability. A more polished version of this film would be not be half as enjoyable, brilliant, crazy, or maddening as this truly original, insane piece of filmmaking. As it is now, the viewer constantly wonders what strange happening will occur next, and, trust me, it is always stranger than you thought it would be.

I would not recommend this film to everyone. I would probably recommend it mostly to serious movie buffs or lovers of very original, non-mainstream film, who enjoy Tim Burton/Sam Raimiesque humor in their cinema. If you're in the most for something completely and utterly different in every way, buy this movie.

I have to say I'm surprised and glad to see the praise this movie is getting. I thought I'd have to come in and defend it, but I see you all have some taste ;)

I talked to two people at work about this movie after I saw it. All three of us have different tastes and all three got something different out of it. I am the animation fanatic, and was interested in seeing another film by the director of Nightmare before Christmas. I enjoy Henry Selick's style and vision, and saw it come through quite well at moments in the film. It's funny that the things I did not like so much about the movie were what my co-workers (and some reviewers here) liked best. Bill is an SNL and comedy lover, and watched purely for that aspect. He thought the movie was hilarious but a little too weird. And my film snobby assistant was impressed with the insider jokes and references, half of which I didn't even catch.

This is why I give the film four stars. It is very good. We all liked it. But none of us loved it 100%. Of course, if we had had, one of us would give it five stars and the others would pan it completely. I guess that's the problem with trying to please everyone all the time. At least Monkeybone comes close, and I recommend it equally to animation, cult film, and comedy lovers.

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It is amazing to me that every time Brendan Fraser does an edgy, risky movie, like this one, his audience bottoms out. Yet when he does work that I find barely watchable, like the two "Mummy" movies, he is a huge hit. This film drew few viewers, just like his "Still Breathing," "Gods and Monsters," and "Twilight of the Golds." Here Fraser plays cartoonist Stu who via a coma is transported to Down Town. Other people in comas and people who are created by others' imaginations live in Down Town. They all crave nightmares and dreams. It is a hyper surreal place. Stu's creation, Monkeybone, lives there too and Monkeybone plots to take Stu's place in the real world. Monkeybone does emerge in the real world in Stu's body and Fraser does a superb job playing a monkey in the body of a man. In fact, his character is the most fun when Monkeybone takes over. I've never seen before "Saturday Night Live's" Chris Kattan. He plays a gymnast with a broken neck whose body Stu inhabits while trying to get his own body back from Monkeybone. He turns in an amazing performance as well and I'd like to see him in more. I do not know the technicalities of animation film making. However, the combination of animation characters with real world actors, like Fraser, is done superbly and seamlessly here. In fact, it might ruin the film for me to know how it is done so I'm just as glad that I don't know.

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If only I had the power to film some additional footage and then re-release this, I think "Monkeybone" would be a much bigger hit, and people would love it a lot more. Sadly, I'm just some punk kid from Maryland, so that's not possible. Yet. The story is very fun, very weird, and more original than most junk that has been released in the past couple of years. Everybody else has already wrote about it, and you can read about the story in the description, so I won't bother. All of the actors fit their roles pretty well, and there isn't anybody who is really irritating. The special effects are great and incredibly atmospheric. I almost want to see a TV series about Downtown, just because it's such an amazing thing to see. The dialogue is usually well-fitting, and there are some really great jokes, as well as some really horrible ones, but there's a very decent balance. So, why give this only 3 stars? Because the beginning was rushed way too much. To begin with, they open it with a cartoon that is meant to be a mood-setter, to show you what the Monkeybone character is like and what the comedy style is like. The cartoon fails miserably. It's not funny at all, and it's just embarrassing to watch. After the cartoon, there are a few attempts to develop Stu, the main character, and his girlfriend. Then they just skip the plot/character development entirely, and send Stu to Downtown. This would be great if they bothered to explain Downtown first, but they didn't, and you sort of have to guess based on what the description of the movie is and a short song that some talking lampposts sing. With maybe twenty minutes of additional footage at the beginning to ease us into the story, this movie would have been gold. I've been told that the deleted scenes/extended scenes on the DVD help the beginning, but I haven't seen them yet, so I can't tell. It's a good movie, but don't give up after the first bit. Stick with it, and you'll be rewarded with a wonderful story about the dream world, and one of the best movie climaxes in history (It reminds me of the Stay-Puft marshmallow man from "Ghostbusters").

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When this movie came out, it both garnered a huge number of really bad reviews and inspired very few people to come see it at the theater. The truth is that while it is by no means a great movie, it isn't at all a bad one, either. I might have found it disappointing in the theater, but at home on a DVD player, it provided a quite enjoyable couple of hours.

There is, however, a lot of talent that isn't fully utilized in this film. Most of the weight of the film is placed on the shoulders of Brendan Frasier, and he does his usual excellent job (though I am concerned that, the Mummy series apart, he is starting to get stuck in doofus roles--he is better than that, as GODS AND MONSTERS showed, and I would love to see him in a wider variety of roles). But Bridget Fonda is not really called upon to do much, Whoopi Goldberg has what almost appears as a cameo role, David Foley is a one-dimensional character, and no one else is really called to do very much. The only other actors who really add much to the film are John Turturro voicing Monkeybone and Chris Kattan. I normally loathe Kattan, who is one of the main reasons I haven't been able to watch SNL for several years, but he does a creditable job as an animated corpse in a small but crucial role (the box cover extravagantly exaggerates the size of his role, and seeing him on the cover actually was one of the deterrents to my seeing the film for quite some time).

But the real star of MONKEYBONE is everyone who was involved in the art and set design. Easily the most compelling parts of MONKEYBONE are those where Stu (Brendan Frasier) is stuck in the nightmare world. Harry Selick, the director, also directed both THE NIGHTMARE BEFORE CHRISTMAS and JAMES AND THE GIANT PEACH, and there is a definite stylistic resemblance between the three films. MONKEYBONE is without question the lesser film of the three, but not at all unwatchable for all that.

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Taking Woodstock (2009)

This was a real treat. Being an extreme Woodstock-phile I know alot of small behind the scenes facts and details. The Michael Wadleigh documentary is simply the holy grail of doco's! I was under the assumption parts of this were made up for the movie and I refused to go to the theatre to see it. I was sooo wrong! Not only is it factual, they nailed so many details taken and recreated from the documentary!Like the nuns being filmed while flashing a peace sign! The Earth Light players! Hog Farmers!

All of the people who whine that it's a movie about a concert with no music in it, GO WATCH THE MICHAEL WADLEIGH 4 HOUR DOCUMENTARY! In fact, if ya wanna make a weekend of it, watch them back to back! This tells the background of the concert and the local politics. You don't need a movie with the music in it...The documentary already exists and more people need to become hip to it. This movie just made my heart jump when the first helicopter lands at the El Monaco motel!

Eugene Levy's portrayal as Max Yasgur is uncanny. No other actor could have pulled that off but him. He looks and talks just like the real Max. Watch the documentary right before Hendrix near the end and you won't believe the likeness! A perfect companion to the Academy Award winning documentary!

The 60's memoir Taking Woodstock is a story about how 20-something Elliot, son of a Jewish couple, was able to lure backers planning a music festival into the area where his parents run a `resort' motel. The story begins in a conservative rural community of farmers and small town folk in scenic New York countryside. The narrative hub revolves around the relationship between Elliot and his aging parents who own the El Monaco Resort Motel, a deteriorating business on the verge of foreclosure. His mother is a bitter character who oversees the finances and ordering of the household. His father is a withdrawn, tired man bent from years of bearing the weight of silent compliance before his wife while attending to the motel's maintenance. The townsfolk are a stagnant traditional group ekking out daily sustenance while news about the Viet Nam war, Arab-Israeli conflict and moon landing catch their attention in the background.

Into this languid summer come two key folk Michael Lang and Max Yasgur. Lang is an imperturbable saintly visionary from the City with the faith and means to walk the key parties through messy negotiations. Yasgur is portrayed as an enlightened agrarian businessman able to envision qualities lost on his parochial peers and acumen to make this into a venture profitable for all.

There were initial clashes between locals and those part of early negotiating. However, once contracts were settled and the project began to unfold the momentum of the operation overwhelmed the situation. Construction crews, event planners and early arrivals for the festival descended. Masses of gentle folk grew daily until the entire region was gridlocked by thousands of `citizens' of the `Woodstock nation'.

The carnival of freaks, politicos, quasi-psychotic acid heads, spiritualized bohemians and other assorted holy men and women were stereotypically characterized. Locals were bemused, perplexed, exasperated and offended, but most did not fail to succumb to the combination of gentle-spirited hippie culture and the financial boon that poured in.

One particular narrative episode captures the hippie mythos underlying the film's vision. The preparations for the event are done. Elliot, his father and Vilma, a free-spirited transvestite providing security for Elliot's family, stand overlooking a lake as nude bathers play openly. The first strains of Richie Havens move through the woods signaling the festival's beginning. Elliot's father nudges him to go and experience the festival. Elliot hesitates but Vilma urges him on, "Go" he says, "see what the center of the universe is like". Elliot finds himself wandering among groups of camping hippies still some distance from the stage. He encounters a young couple who gently seduce him to drop acid with them. They retire to the interior of their bus richly decorated for inner space travel where Elliot is initiated in the ecstasy of cosmic visionary experience. Some hours later he emerges an awakened soul accompanied by the female consort. Still flashing in colors and serenity they make their way to a bluff overlooking the sea of people dotting the night with campfires. The view is rolling and undulating, wrapping around a vortex the lighted stage in the distance. The lights, colors and liquid landscape coalesce in a visionary patterned dance around the pulsing brilliant core of illumination flowing from the stage. Space and time are lost in the enveloping ecstatic vision in the presence of the Center.

This scene is the sacramental center of the story. The whole event is actually a festive gathering to celebrate the eucharistic psychedelic ritual. Its enactment is the animus mundi, the navel of the world, around which the dance of being whirls. This entire countercultural phenomena is like a fountain of creative and colorful life flowing from the bellies of ecstatically enlightened participants. Bohemian and transient in nature it wanders about the land erupting into spontaneous happenings. This particular one, though `planned', nevertheless exploded into unexpected proportions and intensity.

Of course this story is one in relatively recent history with many participants and critics alive and well. And the verdict of history has unfolded less graciously on subsequent events. This is not lost on the filmmakers who put in the mouth of a confident Lang plans of another festival of peace and love at Altamont. The irony is not lost on those knowledgeable of the tragic events there.

Following this narrative peak the story winds down to address loose ends between Elliot and his parents. The windfall of the festival has paid off their mortgage with surplus and Elliot is free to complete the process of separation-individuation from his family.

It was a delightful film that will fade quickly from public attention, leave theaters and be on DVD shortly. For some who go it will be for a moment of nostalgia, an entertaining story resonating with faint longings that surface as one ages. For the counterculture youth of today it is not their history, it is the history of their grandparents. The heady excitement of the Sixties is textbook material to them and most are living out their own generational narrative. They have Burning Man, Goa, Ibiza, and elsewhere.

For some the longing pricked cuts perhaps more deeply. Sure enough it was a period whose potency faded with the passing decades. What seemed of cosmic significance at the time was swallowed in the relativity of social change Nevertheless, the glimpse into the white-hot core of mystery pulsing at the Heart of the Universe wouldn't be extinguished. It is a core memory implanted somewhere deep in psychic regions.

After the ecstasy many wandered back into the enveloping social order of the modern world. Some were damaged and wandered for years. Some re-acclimated into the status quo, even `succeeding' well at it. Some found creative paths integrating alternative spaces with demands of survival. Some became monks, roshis, gurus, disciples, teachers, and priests. None, however, whose hearts were pierced have forgotten when they were touched by the Center of the Universe.

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I was lucky enough to see this movie in an actual theatre (remember those?) this past September, and it really was a delight. Watching with a small group of friends and loved ones, I felt a kinship with the central character and his simple desire to do something, anything, to change his fate while the world seemed to be changing its tune for those three days, at least. Being both a musician and a fan of all things European, I really liked the look and the pace of Ang Lee's film. While the book on which the film is based bubbles and froths madly and delightedly like a late Seventies hot tub, Lee's film presents a place and a time that feels alive and gentle like a spring leaf but also has the sullen gravity of the fallen leaf once the autumn comes. Demetri Martin comes across like a slightly-stoned Pinocchio, hoping through his 11th-hour involvement in helping to save Mike Lang's Woodstock festival from cancellation to become a real boy. (It's not coincidental that the actor who plays his father, Henry Goodman, looks a bit like Gepetto in the Disney animated classic of years ago.) Those who complain that this film doesn't have music are missing the point the film itself is music, and a soft and glorious one at that. Besides, there's a wonderful sequence towards the end of the film involving use of a song from `60s group Love being played on an 8-track cassette player in the back of a psychedelic VW van . . . that scene alone captures the real experience of being at Woodstock, at least as told to me over the years by those who were really there or who wanted so badly to have been there in person (though they were already there in their hearts). Having seen this film, I feel like I was at Woodstock too . . . and when this movie is available on DVD, I plan on going back . . .

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I happened to recently find this movie on my On Demand cable service. I had not ever heard of it.

I'm a HUGE fan of 1969 WOODSTOCK, (have Collector's Edition of DVD). I have always felt I was born in the wrong era--I should have been there! (To me, there is really only ONE REAL Woodstock.)

I knew some of the facts in the movie Taking Woodstock, but it was AWESOME to see it put together and done so WELL!

I love the portrayal of Elliot, whom I perceived as the main character. I saw this as also a "coming of age" film, from his point of view. He was amazingly brilliant at such a young age and to make such excellent "business/promotion" decisions that had to be made under pressure.

It is *totally* a "feel good" movie. I thoroughly enjoyed it and would love to own the DVD!

I HIGHLY RECOMMEND IT!

In my opinion, the best review here on Amazon about the movie is by James Lossing (it should be the top review) so be sure to read it!

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Oscar-winning director Ang Lee's "Taking Woodstock" takes us behind the scenes of the Woodstock Music & Art Fair, but don't expect documentary-like accounts of the legendary concert. Based on the book by Elliot Tiber and Tom Monte, and adapted by James Schamus ("Brokeback Mountain"), "Taking Woodstock" is a comedy drama about a young man who wound up bringing Woodstock to the quiet town of Bethel, New York.

The film, set in the summer of 1969, centers on 34-year-old Elliot Tiber (Demetri Martin), an interior designer whose parents Jake (Henry Goodman) and Sonia (Imelda Staunton) run El Monaco Motel. The small motel, of which service and quality is not the best in town, is facing foreclosure.

Elliot manages to persuade the bank manager to wait for a while. Then he hears that the town of Wallkill pulled the permit for the upcoming Woodstock festival. Elliot, who happens to have a permit for a small local music festival, makes an offer to the concert's organizers. As it turned out, the music festival ends up attracting about 500,000 people to the town.

I am not interested in the factual accuracy of "Taking Woodstock." I know this is not a documentary (and there is already one, simply amazing "Woodstock"). The film beautifully captures the confusion (and near chaos) caused by the influx of attendees for the three-day concert. Ang Lee's comedy drama is full of fashion details and eccentric characters, mostly likable, but suffers from its underwritten drama about the protagonist and his family, and one-note performance from the lead. Where is Jake Gyllenhaal when we need him?

I enjoyed "Taking Woodstock" for its atmosphere of the late 60s America, and nice turns from supporting players (some of which sometimes border on caricature, though). What "Taking Woodstock" needs is a more strong portrayal of the protagonist, who is somehow the least interesting person in the film.

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Shakespeare in Love (2012)

(2008 HOLIDAY TEAM)I honestly did not know what to expect when I first sat down to watch "Shakespeare In Love." Perhaps that was for the best, since this film teems with unexpected moments and twists, turning literary history upside down and giving it a clever and bawdy twist.

Gywenth Paltrow plays a young noblewoman who is expected to be demurely betrothed, but who wants none of the life ahead of her. She yearns for the theater, and, in her headstrong, ambitious drive, dresses like a boy to obtain a part in Will Shakespeare's newest drama. Of course, the two fall in love (hence the title!) and their duplicity leads to plot complications that get more and more outrageous. Literary jokes abound, but you don't need to know a whit about Shakespeare to enjoy this romp. This is a romantic comedy cloaked in Elizabethian times, an anachronism that is thoroughly satisfying.

Paltrow's Viola is gutsy, intelligent, and torn, a portrayal that deservedly earned her an Oscar. Joseph Fiennes makes a lovable, bumbling Will Shakespeare. The two display a chemistry that brings the witty script to life and elevates this film to a level above most romantic comedies.

This film should appeal to a wide range of viewers even those who hated studying Shakespeare in school.

This movie really hit home for me. I just sat there in awe of the acting, the way the story unfolded. It totally engrossed me. I saw it three times at the movies and could have easily gone to see it again and again. When it won so many Academy Awards, I wasn't surprised except I thought Saving Private Ryan should have won Best Picture. I also felt that Tom Wilkinson didn't get the praise he deserved. His performance was, as usual for Tom, understated and perfect. I thought he should have been nominated instead of Geoffrey Rush, for best supporting actor, and I'm an aussie.

I also felt Joseph Fiennes should have got a Best Actor gong. Gwyneth was great but Joseph's performance of Will was exceptional to say the least.

The highlights for me were the unfolding of the two stories, (Romeo and Juliet & Will and Viola). Then the actual performance of Romeo and Juliet and the intertwining tragedy of Will and Viola. The way the audience reacted at the end said it all.

I think that 'Shakespeare In Love' is mainly a movie that females thoroughly love. The males in my circle of friends and family didn't quite GET IT so to speak.

Also deserving of mention were Colin Firth and the actor with the the stutter, which miraculously disappeared at the start of the play.

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This is the kind of movie the Academy loves and through its love, rewards.

The script by Stoppard and Norman is erudite and cunning, passionate and playful, filled with witticisms by and about the Bard; and the parallels to Shakespeare and his work, especially the play within a play, Romeo and Juliet, and the play to come, Twelfth Night, are marvelous and a bit miraculous. The romantic direction by Madden conjures up an Elizabethan England and its London theatre with enough lusty color to delight the poet himself. The acting is wonderful with Gwyneth Paltrow conquering a very demanding and delightful four-part role as Viola/Tom Kent, and on the stage as first Romeo and then as Juliet! Joseph Fiennes as the young Shakespeare writing his Romeo and Juliet on the fly, fired with the energy from his adulterous love for the lovely Viola, is better than advertised.

Of course what would a Shakespearean play or a great Hollywood movie be without its bit players and supporting roles? Judi Dench as the queen in her Academy Award winning performance gives the impression of somebody doing something marvelously well but with such ease as to look unemployed. (I stole that line from somewhere.)

From the gutter snipe with his rodents to the queen's bad teeth, from Colin Firth's delightfully villainous Lord Wessex to Geoffrey Rush's wise, but bumbling stage manager, from the tavern trollops to the gentry at the ball (in which the sonnet within a play from Romeo and Juliet is once again given life by Fiennes and Paltrow) everything is expertly presented. You don't have to be a Shakespearean buff to appreciate this resplendent romantic comedy, but if you are, your experience will be enhanced.

This is Hollywood at its best. For all the clunkers and the mass-mindless indulgences that are the usual fare-tinsel town, you are forgiven!

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I would like to point out that Blu Ray of "Shakespeare in Love" that Mark Barry is reviewing is actually the European/UK 1080p release, but he has erroneously listed his review on the site for the Canadian (Alliance) 1080i Blu Ray release. Those in the USA interested in obtaining the European 1080p/24 5.1 DTS-HD MA release should know that it plays FLAWLESSLY on my standard Sony PS3 in the USA, as it is "Region Free". It can be obtained at amazon.co.uk for less (delivered) than the inferior Canadian version. Also note that the 1080i/60 Canadian (Alliance) edition only has subtitles in French, while the 1080p/24 UK/European edition contains subtitles in English as well as many other languages.

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The first time I saw the movie, my reaction was: "Hmm, not bad. An OK movie, but nothing striking. Maybe even got a bit turned off 'cuz it's such a 'chick movie'."

Two months later, I was dying to go back to the theater and watch it again why, it was a mystery. So I paid a little more attention the 2nd time round, and I found out why subconsciously I'd already come to like that film after the first viewing.

To begin with, the dialogues are witty and very well-written. As someone who had never read any Shakespeare before (pardon me, Shakespeare gurus), I didn't know at first that there're many, many lines that were taken directly from the poet/playwright. As I read 12 of Shakepeare's plays and all of his sonnets after the movie (you can tell that I fell madly in love with Shakespeare after watching the film), I came to see how Shakespeare's own words were taken out and seamed together so cleverly and perfectly in the script. And as I re-watch the video, each time I continue to discover something new in the script that I didn't notice before.

Second, the way the Romeo/Juliet and Will/Viola stories intertwines together is just fabulous and done perfectly. The two stories bring each other to life and it's just a very creative and beautiful way of telling a story. The lead to the Twelth Night at the end is totally icing on an already-marvelous cake.

In a word, this movie is a classic.

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The Oranges (2011)

"The Oranges" (2012 release; 90 min.) brings the story of two married couples living across the street from each other. There is Terry and Cathy Ostroff (played by Oliver Platt and Allison Janney). Terry and Cathy are best friends with David and Paige Walling (played by Hugh Laurie and Catherine Keener), whose marriage is not going well and whose twenty-something yr. old daughter Vanessa still lives with them. This is in sharp contrast with Terry and Cathy's daughter (and Vanessa's childhood friend) Nina (played by Leighton Meester), who is living "la vida loca" in San Francisco. Things go unexpectedly sour for Nina who, tails between her legs, moves in with her parents. The two families are enjoying their time together, until Nina and David develop a crush on each other (despite their significant age difference). At that point we are about one-third into the movie, and to tell you more of the plot would simply ruin your viewing experience. But as you can well imagine, all kinds of crazy situations develop from there, some of them funny, others bittersweet, and yet other moments outright sad.

Several comments: Hugh Laurie (yes, he of the "House" TV series) shows again with this performance how versatile he really is. (Remember a year ago he released an album "Let Them Talk", which was critically well-received.) I'm sure it had to be a relief for Laurie to be playing a character so vastly different from "House". However, Catherine Keener and Oliver Platt also bring choice performances. It's difficult to assess Leighton Meester, as it is hard to make that leap of faith to see what she sees in David, who is twice her age. Also it is a bit strange that the movie was released in early October (when I saw it at the Landmark E Street Theatre in Washington), as the Thanksgiving and Christmas holidays play a significant role in the movie.

All that aside, the bottom line is that this movie is more than just a 'romantic comedy', as the movie brings home some poignant moments. I found myself enjoying this movie a lot more than I had expected. If you are in the mood for one of those "little indie movies that could", "The Oranges" is HIGHLY RECOMMENDED!

This is another feel good, feel awkward, sometimes humorous indie. The beginning of the film establishes the characters of the six main players. Two families are best friends. They do everything together, but not all is well. David Walling (Hugh Laurie) has been sleeping on the couch. His daughter Vanessa (Alia Shawkat) does some first person narration. Growing up she was best friends with Nina (Leighton Meester) who is part of the second family. Unlike Vanessa, Nina is a free spirit and Vanessa sees her as the antagonist.

Nina breaks up with her boyfriend and comes home for Thanksgiving after two years. The parents hope to fix her up with Toby Walling (Adam Brody), but Nina has suddenly developed a taste for older men, older married men who sleep on the couch. They are quickly discovered and the film goes into a mild disaster mode with crude comments from Nina's mom (Allison Janney) and snarky remarks from the hurt Vanessa.

The film had some funny parts, but for the most part it simply makes you smile at the awkward situation. The characters were well developed. The dialouge was decent. It has appeal and is worth a view, at least once. Leighton Meester did a great job.

Parental Guide: F-bomb. No sex or nudity. Some crude sex talk.

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This is more of a TV "sit-com" than an actual movie, and there is very little to recommend it. Not even Catherine Keener can save it. As to the plot, it tries to superimpose outlandish humor and over-the-top acting onto a more serious sexual/marital dilemma. And the formula doesn't work. In fact, there aren't very many laughs or social insights to be derived from this film.

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I love Hugh Laurie. However, reading the brief description first on Amazon didn't outline the plot. It said, "Fresh-squeezed laughs and sexy fun sweeten this critically-acclaimed comedy with an all-star cast."

How was I to know that this movie showcased Hugh Laurie's "zipper trouble" with his best friend's 20 year-old DAUGHTER.

He watched his best friend's little girl grow up. Then he had lots of sex with her. Yuck.

His character struck me as a Woody Allen wannabe.

If my best friend's husband pulled that stunt with my own beautiful 20 year-old daughter, my husband and I would star in a new movie stealing the title "There Will Be Blood."

What a stinker.

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This film is a waste of Hugh Lauries (and our) time, a sophomoric half assed comedy that isn't funny...how un-funny

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Siempre a tu lado (Hachi: A Dog's Tale) (Original title: Hachiko) (Two-Disc Blu-ray/DVD Combo) - La

Siempre a tu lado - Latin America Edition

As a grown man not prone to crying, by the end of this film I was a blubbering mess, and I've probably not shed a tear in more than ten years. Anyone who loves dogs, I imagine, will be in the same state after witnessing the amazing loyalty displayed by one selfless canine.

I'd actually heard the story many times. A loyal dog returns to train station to meet his master even after he dies. But the film really brings the point home following the entire life span of the dog. But what I feel makes this film stand out is how it shows the perspective of the dog, a great reminder that "Hachi" is the protagonist in the film and giving insight into the emotions he felt. Additionally, the dog was portrayed as a dog, not a human character in a dog suit capable of impossible feats and acts, which for me, made the story so much more enjoyable and made the dog so much more believable.

Please disregard the one-star rating given by the Akita breeder in Nevada who didn't really rate the film so much as criticize peoples tendency to purchase dogs because of movie influences. It should also be noted that the Japanese Akita as a breed would have most likely disappeared had it not been for the original Hachi's popularity in Japan during the 1930's when the story was popularized by local newspapers of the time.

I would rate this as probably the best dog movie ever to come out of Hollywood. If you've made it so far as to read reviews, you really should just buy it. I can't imagine any dog lover being disappointed in this magnificent film.

From Tokyo, where the film has just opened: In Japan, most people know about Hachiko, especially in Tokyo; his statue is a popular meeting place in the Shibuya shopping area. The true story of Hachiko is just as well known here in Japan. In this review, I assume that you know the basic story outline. Still, if you wish to avoid what you may consider a spoiler concerning a turning point in the story, then avoid reading after this paragraph, as I discuss a central plot point--but not one which really gives too much away, any more than it spoils the movie "Titanic" to know that at some point, they hit an iceberg. Still, I wanted to warn you just in case--someone who never heard of the Titanic before might enjoy the whole iceberg twist.

The story: a faithful dog comes to meet his master at the train station every evening when he returns home, and when the master, a college professor, dies at his school and does not return, Hachiko continues to come and wait at the station every day for nine years to wait for his master's return. The very thought of such a loyal, sweet animal being so, well, doggedly committed to finding his master is bound to bring tears to most people's eyes--and it didn't fail here, with there being a considerable amount of sniffling and eye-dabbing in the theater. "Not a dry eye in the house" comes to mind. If you like schmaltzy tearjerkers and cute fuzzy dogs, then this is your kind of movie.

The basic story remains the same as the actual one, but builds up a new human dram around the dog story--which succeeds in not detracting from the central story at the same time. You never stray far from the dog, it's clear that Hachi is the protagonist and at most we spend three minutes away from him at any one time. Nevertheless, the characters are fairly well developed for what they are--supporting roles. Joan Allen does a good job as the wife reluctant to allow another dog in the family after the last one left them. Jason Alexander has a bit of fun as the self-centered station manager, and recognizable character actor Erick Avari does an excellent job as a hot dog and coffee vendor outside the station. Cary-Hiroyuki Tagawa did surprisingly well as the Japanese expert at the college. But the dog is the star, and does a good job of keeping our attention.

I contrast this with a movie from last year in Japan, "The Tale of Mari & 3 Puppies," about a Shiba Inu dog owned by a family when a large earthquake hits the region. The movie, billed primarily as a dog movie, mostly focused on the family and featured more than a little over-acting from the supporting cast, and failed to show us the cute doggies so much. In "Hachi," it's the reverse--you get lots of dog time, but also a nicely-rounded drama with good acting all around.

A few things were overdone, but not to bad effect. At the movie's outset, we see Hachi as having been sent, unattended in a bamboo cage, all the way from Japan--not just Japan, but from a Buddhist temple in Japan--only to be lost on the last leg of his journey when he falls off of a handcart at Gere's train station. That (a) the person pulling the cart could be so careless and (b) that whatever local person paid so much money to have the dog shipped and then never inquire as to what happened to him, well, is kind of pushing it. It feels as if Gere wanted to put in a nice Buddhist reference and have Hachiko's tale be a bit more dramatic. You kind of roll your eyes at all this, but it doesn't get in the way of the story. None of the overdone bits go so far as to really distract from the story, and they do work well at the emotional level. In the end, what you have is a fun little drama about an adorable, faithful dog with a tearful ending; the movie does very well being what it is supposed to be.

A bit of background: the story of Hachiko is not completely without controversy. There are some who claim that the story was deliberately popularized in fascist pre-war Japan as a means of inculcating loyalty to the emperor and to the state--the idea being that Hachiko's utter faithfulness up to the bitter end was a model that the government wanted the people to follow in supporting the state. Of course, Gere's film does not come close to this; there is even a specific reference to loyalty as pertaining to those one loves. Other detractors of the story contend that Hachiko was not being faithful to his owner, but had simply become addicted to the treats given to him by shops and vendors near the station (interestingly also included in the new film).

A small note: Hachiko, both in reality and in most of the film, was an Akita, but in this movie, Hachiko the puppy was played by a Shiba Inu, a smaller, related breed whose main difference is in their size and temperament. Despite being regarded as a "goof" in the IMDB database, this was an intentional choice by the film's producers, who decided that a Shiba puppy would be easier to handle, easier to train for what was needed--so says a book released in Japan concerning the film.

Buy Siempre a tu lado (Hachi: A Dog's Tale) (Original title: Hachiko) (Two-Disc Blu-ray/DVD Combo) - La Now

"Hachiko: A Dog's Tale" is directed by Lasse Hallstrom (The Cider House Rules), and is based loosely on the real life story of a dog, named Hachiko, who was born in Odate, Japan in 1923. His master, Dr. Eisaburg Ueno, was a professor at the University of Tokyo who died in 1925. Hachiko returned to the Shibuya train station the next day, and every day for the next nine years until he died in 1934. Today, outside the Shibuya train station, where Hachiko waited, is a bronze statue of Hachiko.

In this particular movie we have a similar story, only the dog is in transport to the United States, where he escapes, and ends up in Parker Wilson's (Richard Gere) possession. Parker eventually decides to keep the dog since the owner cannot be found. Hachiko, or Hachi, as he is usually called here, at one point breaks free of his yard, and follows Parker to the train station. Eventually Hachi is allowed to accompany Paker to the train station everyday. But at one point Parker never returns to the train station, since he has died at the university.

The movie then becomes a tale of a loyalty that reaches far into the bonds of memory. Hachiko never realizes that his master has died, and even though he never sees his master again, he never forgets him. What is Hachi's purpose now that his master has died? His purpose seems to be to wait for his master who will never return. It is at once moving and heartrending, as it is a tragedy of sorts, and one that is only resolved once Hachiko also dies. This is a beautifully told tale that makes one think about the things that are important for us to go on living, even after those that we have loved have died.

Read Best Reviews of Siempre a tu lado (Hachi: A Dog's Tale) (Original title: Hachiko) (Two-Disc Blu-ray/DVD Combo) - La Here

As the owner of an Akita for almost 12 years (now at 'The Bridge'), I have been anxiously waiting for the Hachiko Monogatari, 1987 Japanese production, to be adapted for the American audience. I was so pleased that they kept the story simple; one of a man and his dog, of forging bonds of unconditional love and devotion. And, even though I knew the story very well and, prepared myself in advance, the tears were inevitable.

Going straight to DVD, this film will not be a big money maker, therefore, I consider it a timeless gift and treasure, from all involved with the project. It was not easy, taking a year to complete, clearly becoming a labor of love. Watching Gere interact with the dogs, you can tell he is truly in his element. The joy on his face makes you believe that Hachi really is his devoted companion. I truly thank and respect Gere for joining such a challenging endeavor and I can't think of anyone more perfect for the role of the sensitive Professor.

Throughout the film, it was made fairly clear, that Akitas are not typical dogs. This was further evidenced in the 'Making of the Film.' The trainers thought they had met their match, when two months into the project, the dogs simply would not perform. They found that Akitas are no trick-ponies; they are stubborn and don't suffer foolish tasks. With much patience, the project was eventually successful. You will also find a comment following the credits about how Akitas are NOT for everyone. I consider these additions to the film to represent responsible education regarding Akita ownership, and, I applaud them for the inclusions.

I must add, that although I dearly love Akitas, they are not the only breed with histories of bravery and devotion. Given proper training and bonding, some mixed breed dogs that we unfortunately see chained in backyards, might show the same call of duty. It's not so much about the breed, but creating the connection---opening one's heart, and truly letting that furry creature in, which Gere lovingly demonstrates in the film.

I think Hachiko's story is a good reminder, that ALL dogs have thinking, emotive minds; that they are, family, not something to be possessed. That said, Hachi will continue to educate us from the grave, for generations to come. I can't think of a more profound legacy.

This is a beautifully rendered, family film---one that, once watched, will never be forgotten. It is destined to become a classic. I can't recommend it highly enough; just have tissues at hand.

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This brilliant film, full of magnificent performances, does not preach, but will pierce the hardest heart.

I extend my deepest appreciation to Mr. Hallstrom, Richard Gere, Joan Allen, and the Akita trainers for bringing this unforgettable story into my home, where it will be enjoyed again, and again.

My wife, who NEVER comments on a movie, said "That was one of the best movies I have ever seen."

Our 14-year-old Beagle usually rests in one place for ten minutes and moves to another spot in the room. While we watched HACHI, she remained between us on the sofa for the entire movie. She sensed our contentedness and rose only to lick our faces during the film's powerful emotional scenes.

Kudos to Mr. Gere for his diligence in making his relationship with the dogs feel genuine...and for the most amazing death scene I have ever witnessed portrayed in a film.

Since the real HACHIKO died in 1934, this film was long overdue, but more than worth the wait.

Secretary (2002)

The joy of SECRETARY lies in its characters, all of whom are quirky (to say the least). And if you leave the film thankful that you run with "normal" folks, then you probably just don't know the person in the adjacent work cube all that well.

As the film begins, Lee Holloway (Maggie Gyllenhaal) has just been released from institutional therapy. Lee has a level of self-esteem that's abysmal to the point of involving self-mutilation with sharp objects. (She even has her own first aid kit to disinfect and treat the wounds as soon as she makes them!) And whatever therapy she got didn't stick. But, life goes on, so she takes a typing class, and subsequently lands a job as a SECRETARY for the perfectionist lawyer "Mr. Grey" (James Spader).

Mutual assessment soon reveals potential for an S&M relationship where Grey is the "S" and Lee the "M". Courting, so to speak, and foreplay involve the boss making increasingly difficult demands of Lee's job performance with the mutual understanding that the latter will fail and punishment will follow. And what's a poor girl to do when making deliberate spelling errors in legal correspondence just doesn't push Grey's lust button anymore?

Spader's Grey persona is so deliciously creepy not sinister, just creepy that his paralegal does her work in such an unusual hiding place that she's rarely seen, even by the audience. And the delightful Gyllenhaal's portrayal of Holloway is so otherwise girl-next-door, except for her preoccupation with cutting edges, that I'm now surreptitiously scrutinizing our office secretaries for barely-hidden scars. And Jeremy Davies is terrific as Lee's nominal boyfriend, the painfully pathetic Peter.

While SECRETARY was in the theaters, it probably wasn't a film that you would've taken your prim and proper grandmother to see for her day trip away from the assisted care facility. It has some artistically done full-frontal nudity and a couple scenes of X-rated heavy breathing. SECRETARY is a stylish and darkly humorous treatment of a delicate subject that allows the viewer to snicker without the guilty feeling of having been discovered with a dirty magazine. (Of course, if Granny finds it knee-slapping funny, you might want to rethink your assumptions about her younger years.) My only complaint was that the ending is perhaps a little too drawn out and tidy. A snappier, more edgy conclusion would have made the film a perfect gem.

Now, where did I stash those red, felt tip markers? I have to proof an associate's work.

Both characters in this first-of-it's-kind movie were well drawn. It's a first because it shows the S/M, D/s dynamic in a sympathetic, caring, humorous way; and it's a mainstream film ... not a parody or cautionary tale.

E. Edward Grey (an excellent James Spader reminiscent of "Sex, Lies and Videotape") could have used a little more background but that's quibbling. Lee's character was simply marvelous from start to finish. In my small hometown, a few people even applauded at the end. We've come a long way.

Love comes in all sizes, and the discovery of that love makes an engrossing 144 minutes of film time. I've heard people say these two are "damaged." Really? But aren't we all? And how lovely and whimsical to find another who understands us so well.

Lee (Maggie Gyllenhaal) blossoms from a repressed, obsessive, unhappy girl into a self-assured woman all because a strange, obsessive, largely unhappy man sees in her the need to be .... herself ... a submissively strong woman who likes to be spanked, restrained, and ordered around. As long as she knows her submission is understood, she is liberated in the true sense of that term. She becomes the powerful one ... all because she accepts who she is. Acceptance and love. Isn't that what most of us aspire to?

I loved the scene where Lee tries to do the impossible: make a cup of coffee for the new boss who casually demands it. A truly submissive person will understand that scene on a very deep level.

I'll see this again before it leaves my local theater. And can't wait to buy the DVD when it's available. It's a "feel good" movie with an irresistible twist! :)

This movie is not for everyone; but I wish I could say it was. It deals with all the relevant themes of a good, complex love story. It just adds a new level ---and one that's been around in the shadows for a few decades.

Buy Secretary (2002) Now

Secretary is absolutely the best film I have seen in a very long time, and one of the best I have ever seen. I won't spend any time going over the plot because, if you're reading this, chances are you already know it. This is the first Hollywood film I have seen that treats BDSM relationships in a realistic, and (most importantly) non-judgemental manner. Many scenes in this film will certainly ring true for anyone involved in the lifestyle.

The acting is, in a word, superb. James Spader turns in his usual high-caliber performance, and Maggie Gyllenhaal is stunning(and beautiful as well!) She conveys more emotion with a single glance than most actresses could in a lengthy monologue. Jeremy Davies also performs quite well in his rather small part. My only quibble with this film is a very minor one: it would have been nice if the story had given a little more background on Mr. Grey. All in all, a top notch film. I will watch it again and again, and I highly recommend it to all open-minded movie fans. Just keep the kids away from the set while you watch it!

Read Best Reviews of Secretary (2002) Here

For some reason, I never wanted to see this film. The movie poster put me off somewhat. I figured it would be just another artsy sex film, but how I was wrong. Its starts as the story of a young woman emerging from a mental hospital and back into her life with a dysfunctional family that is all too real. Unsure what to do with her life, she applies for a job as a secretary at a law firm. But this is no ordinary office and Lee is no ordinary girl. Edward and Lee begin a strange and turbulent work relationship that later develops into a Dominant/Submissive relationship. As the film progresses, it becomes more bizarre. ...

What makes this film so great is Maggie. She is able to lend an innocent quality to Lee that makes her oddly enduring. Yes, she is submissive and a freak by normal standards, but she is also a demure quiet girl. James Spader is good as well in his role as the sadistic boss that oddly falls in love with her throughout the film. I have to say its one of the strangest romances captured on film and the characters are well-drawn and created in a way that makes them likeable in their own ways.

"Secretary" is a film some people will hate. Well, I loved it. Its strange and its fabulous. If you like really different movies, this is the one to see.

I give it two thumps up!

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As a woman who actually practices the fine art of D/s in my everyday life, I want to applaud the makers of this wonderfully warm film!! I have seen way too many movies that deal with the emotional aspects of submission as being ones that are entirely negative. This film hit the nail on the head when it showed that submissive women find strength in their surrender.

It also let the viewer see that Dominant men aren't monsters but just irregular regular guys trying to co-exist with their hidden desires to control their partners in ways that are beneficial to both. I'm no pro at writing so I hope I'm saying this well.....but simply, if you want to gain some understanding of people who choose this alternative lifestyle and how it changes them for the better, see this movie!!!

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Coen Brothers Collection (Blood Simple/Fargo/Miller's Crossing/Raising Arizona) (2011)

Four great Coen Brothers early works from Fox, and a couple licensed from MGM. Blood Simple, Raising Arizona, and Miller's Crossing are all instant classic films from the Coen catalog, and Fargo is an Oscar favorite bundled with this set and previously available. The die-hard Coen fans probably already own Fargo, making its inclusion here a little annoying for them, but it's still a better value (at current prices) than buying the others as individual discs. For those who have been waiting to get Fargo, or want a headfirst introduction to some of America's coolest filmmakers, this is a great bargain and a fantastic set; for the rest of us who are already Coen converts, buy the set, enjoy it, resell or give your extra Fargo to a friend, and try not to stew too badly thinking about Barton Fink, which yes, would have been better suited for this set.

Fox has given us individual cases for each movie, which I like a lot better than the cheap cardboard packaging of other sets. The discs themselves look and sound great. Most knowledgeable Blu-ray buyers know that there's a sliding scale, the age of the film and the cost invested in the release will determine how good it will look, and those films that have suffered from poor storage or mishandling are special challenges. I think, on the sliding scale, the Coen Brothers films included here look fantastic. These are mostly independently made films, in the range of twenty to twenty-six years old (excluding Fargo), none of them using Hollywood blockbuster money. I think Fox has done a bang-up job on their MGM license releases, and the Coen Brothers set continues that streak. The colors are as vibrant as each film's color palette allows, and a welcome amount of detail is brought out on Blu-ray. For artistic and intelligent films, the Coen Brothers employ a lot of kinetic camerawork and striking visuals, more in line with big-money Hollywood films, and these releases showcase that better than the DVDs I've seen. Occasional softness or a little grain notwithstanding, these are very well-done Blu-ray, and I think easily the best these film have looked since they first hit theaters.

The sound is very solid, though I have to admit my system isn't the best way to test that. No noticeable flaws to me. English 5.1 DTS-HD Master Audio and Dolby Digital Surround on Arizona and Miller's, Blood Simple is English 2.0 DTS-HD Master Audio. Spanish 5.1 Dolby Digital and French 5.1 DTS on Arizona and Miller's, no other language tracks on Blood Simple. Fargo is the same as before, English 5.1 DTS Master Audio and Dolby Digital Surround, Spanish, French, German, and Italian 5.1 DTS, Portugese and Spanish 5.1 Dolby Digital. All are 50GB dual layer discs, ACV @ 39 MBPS (Blood Simple), 31 MBPS (Raising Arizona and Fargo), and 30 MBPS (Miller's Crossing).

Special features are a little thin, but we would be complaining about the wait if Fox put off these releases until the Coen Brothers wanted to contribute more in-depth features and commentary. Raising Arizona essentially gets nothing (trailers and TV spots, and if ever a film was overdue praise, it's this one. A loaded special edition may be planned for some time (25th anniversary is next year), but for anyone who wants the film looking its best (or pretty damn good), this edition is commendable. Blu-ray buyers know the bread and butter of most studios are new releases, not catalog titles, so this is nothing we haven't seen before, and better than a lot of them.

Menus and playback features are pretty stylish. Studios seldom get credit for that, but the extra work is appreciated.

It would have been downright heroic to get Barton Fink with these other early Coen Brothers favorites for the same price, but Fox probably makes a better profit including a previously-released film which has already been paid for, and they've been pretty generous to make the other three titles individually available, if you only want one or two. Not a bad compromise. These are excellent films, fantastic stories and great acting, incredible directing and original ideas, must-owns for me, and if they haven't been given Lord of the Rings-level attention, they've at least been treated pretty respectfully. I'll wait for Barton Fink to get its own release, and get my Coen Brothers fix in the meantime with the four that are included.

I got this at Best Buy on sale for $19.99. Not sure if it is worth more unless you do not own a previous DVD version of any of these movies. Fargo is missing an extra feature found on the Special Edition DVD version -the Charlie Rose Interview with the Coen Brothers and Frances McDormand. This makes no sense why it was not included.

Buy Coen Brothers Collection (Blood Simple/Fargo/Miller's Crossing/Raising Arizona) (2011) Now

This is a great collection for a great price; there isn't a bad Coen Brothers movie and they run from great to pretty good (the worst being Intolerable Cruelty which is not part of this collection). This includes three early films and the Oscar winning Fargo. Virtually all Coen films are tales of morality and what happens when one crosses the line into immorality; their first, Blood Simple, is included here and is their first foray into film noir. Their second, the offbeat comedy Raising Arizona, is one of my favorites and is their first foray into allegorical story telling. Their third film, Miller's Crossing, is another film noir offering with a character who manipulates, and is often manipulated by, other gangsters as he operates under a code of morality known only to him. FInally, Fargo is another film noir that examines the "domino principle" and what happens when one crosses the morality line, tapping the first domino that causes them all to fall while spinning wildly out of control. It's also one of two films in history that I can recall that successfully mingles comedic elements with stark violence. The Coens contrast the quirkiness of midwesterners with the stark harshness of violent crimes. By the way, the other film that does this successfully? A Clockwork Orange. The interesting thing for me is when I think back on A Clockwork Orange I remember it as very violent and when I watch it I realize how funny it also is. When I think back on Fargo I remember the comedy and then when watching I realize how serious and violent it is.

Regarding the transfers, Blood Simple and Miller's Crossing are fair, Raising Arizona and Fargo are very good. Still, to get these four movies you can't beat the price.

Read Best Reviews of Coen Brothers Collection (Blood Simple/Fargo/Miller's Crossing/Raising Arizona) (2011) Here

It is likely that the people complaining about this set are the type to walk through life looking for things about which to complain. "Didn't have this extra" or "transfer was bad" or "was fullscreen and not widescreen..." that one made me laugh as I would bet money that person has a blu ray player that he/she/it has yet to set up properly.

The transfers are great, the sound is great, the price is fantastic, the movies are excellent and they ARE, beyond any shadow of doubt, widescreen. One or more aren't your favorite? Buy them separately. Simple. Have a problem with how long it took to get your item or what kind of shape it was in when it arrived? Take it up with the seller or with Amazon and leave it out of the product review. No one cares.

In other words, buy this. You can't go wrong with such great movies at such and unbeatable price. Mr. Split Infinitive wants to complain about 4 blu rays for around $5.00 each? THAT is disappointing, highly.

Want Coen Brothers Collection (Blood Simple/Fargo/Miller's Crossing/Raising Arizona) (2011) Discount?

Gotta admit, the title of the box set is kinda dumb "From the minds of ...". But it's a good decision to put these four movies together. All are crime-gone-wrong movies (what the Coens are best at), although some may argue that Raising Arizona is out of place here as it's the only full-on comedy. Since Blood Simple is an early Coens film, can't expect much from the Blu-ray transfer. The rest are quite good transfers to high-def, although not top-notch reference-disc material. Raising Arizona's colours are especially vivid, since its palette fits the slapstick cartoonish action. Miller's Crossing has a stately picture quality and the classy cinematography is very much aided by the high-def, where colours are correct and shadows are strong. The obvious lack here are extras. But I believe there are not many extras on the individual releases either, so what's there to complain really.

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