Showing posts with label 2010 comedy movies. Show all posts
Showing posts with label 2010 comedy movies. Show all posts

Two Girls and a Guy (1997)

Two Girls and a GuyIn case you got confused by all the controversial reviews...and can't decide to spend 84 minutes of your time on this film, here are some suggestions. DON'T WATCH IT IF: 1. you tend to pick movies with stylish cinematography that enhances dramatic or spectacular scenes; 2. you prefer movies with twists and turns woven into an elaborate screenplay; 3. you expect some sizzling scenes from the title or the NR-17 rating; 4. you are currently savoring your first love or consider yourself a hopelessly romantic person. But DON'T MISS IT IF: 1. you really enjoy dark comedy whether it's an indie or some Hollywood rare bird; 2. you love witty, sassy, sarcastic dialogue, and don't have a problem with profanities; 3. you readily accept any ludicrous circumstance as a natural facet of life; 4. you realize that it's common for couples to talk only on the surface about issues they're afraid to cope with, until a certain point where they must spill the beans to save the relationship or get it over with... Well, did I miss something? Oh yeah, 3 of my 4 stars go to Robert Downey Jr., simply because I believe any other actresses can carry the roles of Heather Graham and Natasha G. Wagner but nobody can do RDJr 's. He's really one of a kind.

Wow, I just looked up this film on a lark as I'd seen it a number of years ago... given the mixed/neg reviews, I figured I should put in a couple cents here, give this film its due 5 stars.

It would be a terrific exercise/experiment/experience to know enough of each person to contextualize why they did or did not like this film. I actually typically find I like films that sprawl across cities and countries, epic of backdrop. But what was so fantastic about this film is that it was epic of performance, of communication, of a different landscape of love than one normally encounters in films.

I suppose, cinematographically (sp), it unfolds like a expanded play or a focused Mamet film. I remember exclaiming, during a particularly heated argument-communication, "that's how it IS!" -there were just so many incredibly authentic relationship-communication details in a movie largely about deceits (self and other) and truths.

I believe I saw the film "Jules et Jim" after this (although it is much older) but was terrifically excited to see the fim poster for "Jules et Jim" hanging on a wall in Downey's apt. Ok, point. The POINT is that this film is ultimately an exploration of the complexities and vagaries of love and sexuality. Not that this film was a successful (or intentional) treatment of polyamory of open/liberated love, it did touch upon this possibility in a way I appreciated.

Ok, ok, so I haven't seen it in awhile but, at the time, I saw it probably 4 or 5 times. If you're really interested in relationship dynamics; if you're interested in seeing communication and conversations that have an air of reality and authenticity (better than reality shows, imho, because there is still an intentionality to the direction...like distilled reality gems); if you're intrigued by the full range and manifestation relationships can take; if you love Robert Downey Jr. and want to see an intimate performance; if you have crushes on Heather Graham or Natasha Gregson Wagner (I do! although I'm not sure I can spell her name)...then this movie is for you.

When we look at a film of relationships and say "that's not how it is," it is possibly because we're comparing it to the limited depictions of relationships we've so far seen on screen. The reality of relationships is that they are crazier than we can dream of, I daresay. Right? People loving people is really, in ways, a forefront of human evolution... the lengths we're willing to go to, the energy, the rises, the falls...we push ourselves in ways we would not have thought, watching ourselves, we ever would.

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First of all I'm surprised this went to Blu. I remember seeing this in the theater when it first came out and instantly liked it. Going in though, you have to be aware that this is a 100% dialogue driven film. There's no action really, there's only three actors in the movie (well five, if you count the two in the very beginning for about two minutes). If you go into this expecting anything but essentially a theatrical play, then you may be disappointed.

Personally I think this is one of Robert Downey Jr's best roles to date, along with Less than Zero. I think roles like this, in which he shines so well as the perennial f*** up, doomed by his own inabilities to accept the fact that there are people who will not just abandon him at the slightest whim, hits too close to home for many people. They can't separate the fact that he's acting, from his real life struggles with drug addiction and other things.

And as such, when he puts on a great performance, people toss it aside and say "it's just him playing himself". Which is a great disservice, I think.

Heather Graham is very good in this, as is Natasha Gregson-Wagner (daughter of Robert Wagner and Natalie Wood), although Wagner can be EXTREMELY grating after awhile. She comes off as simultaneously cute & sexy, and irritating. Eventually you're waiting for someone to just yell at her to shut up.

But all three actors do a very good job with this, and from what I've read there was virtually no script. It was all improv, and I think that speaks volumes to how good these actors are.

I've read reviews of this which say that it's a movie where people just talk about nothing. And that's not true at all. It couldn't be farther from the truth. This film, while not a perfect film, is a great film as it pertains to relationships. I think many people watching can relate to this predicament that Downey Jr. finds himself in.

Perhaps not the exact situation, but we've all lied to significant others. We've all been involved with people and perhaps you don't feel exactly the same as they do, but you lie and say you do. If only to make them feel better. But that ends up hurting them anyway when they find out.

Here we have Downey Jr. who's dating two women simultaneously, all the while telling them that he loves them, and only them. Neither have any clue that he's doing this with someone else other than just them, thinking he's a one woman man.

Very good film, and one definitely not to be missed by fans of Downey Jr. Just know what you're getting into with this. It's not a big budget fancy special effects flick, and it's not an erotic threeway Cinemax flick, despite the provocative title.

Read Best Reviews of Two Girls and a Guy (1997) Here

The first time I watched "Two Girls and Guy", I had no idea what to expect. What I got was a movie that was fast paced, riveting and hilarious. RDJ is excellent as the self-absorbed womanizer who is caught having an affair with two different women at the same time. Heather Graham and Natasha Gregson-Wagner play the two girlfriends to perfection. What amazed me about this movie was RDJ's ability to take what appeared to be a one-dimensional character who you want to hate for being such a jerk, and turn him into a three dimensional character who you feel sympathy for, like it or not. My only complaint is that the movie is way too short at approximately 90 minutes. See this one!

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This movie made me, an actor, not only look at myself, but look at others and wonder about lies and thier control of thier life. Downey Jr. Does an excellent job making you feel sorry for someone who doesn't deserve it. Heather Graham, shows just how easily we can become in need of someone. The whole cast portrays human conversation exceptionally well. I caught myself wondering about the script, if any of the movie was improvised. Good choice for a mature young adult.

Soul Men (2008)

Soul Men"Soul Men," a 2008 release, is a musical comedy road picture, with a template of sadness behind it. It stars more frequent action hero, Samuel L. Jackson, and the late Bernie Mac. It was written by Robert Ramsey and Matthew Stone, and directed by Malcolm Lee, noted American filmmaker Spike Lee's kid brother. Jackson plays Louis Hinds; Mac, Floyd Henderson. Together, they were once "The Real Deal," popular soul singers, and released a single record album. But it's been decades since they were together. Then the death of the supposedly legendary Marcus Hooks (John Legend), once their lead singer, gives them a very good reason to reunite: there's to be a memorial concert at New York's famous Apollo Theater, at which they've been invited to sing. It might just jump start their fallow singing careers.

So, quick as you can say Jackie Robinson, it becomes a road picture, as the quarreling ex-colleagues jump into a Cadillac in California, with four days to reach New York. There is lots of grumbling and fighting, and, be warned if it bothers you, a great deal of obscene language: with m-----f----in almost every scene. Along the road, they will bump up against Rosalee, played by Jennifer Coolidge, in a distasteful sexist interlude that I could have done without. Also Cleo (Sharon Leal, Dreamgirls ), who is supposedly the daughter of one of the leads; they're initially not sure which; Lester (Affion Crockett), Cleo's none too bright, abusive boyfriend; Danny Epstein (Sean Hayes), their new manager, and Philip, (Adam Herschman), Epstein's gofer. Towards the end of the picture we meet the late great funk/soul musician Isaac Hayes, playing himself.

Hayes is very visibly ill and weak he is used to do little more than walk across the screen. And I wish the producers had spent more money on the actors playing Philip (Herschman) and Cleo (Leal): they appear in many scenes, and granted, Leal is certainly pretty enough and sings very well; but they don't bring much to the screen.

However, the charismatic leads do bring a lot to their parts. Their comic timing is spot-on; Jackson's a good straight man, yet he can both pitch and catch: go know. The singing is fine, and the movie boasts a nice sound track of 1970's funk/soul hits. All in all, it's an enjoyable film. And, while it is the last film appearance of Mac and Hayes, I can recommend it as worth seeing for more than curiosity. Nevertheless, at film's post script, as the final credits roll, the interviews with Mac and Hayes are likely to bring tears to your eyes: they did to mine.

What can I say but simply Hilarious! These two guys put together was just perfect! There was never a dull moment with them! I've always loved Samuel L. Jackson and Bernie Mac (Bernie is missed greatly!) this movie never made alot of attention but it should have cause this is one of the best comedy movies I've seen in a long time!

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This movie is so funny that it had me and my family crying

from laughter, holding onto our sides and rocking

back & forth in our chairs!

This is a fitting tribute to the comic genius of the

late great Bernie Mac, who had such chrisma and that good ol'

down home humor like a crazy uncle who always comes to the

family reunions and lights it up!

He's in great form here and it seems to me, a bit reflective,

as if he knew that this would be his last statement to the world!

If you watch the special features, you'll see what I mean.

Samuel Jackson plays the grizzled world-weary sidekick with finesse!

He and Mac shared a great chemistry and comraderie and boy, it shows!

The supporting cast all pulled their weight too and delivered

funny moments as well. Also, this movie was the swan song for

one of the latter 20th Century's great musical minds...

The Black Moses...Issac Hayes!!

In the late 60's thru early 70's, he was a musical & cultural

force to be reckoned with!--Later he proved himself to be

a good actor, and of course the younger generations knew him

as the voice of "Chef" from the now iconic "Southpark".

It's uncanny that both he and Bernie Mac passed away right

after this movie was finished, on the exact same weekend!

Well, if ever there was a time capsule for these two..here it is!

Hayes' music is featured throughout as well.

This is definitely one to add to your collection.

RIP BERNIE MAC (1957-2008) and Issac Hayes (1942-2008)

Read Best Reviews of Soul Men (2008) Here

I was kind of skeptical about seeing this movie because usually when an actor or comic passes on their last movie is questionable but Soul Men is one of the few exceptions.

The story chronicles Lewis Hinds(Samuel L. Jackson) and Floyd Henderson(Bernie Mac)two members of the group "Real Deal". Floyd pays a visit to Lewis after the death of a soul singer legend Marcus Hooks(played by John Legend) to perform at an event at the Apollo because they believe they can get paid. Lewis is still bitter with Floyd about an incident involving his former wife. They reluctantly team up and go performing state to state before they reach the Apollo.

I wont say that I always laughed but there are plenty of times where I laughed especially with the interaction between Bernie Mac's character and Samuel Jackson's character. Cleo's bumbling, abusive boyfriend Lester(Affion Crockett) had some funny moments too. Both Floyd and Lewis's misadventures are humorous also. There are times when i laughed and times where I smiled. Lewis's interaction with Cleo(played by the attractive Sharon Leal who somewhat resembles Kerry Washington) was sweet. The songs Lewis and Floyd sung were cool and they seem to have a ball performing them and not phoning in their performances(like some entertainers tend to do). Its a shame that Bernie Mac passed before the release of this film. He would have been proud of the final product because the movie was pretty good.

REST IN PEACE BERNIE MAC, ISAAC HAYES and RUDY RAY MOORE!!!

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I'm a huge fan of Bernie Mac and this has got to be his best work ever! This movie is what you would call a real laugh out loud till your sides ache comedy!

Bernice Mac and Samuel L. Jackson are both ex-soul singers who only put out one record back in the seventies and went their separate ways there after. Due to the death of their previous lead singer they are asked to perform at his funeral and are therefore asked to reunite, even though they are not on the best of terms.

Even though I really enjoyed this movie greatly, I must warn everyone there is a considerable amount of adult scenes in the movie and a prolific use of abusive language (m*****f***er) in almost every scene... I think they would have even worked that word into the title if they could!

The movie does a great 70's soundtrack which I really enjoyed especially the one when they first hit the road!

A great comedy, there is not denying that at all, but it could have done with less obscenity!

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Gigi (2009)

GigiFor those wondering why they should purchase another edition of "Gigi" on DVD, here are all the extras; however, if you own a Blu-ray, you might want to wait and pre-order Gigi [Blu-ray]. Other than the technical specs, the extras are the same on both versions.

Winner of 9 Oscars, "Gigi" was produced after the demise of the original 3-Strip Technicolor system, and photographed in the industry-standardized Eastmancolor process, which had a tendency to fade to reds and purples. For this new DVD release, Gigi has been photo-chemically restored from its original camera negative and safety separations to produce a much sharper and colorful image than has been seen in decades. It also contains a 5.1 audio mix created from the original multi-track source elements.

Disc 1 (Gigi '58): 2.35:1 Anamorphic Widescreen * English DD5.1 Surround * French Mono * English, French and Japanese subtitles * Bluray specs: 1080P 2.40:1 Widescreen, English 5.1 Dolby TrueHD, English 5.1, French 2.0, Spanish 1.0 (Both Castilian and Latin), German 1.0, Italian 1.0 Dolby Digital, Subtitles (Main Feature): English, French, Spanish, Danish, Dutch, Finnish, German, Italian, Japanese, Norwegian, Portuguese, Swedish, Subtitles (on Select Bonus Material): English, French, Spanish, German, Italian, Japanese, Portuguese

*New Commentary with Leslie Caron & Film Historian Jeanine Basinger

*The Million Dollar Nickel [1952 MGM short]

*The Vanishing Duck [1958 MGM cartoon]

*Theatrical Trailer

Disc 2: "Thank Heaven! The Making of Gigi" The story of how 1958's Best Picture winner (the last of the classic MGM musicals) survived a turbulent production that included censorship battles over its daring sexual content and creative struggles between a studio in turmoil and a demanding, visionary director. Featuring an all-new interview with star Leslie Caron, and a rare interview with Oscar-winning director Minnelli

Original 1949 Nonmusical version of Gigi starring Daniele Delorme in the title role and directed by Jacqueline Audry (in French Mono with English subtitles)

For those not familiar with the plot, Gaston (Louis Jordan) is the descendant of a wealthy Parisian family who rebels from the superficial lifestyle of upper class Parisian 1900s society by socializing with the former mistress (Hermoine Gingold) of his uncle (Maurice Chevalier) and her outgoing, tomboy granddaughter, Gigi (Leslie Caron). When Gaston becomes aware that Gigi has matured into a woman, her grandmother and aunt (Isabel Jeans), who have educated Gigi to be a wealthy man's mistress, enjoin on him to become her provider and on her to accept such a golden opportunity. However, true love adds a surprise twist to this Cinderella story that was actually filmed in Paris.

This review is of the DVD. If you haven't seen this 1958 classic in widescreen format, you really haven't seen it. Director Vincente Minnelli (Liza's father) fills each frame beautifully, often composing scenes reminiscent of the impressionist painters he so loved, such as Renoir or Seurat. Letterbox-haters, this is a good test of the superiority of seeing a movie the way the director intended, not crammed into the 1:1.33 TV screen. (The DVD includes both versions, so comparison comes cheap.)

The year is 1900. Gigi (Leslie Caron) is a pubescent young woman who becomes more and more attractive to millionaire Gaston Lachaille (Louis Jordan). But Gigi's family has a tradition of "Instead of marrying at once, it sometimes happens we get married at last." Making the tradition from pre-teen to beautiful young woman, awkward Gigi is "trained" in the arts of catering to men, such as choosing a cigar, walking elegantly and pouring coffee in the best French manner. The payoff for this kind of training is to occupy a rich young gentleman's bed--until he tires of this courtesan and moves on. While still in favor, the lady in question lives in luxurious style: tutor Aunt Alicia (Isabel Jeans) advises her charge to "Wait for the first-class jewels, Gigi. Hold on to your ideals."

The team of Lerner and Loewe wrote songs for this musical that include such favorites as "Thank Heaven for Little Girls" and "The Night They Invented Champagne." On its initial release "Gigi" was touted as the cinematic equivalent of their smash Broadway play "My Fair Lady," as the movie trailer on this DVD makes apparent. Gigi won a slew of Oscars, beating out the presumed favorite, Susan Heyward in "I Want to Live."

It is no mistake that the compilation film of MGM's best musicals, "That's Entertainment," features Gigi as the last chronological example of the MGM high-quality, lavish musical. Minnelli would go on to direct many more films, including the 1960 musical "Bells Are Ringing" with Judy Holliday and Dean Martin, but "Gigi" was really MGM's "swan song" for expensive musicals, which were getting harder and harder to mount because of television and changing musical tastes (like Elvis).

With a lot of begging and pleading from the director and producer, the studio spent enough money in Hollywood to duplicate Maxim's restaurant and the Ice Gallery, a favorite meeting-place for the 1900 elite. Minnelli's visual wit is visible in the way he frequently uses real Parisian backgrounds of fountains and statuary, indirectly symbolizing and commenting on the mental state of the actor in front.

The whole cast is marvelous, including Hermione Gingold as Gigi's grandmother and the incomparable Maurice Chevalier as Gaston's uncle, Honore Lachaille. It is small wonder that this film is the very favorite--or close to it--among lovers of musicals. "Gigi" is first-class all the way. Even people who don't often purchase musicals may well enjoy the film for its masterly visual style and recreation of turn-of-the (last) century Paris.

What more can I say? Get ahold of this film RIGHT NOW while the price is so good. I don't think you'll regret it.

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Although MGM and other studios would continue in the genre for several more years, GIGI is the last great musical of Hollywood's golden age. It is also one of the few titles consistently mentioned when critics dispute which film should be considered the single finest musical ever created by Hollywood, a film that rivals the likes of SINGIN' IN THE RAIN and MEET ME IN ST. LOUIS. Based on a novella by Colette, GIGI tells the story of a French family of the belle epoch--a family, it seems, of women who have made their living from the favors of famous men. Still something of a gawky schoolgirl, Gigi (Leslie Caron) is being trained to become a courtesan, and when she suddenly blossoms she captures the heart of Paris sophistocate Gaston Lachaille (Louis Jourdan.) But much to her family's horror, when the arrangements are completed Gigi suddenly declines!

The cast is absolutely flawless. Caron was born to play Gigi, and is as charming as the awkward youth as she is as the suddenly beautiful young woman; Jourdan's appeal as the worldly and world weary Gaston is tremendous. But the real joy of the cast is in its supporting cast, which includes Maurice Chevalier as Gaston's uncle; Hermione Gingold and Isabel Jeans as Gigi's grandmother and great aunt; and Eva Gabor as Gaston's current mistress. Chevalier and Gingold play their roles with precisely the right mixture of charm and severity, and their duet "I Remember It Well" is among the highlights of the film, while Jeans and Gabor give such memorable comic turns that their small roles become as memorable as the leads.

The Learner & Lowe score is equal their great Broadway success MY FAIR LADY, and offers such enjoyable and memorable songs as "Gigi" and "The Night They Invented Champagne," and the script equals and merges with the music to considerable effect. Filmed largely on location in Paris, the look of the film is incredibly rich, and director Vincent Minnelli maintains a sprightly sense of humor with just enough darkness behind the bubbles to make us aware of the seriousness of the tale. Mixing intimacy with tremendous surface splash, GIGI is a cultural treasure, a film to enjoy and cherish forever and certainly a worthy contender for that disputed title of "Hollywood's finest musical." A personal favorite and highly, highly recommended.

Read Best Reviews of Gigi (2009) Here

The blu-ray of Gigi is a spectacularly beautiful job. The reds in Gigi's apartment almost overwhelm you. The beautiful pastels of the women's clothing are perfect, the blacks are deep and inky. I found no visible grain in the picture. My only real disappointment was that the Dolby-TrueHD soundtrack was pretty much all centered in the front speakers. There was very little surround to it, but after all, the source was not surround to begin with.

The extras area decent with a couple of commentaries and a half hour documentary about the making of the film, going over the casting, problems with the filming in Paris and the Hayes code restrictions and getting around them. A documentary short and a Tom and Jerry cartoon round out the extras, plus a theatrical trailer for the movie.

Gigi is a classic movie that has a beautiful release on blu-ray with this disc.

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Lerner and Loewe, and the scrumptious Nouveau brilliance of Cecil Beaton...what's not to like? I love this movie, and have owned this edition for some time. However, it seems to be missing two segments that I recall from seeing the movie in the theater at revivals: 1) There's an extended soft-focus montage of shots of Gigi in the middle of the musical number, "Gigi," in which Gaston (Louis Jourdan) is supposedly flooded with memories of the girl and realizes he's been in love with her for some time. This appears to have been cut from this DVD edition. 2) Though I can't be 100% certain, I believe Gigi wanders around the gardens a bit more, before launching into "I Don't Understand the Parisians," harumphing at length about her countrymens' insatiable appetite for amour. I don't see this on the DVD either. The DVD itself is pretty stripped-down, with virtually no extra features (except for some footage of an opening-night gala).

Many negative reviews here have commented on the inaccessibilities of a story set more than a century ago in a remote culture, or the inappropriate relationship between Gaston, ostensibly in his mid-30s, and the 15-year-old (in the Colette novella, anyway) Gigi. I suppose everything has to be about us, our times, and our mores?

"Thank heaven," not every story is about our own lives, our own cultures, or our own times. Life would be unbearably dull if all the world's stories were updated to add that focus-group-tested current of feminism, or attitudes about relations between the sexes that were carefully shopped by marketing flunkies to reflect prevailing American tastes. This story is a macro-focus view of a unique sliver of history and culture that, had it not been for Colette's sketch of it, none of us here would have any experience of, whatsoever. It might flatter us to have Caron, in her 1900 couture, suddenly rattle off pert Rory Gilmore-isms about dating and equality, but is that why we read and watch movies? To be flattered? To have ourselves and our beliefs reflected back at us, without exception? I'd hope not!!

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Romantic Comedy Three-Pack (There's Something About Mary / What Happens in Vegas / The Girl Next Do

Romantic Comedy Three-PackI bought this pack because it was a good deal for the 3-Pack blu-ray set. I loved There's Something About Mary. What Happens in Vegas/The Girl Next Door were really funny too...

I bought mainly for my blu-ray collection and this was a great deal.

This three movie are great and very funny, I recommend it for all people to see it, Cameron Dias is a great actress and I love her because she is beautiful! just see the movies and enjoy them. three thumbs up!!!

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Zazie dans le metro (The Criterion Collection) (1960)

Zazie dans le metroA girl is left with her uncle for the weekend (or a day, I think) while Mom runs off with her new boyfriend. She has one wish while she's there...to ride the Metro train...which, naturally, is on strike.

Wackiness ensues.

Shot largely as if it were a slapstick silent film, this is one wacky, odd romp around Paris. The Eiffel tower scenes are surely one-of-a-kind and worth the price of admission alone.

You won't really find yourself laughing a lot so much as just marveling at the spectacle of the thing.

First saw Zazie years ago and remembered I'd loved it. So I was thrilled to see that it was coming out in a Criterion release. The film was as crazy and colorful as I remember it. All potty-mouthed Zazie wants to do while visiting her uncle in Paris is to ride the metro. Unfortunately it's closed due to a worker's strike. Still there are plenty of other adventures to be had and lots of colorful characters to have them with. Zazie is a real gem and I highly recommend it. The Criterion DVD is what one expects: outstanding and with great extras.

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You often hear about novels that are not possible for a film adaptation. And for author Raymond Queneau's successful 1959 novel "Zazie dans le métro", who can portray a novel about a young girl who knows way too much for her age and is so inquisitive, but yet her perspective of the absurdity of adult Parisians?

Never to back down from a challenge, French filmmaker Louise Malle known for his popular films "The Lovers" and "Elevators to the Gallows" took on a film adaptation of "Zazie dans le métro". A film which Malle would say it was a tribute to Charlie Chaplin and also a film that would lead to film experimentation with special effects and colorization.

And as for the film, the film would receive critical acclaim but also controversy as many parents thought the film was targeted towards children, and took their children to the film to find out quickly when the young 10-year-old Zazie speaks that the film is not for children.

For Louis Malle fans, many have wanted more of his films to be released by the Criterion Collection and sure enough, "Zazie dans le métro" and "Black Moon" will be released on Blu-ray and DVD in June 2011.

"Zazie dans le métro" is a film that is not easy to describe, because it is a film that has to be experienced visually. Words to describe the film would not serve the film any justice because the enjoyment goes bar beyond the written words but what takes place on screen.

VIDEO:

"Zazie dans le métro The Criterion Collection #570' is presented in 1:33:1 aspect ratio. It's important to note that the film was a big experimentation with color and filmmaking, especially special effects at that time. The film uses quite a bit of experimentation of color, unusual cuts, sped up film, etc. But for the most part, considering the film is 50-years-old, it looks great on Blu-ray!

I was actually pleased with the amount of detail, especially since this film has a vast color palette and a lot of outdoor scenes, colors are vibrant, skin tones are natural and brighter colors, especially the reds, really pop! I didn't notice any banding or edge enhancement. Nor did I see any artifacts. I did notice at some points of film damage but they were quite brief and limited to a certain area for a few seconds. But "Zazie dans le métro" looks great on Blu-ray!

According to the Criterion Collection, this new HD digital transfer was created on a Spirit Datacine from a 35 mm interpositive, thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system, while Digital Vision's DVNR system was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

"Zazie dans le métro The Criterion Collection #570' is presented in monaural French with English subtitles. Dialogue is clear and I detected no hissing, clicks or any audio problems at all.

According to the Criterion Collection, the monaural soundtrack was remastered at 24-bit from the positive print soundtrack. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

SPECIAL FEATURES:

"Zazie dans le métro The Criterion Collection #570' on Blu-ray comes with the following special features:

Louis Malle (4:54) Featuring an excerpt from JT 19h15 from October 26, 1960. Malle is interviewed by Mario Beunat and talks about taking the challenge of making the film, how the film was dedicated to Charlie Chaplilna nd screened for him and his perspective of the movie.

Catherine Demongeot (7:35) An excerpt from "Cinq Colonnes Ala", journalists Jean-Noel Ray and Pierre Dumaget interview Catherine and her parents (March 4, 1960).

Raymond Queneau Featuring two interviews with the original author of Raymone Queneau for "Zazie dans le métro". "Lectures Por Tous" (Feb. 4, 1959; 9:20) and "En Francais Dans Le Texte" (March 24, 1961; 5:52).

Le Paris de Zazie (14:57) A short documentary shot in 2000 by "Zazie dans le métro" assistant director Philipe Collin who revisits the locations of where the film was shot and talks about various scenes and how they were shot, the artistic look of the film, the characters and more.

Jean-Paul Rappeneau (10:00) Writer/collaborator Jean-Paul Rappeneau talks about working with Louis Malle on"Zazie dans le métro".

William Klein (13:06) An audio interview featuring Louis Malle's artistic consultant William Klein talks about working on "Zazie dans le métro".

Original Theatrical Trailer (2:15)

EXTRAS:

"Zazie dans le métro The Criterion Collection #570' comes with a 20-page booklet featuring the following essay "Girl Trouble" by Ginette Vincendeau.

JUDGMENT CALL:

"Zazie dans le métro" is one of those films that one can't describe because it was meant to be seen visually.

One can be described is that this 1960 film was surprising in many levels because it featured a young girl with a mouth that would surprise people because she talks about sexuality, dirty men, homosexuality so openly and doesn't relent. Like many children who are inquisitive and keep asking questions, in "Zazie dans le métro", the questions are blunt. "Are you a homosexual?", "Are you sexually repressed?", "Are you a dirty man that goes after young girls?", etc.

Zazie is a product of her upbringing and its a statement of Paris culture back then that filmmaker Louis Malle wanted to tackle, that is a comedy that showcases the absurdity and chaotic nature of Parisians at the time.

And while Zazie and the absurdity of the adult characters is a big part of the story that can be described, its what takes place in the film that can not.

In one scene, when Zazie is trying to hide and escape from a man who spends his money buying her mussels, fries and blue jeans, the chase scene resembles one of those quick-paced hilarious Benny Hill skits. Characters looking like they are running quickly while the camera focuses on their face, but then the camera goes through several jump cuts, speeds up quickly, reverts back to normal.

In some scenes, there is a little trickery as one conversation between two men, Malle quickly changes one scene with the man in black face for a quick second and very few frames.

And while this style is funny at first, it does become a little tiring but it's all about how Malle manages to make things darker as the film progresses, that becomes quite intriguing.

Also, the look and feel of the film is rather interesting as well. In the special features, you learn that advertising screens were utilized to block out things that Malle didn't want to be shown in the film and so while Zazie is running or walking, you will notice these artistic walls behind her.

Possibly one of the most jarring shots and something that you will never ever see in a film again, is the shot of actor Philippe Noiret (Uncle Gabriel) doing these close to the edge, about to fall off high above the Eiffel Tower. In fact, one scene shows Noiret on top of an elevator rising up on the tower. It's amazing how these shots were done, especially the freedom that was given to the filmmakers to shoot those scenes but anyone who is acrophobic, even for me, those shots made feel a bit uneasy because those playful shots made you feel that he could fall off the Eiffel Tower any minute.

But the efficacy of "Zazie dans le métro" lies within its structure and how different it was from the Nouvelle Vague films at that time. Speaking of the French New Wave, even Zazie has some words to say about it during the film.

While I have not read the novel "Zazie dans le métro", I do know that author Raymond Queneau was quite appreciative of the film adaptation and even Charlie Chaplin who Malle has dedicated the film to, watched the film in French no subtitles and enjoyed it.

The Blu-ray release of "Zazie dans le métro" features a good number of special features but probably the one that I found to be quite intriguing was Phillipe Collin revisiting the locations in 2005 and talking about how the shots were done. But also to see the interview with young Catherine Demongeut from 1960 as the journalists wonder if she is anything like her character and grilling her parents on playing such a part. I found it pretty cool to see the parents calm and collected, especially Catherine while the journalists were really trying to make them frustrated or angry.

While watching "Zazie dans le métro", I often wondered how both Louis Malle even Raymond Queneau would feel about how society is today, especially for Malle who wanted to take on the absurdity of adults in Paris at the time. And as for Zazie, it made me wonder how much worse children are today as the words coming out of Zazie's mouth was considered dirty, once again, if only Malle, Queneau and society then would see how children, a product of the way they were raised, are learning some things a bit too quickly than they should have at a younger age.

But put yourself in the viewers shoes back in 1960 and you can see how this film could be seen as artistic, controversial, hilarious, enjoyable, absurd, chaotic, you name it... there are many words to describe this film and for me, I found it to be entertaining, fun and one of those films where a filmmaker does something different and unique and comedic but yet is able to make a statement on society.

"Zazie dans le métro" is a film that many Louis Malle fans have been waiting for and now it's here! This Blu-ray release is recommended!

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I'm not quite sure whether I like this film or not. I either loved it or I hated it ... it says something about the power of the film that I'm not quite sure how I feel about it.

What starts as a very realistic look at Paris through the eyes of a 10-year-old girl gradually slips into impressionism and finally into surrealism (the final fight in the restaurant). The more I think about it, I think Malle's absurdities work very well during the various chase sequences, but go a bit over the top during the restaurant fight.

What also struck me was the sexual ambiguity of the characters. Zazie's uncle is, of course, a professional female impersonator. But watch her aunt, a beautiful woman who starts out as a very domesticed housewife and gradually becomes more and more masculine, until at the end, she looks like one of the motorcycle thugs pursuing Orpheus. And Zazie herself begins as a charming young girl, but shocks you when she accuses a man trying to prevent her from running away of being a sexual preditor. Later, as she descends the Eiffel Tower, the makes sexual overtures to a much older man.

As I say, a strange film. Funny. Thought provoking and disorienting. But entertaining ...

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This was sent to a friend whom I assume enjoyed it. I know nothing about this movie myself, but the friend was happy with it, I believe, since i hadn't heard anything to the contrary.

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Stranger Than Fiction (2006)

Stranger Than FictionThe idea of "Stranger Than Fiction" appealed to me the moment I first heard of it. Harold Crick, played by Will Ferrell, wakes up one day and hears a voice. An omniscient narrator is relating his life with precision and no one can hear that voice but himself. It turns out that the voice is Emma Thompson, playing a famed author who is actually writing a novel about a character named Harold Crick. And it's the same Harold Crick. What is being put down in fiction is also concurrently happening in real life. It's a tricky concept, one that I felt might be impossible to pull off effectively. Well, not only does "Stranger Than Fiction" pull it off--it succeeds grandly as a surprisingly thoughtful, amusing, and moving contemplation of life. For Harold must immediately confront his mortality when the narrator informs him/us that he will soon die!

The complicated narrative of the film is pulled off brilliantly. The overlapping structure necessary to maintain the momentum and cohesion of the film must be attributed to a clever, intricate screenplay. Literate, witty, and real--it's a real treat. Lots of interesting effects help to pull the two worlds together making even the most mundane moments of Harold's life visually compelling. The movie's construction is fascinating and enjoyable.

Will Ferrell reins in his typical "overgrown kid" persona, and plays Harold as a real guy. It's refreshing and while I've never considered him a leading man type--his tentative romance with Maggie Gyllenhaal (while a bit of a stretch) is played very credibly and sweetly. Dustin Hoffman, as a literature professor helping Harold discover what book he's in, is having a great time. But it's Emma Thompson that stole my heart. As the author, she is a complete neurotic mess--but as she begins to realize what is happening, something in her transforms. Her character provides much of the film's insight and it's most powerfully dramatic acting. It's a deft balancing act, and as usual--she hit all the right marks.

After a near perfect movie, we have to bring both stories of Harold to an end. The movie turns into a poignant examination of sacrifice. If Thompson kills Harold in her novel, it will be recognized as a great piece of literature. If she lets him live, the novel will be just another routine bit of entertainment. This art versus commercialism angle is absolutely enthralling, and also surprising since it is raised so late in the film. There are moments of real power as everyone faces important life decisions--but these aren't false "lessons," they are genuine emotion that the film has subtly earned.

Ultimately, the ending is exactly what the film wants it to be. While I didn't find it the most satisfying choice--it is perfect for the movie because by this point the film itself is mirroring the novel within the film. It's a clever bit of trickery and very unusual. I admired "Stranger Than Fiction" very much and would give it 4 1/2 stars as an original and intelligent treat. KGHarris, 11/06.

A disclaimer: I've got a high tolerance for quirky and this film certainly qualifies as such. I loved it, but I love quirky films a lot more than the mainstream moviegoer.

I went to see this movie on a whim and so I didn't quite know what I was getting into. But a few minutes into it I just KNEW that it was going to be one of my favorites. And, indeed, it is one of the best films I've seen in the theater in a while. I smiled throughout the whole of it.

The story is new. The characters are engaging. And the plot is so very random that it just works.

Now I'm one of those people who ALWAYS questions the logistics of say *time travel* and/or *magic doorways* but this film was so very charming that I wasn't bothered by how incredibly non-sensical it seems: an author *creates* Will Ferrell's character and can decide if he lives or dies with her *typewriter*?

Oy.

The fact of the matter is, it's a fairy tale of sorts for a new and modern society. It's filmed in such an aesthetically astute manner. The actors are at their very best and most endearing. And the writing is wholly engaging.

It's NOT your typical Will Ferrell movie and if you go into it expecting fart jokes and prat falls, you'll be disappointed. But if you go into it with an open mind and a receptive heart, I imagine you'll be quite touched by the ideas it's trying to negotiate in its sweet and clumsy way.

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I loved this movie. It is funny and odd, but it has a lot of heart to it. The writing is so good that my friends and I thought at first that it must be adapted from a larger work, such as a book. The characters are that well crafted and the story that unique. These are not things most comedies bother with at present. Now, I'm calling this a comedy, but it will pull on your emotions a bit. Its all worth it though. The acting is great, which is not unexpected given the cast. If you love movies and are looking for something kind of different and original this is a good way to go. A really fun film to watch.

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"Stranger than Fiction" opened the 42nd Annual Chicago International Film Festival. Dustin Hoffman, who plays one of the central characters in the film, was presented with the festival's Career Achievement Award and Will Ferrell participated in the ceremony. This highly clever literary/cinematic dramady is about a writer of tragedy novels who struggles with how to end her latest. As Kay Eiffel, played by Emma Thompson, imagines how to kill off her main character, her thoughts are in some way transmitted to a real man whose actual life is exactly the same as the character in the novel. Sound Trippy? Well it is; talk about being connected to your character! Will Ferrell plays Harold Crick, the main character. Harold consults with a therapist for help, unsure if he's going crazy hearing the voice of a woman literally narrate his life. Unconvinced of the therapist's diagnosis, he is referred to Dr. Jules Hilbert, played by Dustin Hoffman, for further analysis. As the novel and Harold's life unfolds, Harold finds himself in a literally literary struggle to have a life by saving his life.

This film works on so many levels. First, it is a skillful display of the writing process and the importance of knowing your character literally getting in his head. The film also displays the often talked about attachment that writers can have to their characters even though that attachment could cloud the creative process necessary to finish the novel. Skillful writers are able to create characters that are so real and believable that killing them is nearly impossible. Is it the characters that drive a good story or are they subordinate to the story that they serve?

Stranger than Fiction is smart, funny, and thought provoking; I hope that this artsy release enjoys a wide viewing audience. There's as much in it for literary types and there is for film lovers and if you're both, well you're in for an extra special treat. I can usually predict the likelihood of Oscar nominations and awards for films in the festival with a high degree of accuracy. While "Stranger than Fiction doesn't" have "Oscar written all over it", it should get a nod in the original screen play category. I'm highly recommending this one. Enjoy!

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If somebody really had to die in order for the world to have HAMLET, would it be worth it? In STRANGER THAN FICTION, an author realizes to her horror that her leading character is a real man leading a real life, and if she kills off his character in her book, he will really die. If he dies, the book will be a masterpiece. If she changes the ending so that he lives, the book will only be "okay". Which would you choose?

I was surprised by STRANGER THAN FICTION. I only knew Will Ferrell from the over-the-top performances that are his trademark; I was delighted that he is also capable of a toned-down, thoughtful performance. Emma Thompson is always great--her reaction when she discovers that her character is real is exactly right. Dustin Hoffman is excellent as the nice-guy professor with an edge. He really believes that the book is worth the life of the man standing right in front of him.

STRANGER THAN FICTION is rapidly becoming one of my favorite movies. I bought it two weeks ago and have watched it three times. Each time I notice more and more of the subtle touches the director brought to the film. I highly recommend it to anybody who prefers a little thought with their comedy.

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Jay and Silent Bob Strike Back (2001)

Jay and Silent Bob Strike BackThis movie was a blast, but you know that already. Read on for the

details of this fully-loaded DVD edition:

Feature Commentary Track

w/ Kevin Smith, Scott Mosier and Jason Mewes; Deleted Scenes

with Intros by Kevin Smith and members of the View Askew family; -

Jay & Silent Bob's Secret Stash w/Intros; Gag Reel w/Intro;

Internet Trailers w/Intro; TV Spots; Still

Galleries; Storyboards; Behind The Scenes Featurette;

"Morris Day and The Time Learnin' the Moves"

Featurette;

Afroman "Because I Got High" video; -

Stroke 9 "Kick Some Ass" video; Comedy Central's Reel

Comedy special; Cast and Crew Filmographies; Guide to

Morris Day and The Time; Some DVD-ROM goodies Widescreen

(2.35:1) Enhanced for 16:9 Dolby Digital 5.1 Surround Sound -

Special DVD Mix French Language Track; Spanish Subtitles

I've always heard that if you look beneath the grimy setup you'll see the beautiful interior. Well that saying is not dissimilar to the horrors of the summer movie season 2001! Some of the most anticipated flicks of the summer are huge dissappointments (ie. Scary Movie 2) and some of the best moves, the general audience are too ignorant to set foot in (ie Hedwig and the Angry Inch). Well thank god we can still depend on the rapier wit of Kevin Smith. the King of Curse Words and verbal fluency. Has given us the most entertaining installment in the View Askewniverse. Well I know it ain't saying much but "Jay and Silent Bob Strike Back" is the funniest film of the summer!!

This film has all the things that make a screwball comedy perfect. Wacky Characters, Funny jokes both verbal and physical, Good storyline, great comic timing, and of course, a monkey.

Many people were afraid that Jay and Silent Bob would be unable to handle a movie on their own. Well not only did they succeed they went through the roof!!! Kevin Smith kept the jokes piled, one on top of the other and each one different and original. Though I loathe bodily function jokes, Smith managed to make them appropriate and not over use them, unlike the comically declined Wayans Brothers, who seem to think making the characters fart is like printing money. Smith on ther other hand keeps you on your toes awaiting what's gonna happen next.

"Is Jay Gonna Do What I think He's Gonna Do?" "If Silent Bob Speaks What will he say?"

Questions like that were popping in my brain because of the aggressive spontaneity of the comedy. But another thing I loved was all our old friends from the View Askewniverse (Clerks, Mallrats, Chasing Amy and one omnipotent female from Dogma.) Dante, Randal, Brodie, Holden, Banky, and even Willam the idiot Man-child. All performed once again be the same View Askew alumni and all played to perfection. And to go with them there's also stellar performances by many new faces, like Shannen Elizabeth as Jay's love-intrest Justice and also Eliza Dushku, Ali Larter, and Jen Schwalbach (Mrs. Kevin Smith) as the evil villainesses. And including great cameos by George Carlin, Marc Blucas, Seann William Scott, Jason Biggs, James Van Der Beek And God knows how many more. (She does know)

I think Every self respecting View askew fan Is required by cinematic Law to get up off their butts and see this flick. And all those poor schmucks who think The Wayans Brothers actually care about originality, NEED to watch this movie or I'll Beat the ever lovin' tar outta them.

Now I can say there were 5 good movies this summer instead of 4.

And Oh Yeah, To Jay and Silent Bob: Snooch to the Nooch and Good Bye My friends

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a lot of cursing if your sensetive to that but the rest is so fuuny (especially the scooby doo part!) best line

Jay (rapping)30 bucks little man, put that sh** in my hand!

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Who'd have anticipated it? I grew up never needing to be told "just say no to drugs". I always focused on serious subjects when contemplating what movies I'd make given a chance. And now I find myself in a world where the most innocent cinematic diversion are often silly farces about potheads. The riotous hoot "Jay and Silent Bob Strike Back" is a prime example. I wasn't sure about it all the way through. Ali Larter was recently one of my favorite actresses. At least she doesn't take such a disastrous fall herein as Kirsten Dunst did in "The Virgin Suicides". Refreshingly, Ali's character Chrissie admits to being a "bad girl cliche". She gave me pause by repreating a frequent movie assertion (hopefully strictly an urban legend) about what girls don't do. But she gives a new twist, belying the claim at a point where she nearly dooms herself and co-consrirators thereby. Hence one could make a rhyme about her role: "Ali Larter plays the ......" All in all, Jay and Silent Bob Strike Back" is one of the most surprising bits of comic relief I've seen lately.

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First and most importantly, you have to be very well prepared to watch "Jay and Silent Bob Strike Back" if you want to have any hope of enjoying it to its full potential (assume, for the sake of argument, that this is both possible and desirable). Not only do you need to watch all of writer-director Kevin Smith's earlier films (to wit, "Clerks," "Mallrats," "Chasing Amy" and "Dogma"), but you also need to have seen "American Pie," watched enough "Dawson's Creek" to know why Dawson should drown Pacey in the creek, and at least recognize every film Ben Affleck and Matt Damon have made in the past decade (know the title and a one line synopsis of what the film is about).

You need to do this for two reasons. First, it is the only way you can get all of the in-jokes in this film, which is heavily self-referential vis-a-vis the Smith oeuvre. In fact, you are better off using one hand to tick off the names of all the people from Smith's earlier films who are NOT in this movie (Stan "the Man" Lee immediately springs to mind). Second, you will need all this knowledge to be able to explain to the person next to you why Ben Affleck sometimes is playing himself, sometimes is playing somebody else (Holden McNeill from "Chasing Amy"), and sometimes is playing himself playing somebody else (Chuckie from "Good Will Hunting II: Hunting Season").

"Jay and Silent Bob Strike Back" is another one of those films where two guys go off to Hollywood to stop tinsel town from ruining their good reputations with a film. Jay (Jason Mewes) and Silent Bob (Kevin Smith) have always played small but pivotal roles in Smith's films (e.g., the "Chasing Amy" speech in "Chasing Amy"), but this time they not only get to be ABOVE the title of the film, they get to be IN the title of the film. Now, I will readily admit that I have always been one of those who could take Jay and Silent Bob in small doses, which probably explains why my favorite bits in this film usually involve other characters. However, I will admit enjoying Jay's attempt to find a nonderogatory term for women.

I have the feeling that this film is the swan song for Jay and Silent Bob. I mean, now that they have achieved titular glory, how can they go back to being the two man Greek chorus of Smith's prolonged "New Jersey Trilogy." Besides, with the appearance of virtually everyone who every appeared in a View Askew production (always good to see Joey Lauren Adams whether she is playing Alyssa Jones or not), you get the feeling the entire film is setting up a "Revenge of the Jedi" curtain call. Maybe Kevin Smith is turning a giant corner and about to start a new chapter in his life. Hey, it could happen. But I really get the feeling we have seen the last of Banky, Brody and the rest of the boys. Besides, Silent Bob speaks TWICE in this one, surely one of the signs that the end of days is nigh.

Like most View Askew productions, "Jay and Silent Bob Strike Back" is rated R for nonstop crude and sexual humor, pervasive strong language, and drug content (Actually, I did not know that the MPAA could use a word like "nonstop" in its description of a film, but certainly the term applies to everything on their little list here). So just remember to go back over Smith's earlier films before you screen this one and save yourself a lot of headaches and avoid watching it with anyone who is going to demand you justify your enjoyment every other expletive out of Jay's mouth.

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Caddyshack (2010)

CaddyshackA welcome HD upgrade to the classic comedy. I don't think I need to go into the plot for Caddyshack and as such I'll review the Blu-ray disc itself. The new Blu-ray has a good HD transfer, it's not the cleanest print but I don't think it's going to get any better. The sound has also been remastered to a DTS Master Audio 5.1 lossless track which is nice and expands the sound stage from the previous mono only offerings. Although strangely the original mono track is missing.

The extras are included are the Theatrical Trailer (480i) and "Caddyshack: The 19th Hole" (480i) is ported over from the previous 20th Anniversary DVD. But the real highlight is "Bio Caddyshack: The Inside Story" (HD 1080i), this new documentary is very informative and goes for over 80mins.

Overall an HD excellent upgrade over the older 20th Anniversary DVD.

Hey, if you're reading this, you probably already know how hilarious Caddyshack is. I've gotta say I was disappointed when I purchased the 20th Anniversary DVD and it was the same thing as the 19th Anniversary VHS! I've never had the pleasure of seeing the TV version of this film, which from what I've read on other posts, has a lot of deleted footage. Why wasn't this footage included in the 20th DVD? In the trailer alone there's a bunch of scenes that aren't included in the film. How about including them? The bottom line is, while the film is great, we're starving for ALL the extra footage! I feel like I'm Spaulding and Warner Brothers is Judge Smails. "I want a hamburger, no...a cheeseburger, I want a hot dog, I want potato chips" -"You'll get nothing and like it!" Give us more!

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Y'know, I get rather disgusted when I read reviews of movies like Caddyshack which describe it as "no-brainer" and "low-brow" (see the Amazon.com review, for example). The fact is that many so-called critics really don't have a clue when it comes to comedy movies of this type. Disrespect and irreverence for the establishment has been a staple of comedy movies for years. Are the only good comedies the light-hearted drivel that the likes of Grant and Hepburn made in the 30's? Of course not!

Caddyshack features fine performances from Bill Murray, Rodney Dangerfield, Chevy Chase, Ted Knight, and of course, the gopher. This motion picture is replete with sight gags and one-liners that to this day are repeated by afficianados of clever satire.

You don't have to be a lowbrow to like this movie, and just because you think it's funny doesn't mean there's something wrong with you. Caddyshack and Animal House withstand the test of time as two of the funniest comedies ever made...and that stands for a lot! The next time you find someone who thinks you're a reprobate for liking this movie, get Carl the Greenskeeper to cut his hamstring...he'll never play golf again!

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This is one of the funniest movies ever, and with a great soundtrack with the dancing gopher! It's too bad that Hollywood doesn't have the courage to make politically incorrect comedies like this and Blazing Saddles anymore. Seems many people are afraid of "the message" this might send to the children. Well, "Caddyshack" didn't make me a boorish and dim witted misogynist, and "Blazing Saddles" didn't make me a racist. Both movies do, however, let me laugh at these people and help me see how stupid the behavior really is. Have a laugh and stop taking yourself so seriously.

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I'm not going to review the movie, as everyone reading should have already seen it considering it's more than 30 years old. I'm simply commenting on the Blu-Ray version and the picture and sound quality. Both picture and sound is excellent. I can't believe that they can make a movie that looks so grainy on DVD look so beautiful on Blu-Ray DVD. The color is very good, without being overdone, and the remastered sound is wonderful on my 7.1 surround sound stereo. Great buy and well worth $15-$20 if you're a fan of the movie.

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Stuck (2007)

StuckSTUCK is one of those films that creeps up on you, teases you into thinking a comedy is in the making, then slowly reveals itself as what seems to be an exposé of our current manner of getting through life, of competing in the workplace, and of self absorption to the point of endangering those around us. The fact that the film is based on a true story as adapted by director Stuart Gordon and transformed into a bitingly satirical screenplay by John Strysik increases the impact of this well-crafted little low budget film. Watch it once for the gritty content of the story, then watch it again to appreciate all of the very dark (and very pointed!) humor in what at first appears to be a grisly tale.

Brandi Boski (Mena Suvari) works as a Nurse's Aid in a nursing home of senile elderly patients, giving some of the finest care for those entrusted to her talents. Brandi's compassionate work is noted by the supervisor Peterson (Carolyn Purdy-Gordon) who manages to trick Brandi into an even heavier work schedule by suggesting a raise in position. Excited about her possible promotion Brandi and her working partner Tanya (Rukiya Bernard) celebrate that evening with Brandi's boyfriend/drug supplier Rashid (Russell Hornsby) who gives Brandi a pill of Ecstasy and the mixture of the drug with the alcohol creates a mess of Brandi's mind.

The parallel story involves one jobless Thomas Bardo (Stephen Rea) who lives in a tenement, is evicted because of past due rent, and becomes a street person, treated with cold (but satirical) mechanical responses at the Department of Unemployment. Left to sleep in the park he is befriended by another homeless person, given a shopping cart, and makes his way toward a midnight mission.

Brandi cum altered thought processes drives home, hits Thomas who comes sailing through her windshield badly injured, and out of fear and distress Brandi merely takes the 'stuck' Thomas home to park him in her garage, knowing that her boyfriend Rashid will help her. Thomas is conscious, unable to climb out of the glass of the crushed windshield and begs for help. How the stranded and injured Thomas is treated by the desperate but self-centered Brandi, by the frightened but macho Rashid, and by neighbors who fear intervention because of reporting an incident that would encourage police intervention and threaten their deportation as illegal immigrants results in an ending that shows how 'justice' can prevail!

The cast is first rate especially Rea, Suvari, Hornsby and Bernard. The direction is tight and maintains credible characters in incredible situations and holds the audience attention every moment. This is a fine example of how a low budget film, in the hands of pros, can be more successful that the big budget, less thoughtful movies that crowd our marquis. Grady Harp, November 08

If you'd like to be disgusted, search for the name Chante Mallard. What you'll find is the story of a drug/alcohol intoxicated woman, who hit a man named Gregory Biggs with her car while she was driving home. After the collision she completed her trip, parked in the garage, and proceeded to callously let Biggs bleed-out (officials believe he would have lived if given medical help) while she had sex with her boyfriend and no doubt did whatever else her morally decayed black heart desired.

Since no audience would appreciate simply seeing a man slowly bleed to death while stuck in a car windshield, the makers of this movie took some liberties with the truth. I'm ecstatic they did.

Thomas Bardo (Stephen Rea) is down on his luck. Evicted, jobless, possession-less, he doesn't even have a place to sleep. When police wake him from slumber on a park bench, he's forced to make his way toward a mission.

Meanwhile, Brandi Boski (Mena Suvari miscast because Mallard is an obese black woman) is a soulless, selfish drug-abuser who is getting trashed and partying the night way. (Suvari really manages to pick out character roles that make me despise her) Many other reviewers may view her as "balanced", but since she's a drug-using drunk driver, and is a white girl with corn-rows which never looks good I'm going to go ahead and say that she's incredibly unbalanced and vile.

As if it were a surprise, she's blitzed out of her mind (thanks to X and alcohol), effing with her cell phone, swerving all over, and she blasts Bardo, mangling his legs and lodging him in the windshield. Drunk or not, people with a shred of humanity stop there and help the man. But not this intellectually, morally, and spiritually defective sociopath. Instead, she goes home and has the least appealing non-rape full-frontal nudity, sex scene in cinema history.

Ahh...the resolution. In real life, as I said before, it's boring. This movie, however, provides the resolution that Ted Kennedy sees in his nightmares. Brilliant. I won't ruin it, but the tight directing and believable acting accentuates Bardo's rage against the dying of the light.

Overall, I recommend this for people with mild tempers and no heart conditions.

COMMENTARY

Knowing the case beforehand, I watched the majority with a snarled lip. Such social apathy really brings out my misanthropy. This single instance serves as a harsh critical analysis representative of the insidious cultural decay that has wreaked havoc on the community, family, and morals of our society. It's an overtly sexual, me-first MTV-generation where every child is a precious little snowflake, nobody has respect for family, elders, or authorities, and selfishness all but negates personal accountability. People like Mallard are deserving of a special place in hell, and the fact that there is no doubt at least one person with sympathy for her only reflects society's decay. It's sad that the movie ending isn't the real ending, and that vile scum like Mallard are allowed to live, let alone be given the possibility of parole. With any luck (crossing my fingers), karma will make the rest of her life a horror movie.

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The setup for Stuck seems pretty ridiculous, but it's actually based on a true story. After a night of partying, the young Brandi (Mena Suvari) commits a hit and run on a homeless man (Stephen Rea). Such a tragic mistake, and here's the horrible kicker--the guy is wedged tightly in the windshield of her car! Quite a crazy predicament, and Brandi is of course stricken with panic.

So what does she do? Drives home, drops some more ecstasy and has sex with her boyfriend. Just leaves the poor guy bleeding to death in her garage? Well, I suppose we all deal with stress in different ways.

I can appreciate the dark comedy of this story and realize it might be a statement about the current mindset that seems to be prevalent in our culture. People having a reckless pursuit of personal happiness along with a selfish disregard for responsibility. It also plays other stereotypes out to comical effect.

But the humor eventually goes from being subtle (a cop unaware of the car passing behind him with a bloody passenger on the hood?) to extremely silly (death by a ball point pen?) (ah geez). Oh well.

Overall, this was somewhat entertaining and original. This movie includes profanity, violence, drug use, and nudity. Written and directed by Stuart Gordon.

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So, this is what is life in America? Joking aside, this is a terrific look at the consequences of the "culture of success" permeating the United States. Which is in fact no success at all, but mostly submission to bosses, bureaucracy and money. It is the law of the jungle in "Stuck", but when Stephen Rea, a victim of downsizing, gets stuck in Mena Suvari's windshield he seems still incapable to understand that his society no longer functions, and waits for her to get help. That never comes. I don't see this film as a black comedy but as an indictment, a suspenseful look at the effects of a socially inept landscape in some individuals fighting to maintain their status in the ranks of the low class (they are... stuck!). More insight and this could have been masterful. As it is, it constitutes a very enjoyable action film.

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A relatively low budget but searching and fascinating film. Our 'heroine' is Brandi who is presented as an attractive and caring young woman who works in a nursing home, sensitively taking care of elderly and senile people many of whom can no longer control their bodily functions. Not surprisingly, her somewhat smarmy supervisor tells Brandi that she is 'under consideration' to become the supervisor of other nursing assistants.

Next scene, however, shows her in a rather seedy cub where she meets and passinately kisses a guy who looks like he's a pimp and drug pusher. High on alcohol and drugs, Brandi leaves the club only to cell phone her pimp-looking 'friend', inviting him to come over. Brandi is clearly not attentive to her driving and hits a newly-homeless man who becomes stuck halfway in her shattered windshield.

Rather than stop and call 911, the cops or both--she incredibly drives into her garage with the moaning man still stuck in her windshied. 'You should have watched where you were walking.' She complains to her helpless victim, and goes into her house to call her pimp-looking friend for help.

The rest of the movie you've just got to see. It turns out that cute little Brandi is just about as selfish and self-centered as a human being could possibly be. She allows herself to be seduced by her pimp-drug pusher with the suffering, probably dying, victim only a few feet away. Later she yells at the bloodied man impaled in her windshield, 'Why did you do this to me?' and hits him in the head with a 2 X 4.

This movie is a scathing indictment of the 'ME' generation. Obviously Brandi is an extreme example of a generational model, but sometimes extremes make the point better than averages. Brandi is a good nursing assistant because such an occupation meets her talents and advances her cause. Brandi, at the very same time, is ruthless and completely uncaring about anyone or anything that disrupts the flow of her life.

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