Showing posts with label best african american comedy movies. Show all posts
Showing posts with label best african american comedy movies. Show all posts

Kagemusha: The (The Criterion Collection) (1980)

Kagemusha: TheWow, what a movie experience! "Kagemusha (The Shadow Warrior)" is my favorite film from direct Akira Kurosawa, which is saying one heck of a lot when one considers "Rashomon", "Seven Samurai", and "Ran". I sat riveted to the television screen during the entire presentation. It is a story of a petty thief who, because he looks very much like the great Warlord Shingen, is given the chance to redeem himself and play the great Warlord's double. The heart of the film is the inner change and new found strength that progresses through the thief as he learns to become the Warlord. Awesome in its imagery, "Kagemusha" will mesmerize you and move you. Between 1 and 10, this powerful Kurosawa classic gets a 10. With his passing, along with Stanley Kubrick, the world has lost two great treasures.

KAGEMUSHA is the great 1980 drama involving a clan of 16th-Century Japanese warlords who want to deceive their enemies by having a common thief impersonate their murdered leader. This is a thought-provoking film about reality and illusion, as well as a visually inviting work filled with many striking scenes and compositions that Kurosawa films are known for. A memorable 6-minute opening shot of three identical-looking men, an elaborate dream sequence, and a harrowing montage of the aftermath of the final battle are among some of Kurosawa's finest moments in his long film career. Lead actor Tatsuya Nakadai was only in his 40s when he made KAGEMUSHA, playing a much older man and effectively conveying the guile and conflicted feelings of the imposter. Nakadai would also play the lead role in Kurosawa's next film, RAN, 5 years later, again unrecognizably playing a much older man.

Criterion has released the definitive video edition for KAGEMUSHA: a Region-1, 2-disc DVD of the uncut, 180-minute version of film. The anamorphic widescreen video quality is generally very good, except for some occasional graininess. The original Japanese audio is in Dolby Digital 4.0 surround (3 front, and 1 mono rear channels), although surround effects are infrequently used.

The best supplement on the disc is Stephen Prince's full-length audio commentary, which, due to the film's length, is able to elaborate on many topics in great details. Much of Prince's narration (I would say half of it) is more on the historical background of the film's period than the filmmaking and art of the film. He compares certain plot details against historical facts to show how Kurosawa uses his artistic license to convey his own ideas. Regarding the film itself, he emphasizes that this is an atypical Kurosawa film in that its hero tries to conform to the prevailing social order, unlike the nonconformist rebels and outcasts in past films such as SEVEN SAMURAI or YOJIMBO. On the film's artistry, he observantly points out that in a film about illusions, many of the key events in the plot are aptly NOT shown on screen. He also provides a great analysis on Kurosawa's most elaborate dream sequence.

Prince also does a good job of pointing out the differences between the shortened, 162-min international version and this 180-min uncut version. The longer version does not have "20 minutes of footage involving Kenshin Uesugi", as misreported at IMDB. The added scenes are, in fact, merely short, trimmed scenes and shots that are sprinkled all over the film. They add to the overall continuity, without altering anything in the main plot line. A majority of the added scenes are just too trivial to mention or to even notice. The few noteworthy ones include a much longer montage of the aftermath of the final battle, and a wholly added scene where the fake Shingen is being examined by the Jesuit priest physician -this scene also has the great Takashi Shimura's only appearance in the film, seen for the first time on this DVD by viewers outside of Japan.

For Kurosawa fans, the second best feature on the disc is perhaps the collection of impressionistic paintings by Kurosawa that were later used by him as storyboards for the film. In a 41-minute segment called "Image: Kurosawa's Continuity", hundreds of such paintings are shown, accompanied by sound clips from the films. In a still gallery section called "A Vision Realized", there are about 20 of the paintings placed side by side with still photos from the film. Many of these same paintings are also reprinted on the 45-page booklet that comes with this DVD.

The booklet also include 3 wonderful essays. As is usually the case, Criterion took the effort of including different writings that don't duplicate one another. One essay deals with the film itself, its art and its history. Another one is a Sight-and-Sound interview with Kurosawa. The third one covers Kurosawa himself biographically.

The disc also comes with a well-made 41-minute making-of documentary that is comprised of mostly interviews, stills, and clips from KAGEMUSHA. It's part of a 2003 series called "Akira Kurosawa: It is Wonderful to Create" (other episodes of this series are available on Criterion DVDs of IKIRU, THE LOWER DEPTHS, and STRAY DOG). In Japanese with optional English subtitles, it has interview segments of the cast and crew, including Kurosawa, Nakadai, Kota Yui (the child actor, who is now grown up), and others. They recount the challenges they faced, the artistic and technical choices they made, and a few amusing anecdotes.

Also included are trailers, a few whiskey commercials Kurosawa made on the set of KAGEMUSHA (other than the monetary reasons for which they were made, there is nothing special about these commercials), and a 20-minute interview segment with George Lucas and Francis Coppola, who praise Kurosawa's genius and lament that the film business often doesn't accommodate non-commercial films, even those by great directors.

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William Goldman, and American screenwriter, admonished aspiring screenwriters to begin scenes as close to end as possible. This is the sort of pacing that audiences--American audiences, at least--are accustomed to. Akira Kurosawa's "Kagemusha" is quite a different sort of movie than would ever be produced by the American or even the European mainstream movie industry.. Its scenes are long and talky, with periods of silence, and still cameras. The scenery, make-up, and mannerisms of the actors are exaggerated and often melodramatic, like you would find in formal Japanese cinema. Anyone seeing this movie expecting a medieval action flick along the lines of, say, "Exalibur," is very likely to be disappointed.

Which would be a shame. This is a magnificent movie. The photography and set design alone are breathtaking. This is more a historical piece than a character study--the characters remain, for the most part, two-dimensional. The focus remains tightly on the strategies and deceptions involved in keeping together the Shingen Takeda clan when their leader has died.

Scenes are often long and patiently filmed. In one quietly dramatic scene, we see two lines of cavalry come galloping over an incline from a great distance. The thunder of the racing horses builds, and the lines converge before us. In this single shot, not much else happens, but the composition and sound create a powerful effect. This movie is filled with subtle, magnificent moments like this.

The battle scenes--well, no one can beat Kurosawa here. The final scene depicts devestation and defeat with surprisingly little gore, yet is no less powerful (and, arguably, more) than, say, the graphically violent scenes in "Saving Private Ryan."

This is a must-see for any movie buff.

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It is about time to get this film's definitive version.

I am Amazon user in Japan and already own the original LD release and huge, expensive DVD boxes(cost me about $1,0000.....), and I can assure you that this Criterion version will be "THE BEST" one.

While Japanese version was created from same new Hi-Definition transfer, all features, three-hour movie and 45minits documentary, are bundled in dual-layered disc, which is too much to take in one, and the sound bit rate is 338kbps instead of 448kbps.

I expect, likewise "Red Beard","Hidden fortress" and "Ikiru", one disc will be devoted to the feature presentation and the extra to the other disc on Criterion version so that the quality can be maximized, and can be better than original Japanese release.

Still, among the Japanese original box set, I can say that the quality of "Sansiro Sugata" and two-disc set of "Seven Samurai" are great. I can't wait to see what the folks at Criterion will do to the rest of Kurosawa film releases.

P.S

For the first time, in documantary, Mr.Nakadai talks about taking over the title role from great Shintaro Katsu(Zatoich)who was originaly cast for Shingen and Kagemusha. Simply amazing.

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Now this is CINEMA!

The Criterion Collection DVD is filled with extras, from original Japanese documentaries and interviews of the departed Kurosawa (with English subtitles, if needed) and a booklet containing scene sketches

by the Master himself, which help you to understand why his movies are so poetic and his photography so masterful.

The movie is presented uncut and in its full splendor. The sound is just a conventional Stereo, which is probably the original soundtrack.

Pity, because if there had been a Surround division of the channels, some very spectacular battle scenes would have been more involving.

But perhaps, Akira Kurosawa wanted precisely that, to avoid the viewer to be distracted by the fluff, and rather concentrate on the story he is trying to tell.

Also known in the Western hemisphere as "The Shadow Warrior", this is truly an Epic picture with a very beautiful and touching storyline.

This picture is the true and natural tie to other Kurosawa movies like "Seven Samurai", "Yojimbo", "Sanjuro" and "The Hidden Fortress".

Unlike "Throne of Blood" (adaptation of Shakespeare's Macbeth) and "Ran" (adaptation of King Lear), both also masterpieces, "Kagemusha" is an original Japanese story and gives a thorough insight of Japan in the 17th Century.

I always tought that Criterion was just out to steal our hard-earned money just for its name, but after having now bought Akira Kurosawa's "Ran", the present "Kagemusha", as well as Luchino Visconti's "The Leopard", I will stick to Criterion like CA Glue.

Although pricey, it is through and through, money totally well-spent, for the quality in DVD rendition (very clean and sharp transfers), very acceptable sound, although some more work on this would be nicer, especially with more recent movies.

Criterion has really proven that quality has its own price and believe me, I have never seen "Kagemusha" and "Ran" the way I have watched them on my flatscreen LCD HD TV.

Going to the movies nowadays, with a technology like High Definition TVs, has totally become obsolete.

DVDs, when properly treated and produced can knock out any movie theater in the world.

Thank you Criterion for the work of love you put in remastering and transferring such classics on DVD, not to mention the tons of extras you include with them.

Highly recommended and well worth its price.

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Crazy on the Outside (Blu-ray + DVD + Digital Copy) (2010)

Crazy on the Outsidei wasn't sure if this film would be any good hadn't heard of it before but it was REALLY great fun! very enjoyable. many funny moments. very cute!

I'll call this 'The Little Movie That Could', as in make my family laugh uncontrollably. I think the funniest part of this film is Tim Allen's relationship with his 'off the wall' and hilarious sister, Sigourney Weaver. The two of them had us in stitches from the minute she picks him up from prison and takes him back to her house to put him on a sort of familial display.

The 'tall tales' she's spun compulsively while her brother was away in "France" trip them both up constantly (she actually cannot control herself!). This is what she starts out lying to their family members with and these hilarious lies never cease, they just get more and more absurd. She has his life all fashioned out everywhere and in every possible situation to 'save face' for him, accounting for the years being in prison. He has no idea ahead of time what excuse or reason she has concocted as he walks into these impossible scenarios right and left. It's all ludicrous and wildly funny.

Allen underplays all the overtly comical moments in this film. He seems to let all the rest of the cast shine and they do as the cheap shots are abounding. I hadn't even heard of this movie being released to theaters, let alone for a new rental on Amazon. I just wonder where this one was hiding out. You get what you pay for with this one and that's one funny time with a movie. We all loved it in our family.

There is an ensemble cast in this movie also. It was unexpected but extremely fun to view along with a witty script backing all these actors. Each and everyone shows up in their roles for good measure. A new go to movie that you will not regret if you appreciate the comedy of Tim Allen or are just beginning to.

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i love this movie it real funny i think every one should watch it trust me you wont go wrong

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This movie captured my attention. Very good plot and I wasn't offended by political correctness and unnecessary sexual content. Tim Allen showed he is still very funny. The cast was exceptional. The movie starts out sort of slow but builds up and I was absorbed toward the end.

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I expected more from Tim Allen. At least from the movies I've seen, he has put out some classic comedy. In this case, the movie has all the right stuff, but just doesn't come off that well.

The cast was great with Sigorney Weaver and Jeanne Tripplehorn, but every step was predictable. I was not surprised once. I don't mind that at all, but at least there should have been funnier gags to go along with it. In this case, it was at best mildly amusing. It didn't really have an "at worst," which in this case isn't really a compliment.

I can say I've wasted time on far worse movies.

If you are into very mild rom-coms, I'd recommend it. If you are expecting more, I'd look elsewhere.

What Just Happened? (2008)

What Just Happened?Director Barry Levinson hasn't had much luck lately after Bandits, which was a good though not anything very noteworthy comedy caper, he had two colossal duds in a rowEnvy and Man of the Yearwhich, despite an otherwise impressive host of films (i.e. Diner, Rainman, Sleepers, even Toys) could have threatened to throw him off track ala Rob Reiner. But in a way What Just Happened was relatable for Levinson, despite it being the stories of Art Linson, semi-famous producer who's had hits and misses throughout his career, and at the same time gave him some ample material for some sardonic, spot-on satire of the industry. It's not the Player, don't get me wrong, but it gives its winks and nods to the egomania, the preciousness of directors and stars, and how personal lives get caught up in the mix without getting too smug with us common moviegoers.

Probably the funniest, as sort of a near running gag, is the latest film that producer Ben (De Niro) is being test-screened for audiences; a rough cut of "Fiercly" starring Sean Penn (who, as with Bruce Willis, plays "Himself" in the film) disturbs the audience because, on top of a bleak end for its hero, a dog is killed on screen (this, for all the wrong reasons, is hysterical funny, if only for the deadpan reaction from DeNiro to the insanely negative response cards). The director, however, a British hipster (brilliantly played by Michael Wincott), doesn't take it lightly that he doesn't have final cut. This brings around what seems like a moment of levity midway... and then back to the start when it comes time for Cannes. On top of this is Willis's 'plot-line' involving a beard he won't shave off. It's almost like a slight reprisal of his part in Four Rooms, only put to a much bigger, aggrandizing maximum. Both of these, much like seeing certain characters in a Christopher Guest movie, elicit laughs anytime they're on screen.

And the rest of the movie is... still very good. Aside from some scenes where Levinson decides to rush things along via the speedy transitions, he provides a style that suits the feel of the material, of Ben trying to balance his personal struggles (an ex-wife he can't totally let go of, and his rebellious teen daughter with a secret) with the eternal BS of getting work done in an industry concerned, a lot more often than not, with the final dollar over artistic integrity. It's not quite reality TV, but it has that unpredictable, on-the-fly hand-held feeling all the same, which is a method much more effective used here than in Man of the Year. And De Niro is also surprisingly good (maybe not a surprise to some, but considering some of his hit-or-miss turns in recent fare), as he doesn't lay too low-key in the part. One can probably see De Niro having studied producers not just Linson himself but othersfor long stretches to get the right steps for each deliberate step in ego-maniacal Hollywood.

So sit back, relax, and enjoy some near classic self-conscious satire on an industry that deserves anything those in it can dish back out.

Since most audiences are not part of the Hollywood system, it's difficult to say how effective "What Just Happened" really is. While it's generally entertaining as a brooding comedy, director Barry Levinson and writer Art Linson (who adapted his own novel) have made film that seems less like a satire and more like a commentary, painting a picture so unflattering that it's likely to frighten aspiring filmmakers. Those of us not in the film industry--myself included--essentially have to take their word for it, and I find that a little problematic. Still, I was intrigued by the story, despite the fact that it meandered a little too much. I also appreciated the film's sense of humor, with industry references that are nicely balanced between the obvious and the subtle. Finally, I was fascinated by Levinson's willingness to poke fun at the very system he's relied on for many years; he, of course, knows more about it than I do, meaning I have no reason to doubt his methods.

The plot is basically a series of interconnecting subplots, each revolving around a fading Hollywood producer named Ben (Robert De Niro), who's saddled with troubled film projects and a chaotic personal life. One of the subplots begins with Ben at a preview screening for a Sean Penn film called "Fiercely." It doesn't go very well; not only is the film too long, it also ends with a dog being shot in the head. The moody British director, Jeremy Brunell (Michael Wincott), defends his decision to include that final scene, claiming that the dog's death is artistic and appropriate given the context of the story. A studio chief working for Ben, Lou Tarnow (Catherine Keener), insists that the ending be changed: "I've lost twenty-five million before," she muses, "and I'll lose twenty-five million again. But if you change the ending, I'll probably lose ten to fifteen million less." Ben goes along with it, knowing that a box office bomb will push him that much closer to the end of his career. Brunell's reaction to this is natural, if a little melodramatic. It will ultimately take a boatload of prescription pills and a break from sobriety for him to even consider reediting "Fiercely."

In another subplot, Ben is set to produce a new film starring Bruce Willis. But there's a problem: Willis has grown a beard, and he's put on some weight. He no longer looks like a leading man. This puts a tremendous amount of pressure on Ben, who knows that the picture will be shut down if Willis doesn't get back in shape. This in turn puts pressure on Willis' agent, Dick Bell (John Turturro), so fearful of his client that he often has severe stomach spasms. Rightly so--Willis is obstinate and downright hostile, pushing over wardrobe racks, knocking down tables, and pounding on doors at the slightest mention of his beard. I have no way of knowing how accurately this represents the real Bruce Willis, but I'll take it as an item of faith that he's playing a caricature of himself. I certainly hope this is the case; in the film, it eventually becomes clear that he's being difficult just for the sake of being difficult. There's really no point to what he's doing other than behaving like a prima donna.

The third subplot focuses on Ben's personal life, which involves two ex-wives, two young children, and an older daughter with problems most can't relate to. It's the weakest subplot because it's the least developed; we only meet his first ex-wife once, and her teenage daughter, Zoe (Kristen Stewart) appears so infrequently that I'm surprised she was included at all. Apparently, she had an encounter with an agent that committed suicide, which is a strange plot device in and of itself. We do, however, get a better idea of Ben's second wife, Kelly (Robin Wright Penn). Despite the fact that she and Ben are divorced, and despite the fact that they have unfinished business, they still have feelings for one another. Both immerse themselves in a special kind of couple's therapy, the kind that will hopefully allow them to separate as civilly as possible. But then Ben finds a man's sock under Kelly's bed, and he suspects it belongs to Scott Solomon (Stanley Tucci), who wrote the Bruce Willis film and is now working on a script that takes place in a flower shop. It seems it doesn't matter to Ben that he and Kelly are divorced; he still doesn't like the idea of her seeing another man.

Inevitably, there comes the climactic scene in which the final cut of "Fiercely" makes its debut at the Cannes Film Festival. Will Jeremy Brunell stick to his guns and release a sure-fire failure, or will he bow to the whims of powerful producers and release a blockbuster? I obviously can't answer that. I can say that the very idea plays into the notion that Hollywood is a shallow industry that cares more about money than it does about art. The joke, of course, comes from the fact that few will see art in a dog getting its brains blown out. Is there a message hiding somewhere in this? I'm really not sure. I've seen a lot of what Hollywood produces, but that doesn't mean I understand how the system works. Ultimately, I can only recommend "What Just Happened" for what it presents on the surface; it's occasionally funny, the performances were decent, and Linson's dialogue was clever. For those of us who aren't in show business, well, we can only hope that Levinson knew what he was doing by making this movie.

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I was surprised at some of the negative reviews here about a film I've seen at least 20 times. Based upon Art Linson's autobiographical book of the same name, the movie does a great job of binding disparate chapters into a cohesive story that while it's in no way fun or pleasant paints a painfully accurate picture of an industry that's full of money and egos. While there are many industry films out there, What Just Happened reveals the money-focused obsession of studios, the narcissism of actors and the pathological dedication of semi-sane directors. And by the way, Michael Wincott's character here and his film 'Fiercely' is really supposed to be David Fincher's Fight Club.

While admittedly it's more accessible to movie bores like me, I think there's enough wit and cleverness in the script to keep the casual viewer engaged. Robert De Niro is excellent as the producer under fire and there's a fine supporting cast of the likes of Stanley Tucci and Sean Pean who play their respective roles perfectly. A tip of the hat goes to Bruce Willis for an excellent self parody as the actor who threatens an entire production because he won't shave his beard. And Catherine Keener is fantastic as the unflinching studio head who will take final cut from a director if the dollar signs add up.

As someone who has flirted with the entertainment industry on various occasions, the bizarre situations posed in the movie strike a chord and remind you that Hollywood is about 10% product and 90% money, power and egos. What Just Happened is clever, insightful and well scripted and certainly worthy of higher praise than it's been receiving.

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I believe this is an amazing movie for people in business to share with spouse and family members who can't really grasp the realities of what happens in the business world. Yes, this movie focuses on self absorbed actors and directors and demanding money, but it mirrors what successful business people navigate through daily. The main charactor always has his eye on getting the job done and has to appease unrealistic and emotional demands with a smile on his face and keep pushing forward. He needs to fix a problem, while balancing all of the parties involved and he pushes forward. I am sure any business person can relate to this and the power of the person who has the vision to see the bigger picture, despite the idiots he has to deal with.

Now this may sound boring by my description, but if you are in a demanding professional position, you should find this movie awesome. This is the first movie I have watched twice since I was a child. If you have a family member who works professionally and you cannot fathom what their life is like, watch this movie and truly put yourself in DeNiro's shoes. DeNiro is the only one aware that unless the job gets done nobody makes any money and the game is over.

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This is a great movie showing the inside of the corrupt and really crazy world of Hollywood. Only De Niro could have made this movie. Nobody can touch him.

The movie follows a producer (Ben) during two weeks before the Cannes festival (we definitely need to pay attention what the Europeans say, because they are more ...distinguished and they definitely have more class than the poor slobs of Americans). He is really on the run and his families (yes he has more than one) are falling apart. He is trying to change the end of a movie that at first doesn't appear to connect with the audience selected to prescreen the movie (reminds me the worthless focus groups that the candidates are using during the elections). All these people participating in the focus groups that supposedly represent the average Joe are selected according to the same (Hollywood) criteria. Therefore they NEVER represent the average Joe. Because it is all about the money!

After seeing this movie I understand why movies like "October Baby", "Touchback", and the soon to come out "Last Ounce of Courage" among others, can only be purchased from WalMart and they are nowhere to be found on Amazon or on Best Buy. When you have a drug addict, degenerate director that insists that blowing the head of a dog is art, then you understand why these people have really short life span and they have to be medicated. Usually, what most directors of Hollywood regard as art and deep philosophy in their movie is usually pure garbage with the exception of few (i.e. Tom Hanks, Steven Spielberg, Clint Eastwood, Francis Ford-Coppola, and Martin Scorsese among others). Because it is all about the money!

Then there is Bruce Willis and his beard as a side story. That is a great satire of the divas in Hollywood that have temper tantrums (Lohan, Hilton etc). Great parody. The scene when everybody waits for him and we see him sideways in the trailer is fantastic. Because it is all about the money!

And finally, there is the therapist. In the movie they appear exactly like they are in real life...totally worthless! Because it is all about the money!

Make sure you watch the extras; there is more to the movie in the extras. Even Kristen Stewart looks good in this movie because ...she is playing herself.

Don't listen to the naysayers. Five stars all the way because of the cast and because it is REAL folks. I guess people who don't like the movie don't like what they see in the mirror. The truth hurts.

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Napoleon Dynamite (2004)

Napoleon DynamiteIn high school, I was one of the nameless, faceless rabble who drew little attention, maintained a low profile, and caused little trouble all in the hopes of getting out relatively unscathed, a goal I managed to accomplish, partly due to my sometimes intimidating presence, but mainly because I was able to fit in, sort of like a fish within a shoal...but there were those who weren't so fortunate, as obvious physical characteristics or personality traits (or both) tended to enunciate their presence regardless of vain attempts to `blend in' or enjoy the anonymity I, and those like me, tended to take for granted. Napoleon Dynamite (2004) is a film about one of those individuals.

The film, written and directed by Jared Hess, takes place in a small Idaho town and stars Jon Heder as the title character (he reminded me a lot of Timothy Busfield's character of Arnold Poindexter in the 1984 film Revenge of the Nerds). Also appearing is Jon Gries (Real Genius, Fright Night Part II), Aaron Ruell, Efren Ramirez (Kazaam), Tina Majorino (she played the little girl with the map on her back in Kevin Costner's flopperino Waterworld), and Haylie Duff, sister to the more famous Hillary Duff, who both share a surname that's the same as Homer Simpson's favorite alcoholic beverage, Duff Beer.

Napoleon Dynamite is an odd character for sure, with his shaggy red afro, moon boots (he wears them year `round), and t-shirts usually featuring those glossy iron-ons so popular in the 70's (he seems to purchase much of his wardrobe at the local thrift store) with a penchant for drawing mythical creatures, boasting about fictional girlfriends who live in other states (don't they always?), and touting his non-existent martial arts abilities, "You know, there's like a b*tt-load of gangs at this school. This one gang kept wanting me to join because I'm pretty good with a bowstaff". Oh yeah, he breathes mostly through his mouth, and his vernacular includes, but isn't limited to, the liberal usage of such words like sweet, flippin', gosh, freakin', and heck, and he, along with his 32 year old brother Kip (Ruell), live with their grandmother, who owns a llama named Tina. After an ATV accident sends grandma to the hospital, Uncle Rico (Gries) arrives to watch over the boys, and involves Kip in his schemes to make some sweet cash. Napoleon, meanwhile, finds a friend in a newly arrived Hispanic student named Pedro (Ramirez) and he and their shy and kinda dorky friend Deb (Majorino) assist Pedro in his bid to become the next student body president, their competition being Summer (Duff), member of the cheerleading squad and the most popular girl in school. Do the trio have a chance in beating the juggernaut that is Summer? Perhaps, but it requires Napoleon to pull forth from within something no one would have realized he had, not even himself...

The film is very odd...it's kind of a mix of the Coen brothers (Fargo, Raising Arizona), John Waters (Crybaby), and the earlier films of John Hughes (Sixteen Candles). There's not much of a story at the beginning, more of a series of innocuous, unrelated, comical events, but later on we do see some development in this area with regards to Napoleon and Deb helping Pedro in his running for student body president. Some scenes will make little or no sense in relation to what you may perceive as the story, so my recommendation is to just let it go, and enjoy the film for what it is, whatever it is...the real fun lies within Heder and his complete submersion into the character of Napoleon, wallowing in his own uncoolness. Initially most will probably find him annoying and off-putting, but he sort of grew on me, and I actually found myself quietly rooting for him, in his most simple of endeavors (like trying to find a sweet fanny pack at the local thrift store), but don't get the wrong impression. This isn't a triumphant nerd film (the nerd beats the jocks and/or gets the head cheerleader in the end), but a character-driven slice of weirdness that has a tendency to amuse. The dialogue contains tons of quotable lines, and comes across genuine sense of realism. The composed music by John Swihart and chosen pre-recorded material used to make the soundtrack complemented the film very well. I think my favorite scene is when Napoleon discovers his uncle's crude time machine (which he purchased of the internet), and decides to give it a try...does it work? Well, it does something, but I won't tell you what...one thing I really noticed was an absolute absence of profanity. I'm not against its' usage in films, and have even become used to it (for better or worse), so it was kinda refreshing.

The picture quality, presented in both 1.85:1 anamorphic wide screen and 1.33:1 full screen (both sides of the DVD are used), looks sharp and clear, with the Dolby Digital 5.1 audio coming through very well. Special features are numerous and include a commentary track by the director/writer Hess, actor Heder, and producer Jeremy Coon, along with deleted scenes (with optional commentary), a short film entitled `Peluca' (basically the original concept for the character of Napoleon Dynamite, also with commentary), a number of MTV promotional spots, a still gallery, a featurette on the shooting of the final scene (keep watching the film after the credits to see a newly filmed 4 minute sequence shot a year after the film was released, made especially for the DVD release), and a promo for the FOX television series Arrested Development. The special features are split between the two sides of the discs, so be sure to flip it over once you've finished one side. My recommendation is to rent the film before buying, as it's not for everyone (I wouldn't bother showing it to my mother, as I know she wouldn't attempt to understand the where the humor comes from within this film).

Cookieman108

I knew absolutley nothing about this flick when my 14 year old red-headed math whiz son said Dad let's go see this movie. From the opening credits I was entertained. This movie, is essentially a "day in the life of an Idaho high school nerd as he moves through various life cycle events and characters." Though the word "nerd" hardly seems to do justice to the timeless nature of title character Napoleon Dynamite. With little or no plot, Napoleon turned out to be more than part nostalgia. It was a stroll down memory lane. If I did not know that the writers in fact lived in Idaho, I would have sworn they had gone to my High School in South Florda in the late 70's. Our Senior Class Vice-President was in fact PEDRO from Mexico, our class Secretary, Melanie a blonde buxom cheerleader incarnate of this films' fictional "Summer" character and our Treasurer sported a huge Afro and all were clad in their finest disco outfits.

I guess this is why this sleeper film has gained such popularity. Forty-something dads and their teen kids can both see this movie together and come out repeating its hysterical dialogue. The current crop of teen viewers are living these absurd stereotypes and situations (dating, class elections, high school dances, the cafeteria). The oldsters in the audience either were, or knew one or more of this film's quirky characters.

The acting and dialogue are pure genius in their simplicity and absurdity. As other reviewers have mentioned, lines from this flick will become folklore. I found myself sitting around our family dinner table spouting off Napoleonisms reminiscent of the best of Monty Python.

Definitely go see this movie without any pre-conceptions, or expectations, you will be pleasantly surprised.

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For the past few years there has been a movement in American film you could call "The New Mormon Cinema." Young Latter-day Saint filmmakers (definitely inspired by the Sundance Film Festival which is held right in their own backyard) have been making inexpensive independent films that are targeted at the Mormon population that stretches in the west from Alberta in Canada down past the Mexican border (the so-called "Mormon Corridor.") Most of these movies have been really bad, cheaply done sit-com influenced "comedies" that have had absolutely no influence on non-Mormon audiences. (With the honorable exeception of Richard Dutcher, the director of good movies like the missionary drama "God's Army" and the thriller "Brigham City.") Things began to change this year with widespread recognition going to the tough-minded World War II drama "Saints and Soldiers" and this twisted little comic masterpiece, "Napoleon Dynamite."

Jared and Jerusha Hess are products of Brigham Young University's film school and they made ND with a bunch of their friends. The unspoken assumption of this film is that most of the kids are Mormons. Some critics who misunderstood the movie as "condescending" have no experience with real people like these. I live in rural Utah and I can testify that Hess is only mildly exaggerating. The critics somehow miss the love with which the characters are drawn, just as some Minnesotans weren't too thrilled with the Coen brothers' "Fargo." Napoleon's pathetic older brother Kip has been singled out as particularly unbelievable. But believe me, Kips are a dime a dozen in Idaho (and Utah, too.)

Napoleon himself is not so much acted as incarnated by Jon Heder, who would win some sort of Oscar if people could only see he was playing a role, not living it. Napoleon is the real nerd deal, not some idealized John-Hughes-style Hollywood version. You really feel the anguish of his life, even as it provokes guilty belly laughs. The genius of the movie is how the Hesses take the angst of Todd Solondz ("Welcome to the Dollhouse" and "Happiness") and put their triumphantly uniquely Mormon spin on it.

Hess is the second Mormon director, after Neil LaBute in "The Shape of Things", to make reference to singer Elvis Costello ("Napoleon Dynamite" is one of Costello's aliases.) The movie Napoleon is as physically unprepossessing as Costello is, until he starts to sing. You see, Mormons are always worrying about what other people think of them, because of their long-time outsider status in American society. This overwhelming self-consciousness can make them feel as awkward and crushed by the culture as Napoleon is. But inside they just know they are as dynamic as the very name "Napoleon Dynamite." The opportunity awaits for them to strut their true stuff. An individual like Napoleon can't be destroyed if he doesn't want to be. There's something eternal in him that will win out. The importance of this thought is why the Hesses avoid the very appearance of sentimentality in their presentation of Napoleon. You have to learn to love him in spite of his monstrous imperfections, because he is human. And you rejoice in Napoleon's final dance, which is five or six of the most joyous minutes in a movie this year.

It's also important that Kip and Napoleon redeem themselves by reaching out to others not like them. Kip hilariously to La Fawnduh, and Napoleon to Pedro and Deb. The Hesses are brave enough to make sympathetic jokes about multiculturalism here. Certainly, Preston Idaho, won't save them; but maybe Detroit and Mexico will. I left "Napoleon Dynamite" with genuinely earned good feelings about humanity in general and the future of Mormon movies in particular.

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Here is the essence of why this film is a rare gem: it portrays High School Misfits as they actually are. When I was in high school, the "nerds" and "dweebs" were not like the Hollywood stereotypes...you know, really smart, eager to please the "jocks" by doing their homework for them, into computers, etc...the sterotype that began with Revenge of the Nerds and never died. No, the bottom feeders in my school were like Nappy D. They just didn't look right. They weren't eager to please, they were irratable & antagonistic, like Napoleon. They did weird things (Napoleon throws an action figure on a string out the bus window; I remember a kid who walked around in the halls making truck noises). No, this is the perfect embodiment of what it is like to be a teenage nothing, and how in their world, everything is OK.

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For people like Roger Ebert who pan this movie... you just don't get it.

I'm not claiming any intellectual superiority or great film taste... it's just that I get it.

Perhaps because I see elements of Napoleon Dynamite in me. For instance... his response on the bus "whatever I feel like. Gosh!" When I was in 4th grade I moved from a northern town in Illinois (Geneseo) to a small town called Lousville (pronounced Lewis-ville) in very southern Illinois where the culture was very different and people had Alabama-like accents. When I was riding on the schoolbus, my first day in mid-semester, I was petrified. Everyone stared at me as they stopped at my delapidated trailer to pick me up. A little girl turned around and asked "What's your naaaaame?" To which I replied "shuuuuuuuuuuuut uuuuuup!" And from that day on was greeted by everyone in unison shouting "HI SHUUUUUTUUUP" as I walked on the bus. My reply was out of a vain effort at self-defense... not mean-ness.. and so was Napoleons.

Napoleon's journey was a remarkable, willful transformation, as was that of Deb and Pedro. Kip was amusingly transformed, but not so much with self-awareness. Uncle Rico was the only static character, which made it all the more funny because he had not changed since 1982.

Of all the lines, the one where Napleon told Deb to get her stuff because there wasn't enough room for his nunchucks made me laugh the most histerically.

Almost all the humor, other than "the dance" was rooted in hilarious subtlety and satire. I mean, how could I not be floored by someone bragging about chatting with hot babes online.... ALL DAY!

The bizarre time-period (An elegant collage of the 70's, 80's, and 90's) gives this film a wide audience and uses silly things from all decades to make it more hilarious.

My conclusion is that people who don't like this movie are either 1) TOO nerdy to realize they are only the one side of the nerdy characters 2) They ARE Summer Wheatley 3) People like Roger Ebert who are absolutely clueless about the level of subtle humor in this film.

To the people comparing this to laughing at clowns... their reviews had me laughing as much as the movie... it's a total comedy in itself. ND is not a clown, he's flippin Superman in moonboots with a fro!

The ONLY other DVD I own is Monty Python's the Holy Grail... which also has incredibly intelligent subtle humor woven into the surface silliness.

For the intellect and the funny bone, I give ND a 5/5 stars. As far as those complaining about the "terrible" soundtrack, I wish I could give it 6/5 stars for having "Forever Young" by Alphaville and "The Promise" by When In Rome as too of the main songs in the soundtrack.

This thing just gets funnier the more I watch it.

P.S. Dear Roger Ebert... please watch this film again, then watch the piece of junk that "Garfield" is, and look at yourself in the mirror and cry.

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A Haunted House (Blu-ray + DVD + Digital Copy + UltraViolet) (2013)

A Haunted HouseI wasn't expecting too much from a movie like this one. You already have an idea of parodies being annoyingly stupid, but people still goes to the movie theater and they watch them, but "A Haunted House" it's actually funny. The movie follows the structure of the Paranormal Activity movies, but it's funny parody (the Wayans say it's not exactly a parody). You'll also see parodies of recent exorcism movies like The Last Exorcism or The Devil Inside. The only thing I didn't liked were the sexual jokes; I think they are okay, but not every five minutes, because it gets old really fast and even disgusting at times. I would recommend the movie to people who likes parodies like Scary Movie or Disaster Movie, and even Paranormal Activity fans. You will have a good time, but don't expect too much, just the necessary.

very funny film Marion Wayans plays Malcolm and Essence Atkins plays Kisha. When Malcolm and Kisha move into their dream house they soon discover that they.re not alone . because Kisha is possessed . Some of the jokes are crude . But if you like horror comedies like scary movie. you will love this film as well.

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This is a very funny African-American spoof of the found footage films. The humor borders on low brow for much of the film. Kisha (Essence Atkins) moves in with Malcolm (Marlon Wayans) and almost immediately claims the house is possessed as she finds her keys on the floor. Malcolm sets up cameras and uses techniques he learned from watching "Scooby-Doo."

If you have seen the Paranormal series, you can't help but laugh at this film which includes a gay psychic (Nick Swardson) who is more interested in Malcolm than the ghost; the camera installer (David Koechner) who also is part of "The Ghost guys"; a priest in training (Cedric the Entertainer) and a couple who want a "Mandingo Party."

The humor while crude, I enjoyed, as it wasn't simply crude for crude's sake.

Parental Guidance: F-bomb, N-word, comical sex, nudity.

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I really liked the movie its funny, the wayans brothers are to funny always loved them in movies and there tv show

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A Haunted House (Blu-ray + DVD + Digital Copy + UltraViolet) is a funny and great movie to have. I can't stop laughing.

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Caller

CallerThis is a great suspense thriller. Rather than relying upon gore, zombies and lots of blood, this film combines wonderful character development, a creative plot and good acting to create a nice film. The movie has an intriguing story line and a crazy ending. Do not listen to the bad reviews. I am sure those viewers wanted to see people get slashed throughout the film. This does not happen. Instead, enjoying this film requires something that is seriously lacking among today's movie viewers and writers: IMAGINATION!

The reviews here cover both movies:

The Caller (1987) with Malcolm McDowell and Madolyn Smith; and The Caller (2011). Very different from each other.

Amazon has mixed them together, the same reviews appear at both Amazon pages. There doesn't seem to be any way to contact them to correct this.

I just watched the 1987 movie and it was OK. Too much talk that wasn't clarified at the end. Surprise ending out of the blue only leads to more confusion. Poorly written but well acted.

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Compliments:

First, to the phone an ancient black rotary menace. Nice job creepy phone!

Second, at times endearing; at times disturbing; at times threatening phone voice created by Lorna Raver.

Third, to the claustrophobic apartment setting; subdued lighting, shadows and colors; use of sound and environment such as rain to enhance tension.

Fourth, to the actors for their casual naturalistic acting e.g. pauses, conversational dialogue, nuanced everyday behaviors, facial expressions. In particular Lefevre, who was tossed into the role at the last moment and might be well served to use that method for future roles, looked very comfortable. She is a talent that is being wasted in TV spots.

Brief storyline:

Mary moves into an apartment in about 2010 that was inhabited by Rose in 1979. Rose calls Mary from around 1979 which becomes obsessively more frequent. They both acknowledge that their connection is happening for a reason. Both Rose and Mary have issues with males close to them and just in general. "Men don't change ever!" Then Mary suggests to Rose, while thinking of solving her own problems, to "just get rid of him." At this point you see that Rose instantly alters the future by changing the past and more than once.

Spoiler (read when confused after watching the film):

The rotary phone in Puerto Rico in the 70s would not be unusual. Using a phone as a vehicle for the past to communicate with the present is common in film. The phone was shown, in deleted scenes, being found in a box in the pantry coincidentally it was a phone cord used by Rose to hang herself. Rose lived close to where Mary (as a child) lived so she is able to threaten Mary (as a child) as well as people close to her. Rose kills her boyfriend Bobby and Mary's friends George and John (but when John was a boy). Thus the future changes and memories of each from the moment of death ceases. Rose wraps them all in the same old burlap and rope tucking them into the pantry while building a brick wall to hide the evidence. Rose eventually becomes upset with older Mary and takes it out on young Mary by spilling hot cooking oil consequently we see the burn marks instantly appear on the older Mary. Mary, in response, tries to get Rose to kill herself and in failing to do so Rose gets even more upset and tries to kill the visiting young Mary. The young Mary protects herself by breaking a wardrobe mirror and uses the broken glass to disable Rose. In 2010 we see the the now broken wardrobe mirror as well as a now appearing scar in Mary's palm where she held the glass. Both the young and old Mary are trying to protect themselves from Rose at the same time. As for Mary's ex (Steven) who several times threatens (e.g. Wedding photo with "Till death do us part." written on the back as well as stalking) she eventually says, "Last chance Steven." and to which he says, "Yeah. Or what?" which is why Mary's dispatching and tucking him into the newly re-bricked pantry along with the others fits into the story. She not only is re-enacting Rose but is singing her Shafto "broken heart" song at the end.

Problems:

Most of the ages and times just don't match up e.g. the gravestone used for the missing young John appears to say 1924. Rose was in her 40s in the '70s and appears not to have aged and still moves like she in her 40s. Rose did not die when she hung herself according to deleted scenes which changes the story considerably such as how can she be calling from the 70s while also in the present where she again attempts to kill the now older Mary. Without seeing the deleted scenes we have Rose in two separate time periods at once. What do the previous occupants (Mr. Mrs. Alvarez) of Mary's apartment have to do with the story. The alternate ending of a refurbished apartment with ringing phone makes no sense. The reason for the two scenes with blood on her finger is not clear. The subway and dream scenes just add confusion. Generally too many holes from poorly developed backgrounds; in tidying up loose ends and editing made the movie more confusing than it should be.

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This reminds me of the old Hitchcock stuff. Mary divorces Steve and moves into an apartment. Steve is of questionable character. Mary gets calls from Rose asking for Bobby. Rose claims she lives in the 1970's. At first she thinks a friend of Steve's is behind this. Her and Rose become semi-friends. Weird things start to happen. Whatever changes Rose makes to the pantry in the 1970's materializes in the present day. This really spokes out Mary. Steven violates his restraining order and Mary gets help from her French teacher. Upon doing some research she discovers a Rose really did live there. Is this supernatural or an elaborate hoax?

The film hooks you from the first phone call. You can't wait for the phone to ring. Then at some point, you don't want the phone to ring. But it does...

Excellent writing. Excellent film. Good intensity.

F-bomb,brief sex scene, no nudity

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This reminds me of the old Hitchcock stuff. Mary (Rachelle Lefevre) divorces Steve(Ed Quinn) and moves into an apartment. Steve is of questionable character. Mary gets calls from Rose (Lorna Raver) asking for Bobby. Rose claims she lives in the 1970's. At first she thinks a friend of Steve's is behind this. Her and Rose become semi-friends. Weird things start to happen. Whatever changes Rose makes to the pantry in the 1970's materializes in the present day. This really spokes out Mary. Steven violates his restraining order and Mary gets help from her French teacher. Upon doing some research she discovers a Rose really did live there. Is this supernatural or an elaborate hoax?

The film hooks you from the first phone call. You can't wait for the phone to ring. Then at some point, you don't want the phone to ring. But it does...

Excellent writing. Excellent film. Good intensity.

Parental Guide: F-bomb,brief sex scene, no nudity

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Doomsday Book (2012)

Doomsday BookZombies, robots and asteroids out of control! Yes, you've seen similar flicks on these subjects, but not covered in the fashion of "Doomsday Book"! The three vignettes in this film are markedly different, but each seems to flow seemlessly into the next, as we wonder how the world might end in each episode.

Perhaps the most enticing and maybe frightening is the innocuously-entitled "Happy Birthday," where a little girl calls up an alien website (they exist, don't they?) and accidentally ends up ordering, perhaps, the end of our planet!

A fascinating exploration into what might just happen in the near future; I recommend "Doomsday Book" to all adult audiences.

Today, as I write this, is December 23, 2012, and we are still alive. If you recall, the end of days was supposed to have been two days ago, on December 21. Happily, that didn't happen for now --, but the entertainment world keeps busy doing films about the destruction of life as we know it. Nothing wrong with that, I guess, but it is really good when a film with doomsday themes that make you think comes along an intelligent and plausible one, that is. "Doomsday Book" is such a movie. It is fascinating and overpowering, with many possibilities to ponder.

"Doomsday Book" is really three films into one, helmed by two different Korean directors. The first segment, "Brave New World," directed by Yim Pil-Sung, hits you in the gut, and you should see it a couple hours after having dinner, as it deals with the effect of an epidemic a la "Mad Cow disease," when people become zombie-like creatures after eating infected beef. We meet a young man on a date with an attractive young lady, and how, after eating in an all-you-can-eat Korean barbecue, they get sicker and sicker. It follows the epidemic from the slaughterhouse all the way to the media frenzy created by it. And it is the media frenzy, I think, that steals the show, as it might remind you of the current state of the art of our media sensationalism. The second segment, "The Heavenly Creature," helmed by Kim-Ji-woon, is, in short, a masterpiece, one of the smartest films despite its length I have ever seen. It's about a robot that is member of a Buddhist monastery. He is the only non-human within all the humans. However, one day the repairman is contacted, because the lead monk believes that the robot is not well; apparently, it is claiming to be Buddha. The repairman can't find anything wrong with the robot, and the owner of the company, as well as his henchmen, arrive to the location, ordering the destruction of the robot as well as others of the same series, because it has become too intelligent and, thereby, a threat. The owner of the company asks, in regards to the robot, "Who could have known its greatest gift would become its mortal affliction? A robot must never construe or trespass on the domains of man." And there are, of course, philosophical answers to these arguments, which are explored in this awesome segment. The last part of the movie, under the direction of Yim Pil-Sung, and called "Happy Birthday," is about a meteor that will hit earth in a few hours, and the frenzy that it generates. The meteor is shaped as a number eight billiard ball, which coincides with a ball that a little girl lost from her uncle earlier in the film. Years later, while being in an underground shelter waiting for the meteor's impact, we find out the meaning of it all. Again, the director explores, in a hilarious way, the media frenzy over this event.

"Doomsday Book" gives us three stories or point of views about the future, at least two of them possible, and the other, with some imagination, might also be possible. It is intelligent filmmaking, not from Hollywood, but from South Korea. (South Korea, 2012, color, 114 min).

Reviewed on December 23, 2012 by Eric Gonzales for Well Go USA Blu-ray

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By their very nature, anthology films are a mixed bag. They'll contain two or three or four smaller stories essentially `shorts,' cobbled together into one complete film usually connected by one central theme. The upside is that, if the theme is flexible enough to support multiple interpretations, the audience is treated to an insightful exploration from different (and differing) perspectives. The downside? There can be several, not the least of which is the viewer ends up stuck in a loop supportive of that main idea where nothing all that original unfolds not once but twice, or thrice, or ... well, however many installments the producers managed to cram in there!

(NOTE: the following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few hints at `things to come,' then read on ...)

Since DOOMSDAY BOOK is a collection of three short films, I'll break them down individually for clarity.

In the first chapter, "Brave New World," a brand new virus incorporated into the food supply by way of food recycling brings the city of Seoul to the brink of social collapse by turning its victims into zombies. The short is bookended with the tale of two young people who find one another on their first date once the chaos begins, they're forced by circumstances to go their separate ways; as fate requires, true love will find a way, and our lovers are re-united in the segment's closing moments. In between, the story develops its satirical themes, showing us in some rather comical fashion, how civic leaders de-evolve while the rest of the world looks on. Technically, it's all very accomplished with some impressive effects, but, in the end, I found much of it fairly routine `stock' for a zombie picture. On my five star scale, I'd give it a strong three stars.

The second chapter, "The Heavenly Creature," a temple's service robot supplied by the UR Corporation experiences an epiphany, leaving the monks to believe they've found the latest incarnation of Buddha. The narrative focus for the tale explores the confusion experienced by the service technician sent by the company to diagnose whether the android is reparable or needs a system recall. This segment from start to finish is nothing short of brilliant; it's chocked full of exceptional, probing dialogue with questions by real people trying to understand these curious circumstances and what it means for mankind. Also, there's a wonderful little bit involving a debutante and failed her mechanical dog that explores humanity at its most crass. Technically, it's exceptionally staged and photographed with some images the sight of the droid locked in prayer that'll stay with you long after the story ends. On my five star scale, this one easily earns the highest praise with a perfect score.

In the last chapter, "Happy Birthday," a little girl hoping to please her father logs on to the web and orders him a new eight ball for his pool table. Two years later, an unidentified meteor is heading straight for a collision with the Earth, and, to her surprise, she learns what role she may've played in mankind's impending demise. This installment is a weaker satire than the first chapter, mostly because there's little substance to the grand `reveal' (which I won't spoil); instead, the story takes a rather serpentine route to deliver the audience to its destination, and it ends up being relatively routine. I do think, however, that "Happy Birthday" could've been stronger with more focus on the comic characters it's a family, and they all clearly love one another despite their respective quirks. In this anthology format, there just wasn't enough time for it all to mean that much. On the five star scale, I'd give it a middling two stars at best.

The single greatest strength to DOOMSDAY BOOK in the three-story format is that the audience doesn't spend too much time with the lesser sections, making most of it feel fairly benign. The weakness as I prescribed in my first paragraph is that the directors delivered three stories of vastly differing appeal. Yes, they're all sci-fi, giving us a glance at possible (but not all that probable) futures, but when the first and the final chapters feel more than a bit incomplete, I come away not feeling I've seen the best these stories had to offer (with the exception of "The Heavenly Creature").

Still, I'd strongly argue that each of these ideas had great foundation for fuller pictures completely on their own. Granted, a full 90 minutes dedicated to the eradication of mankind by a magic-8-ball (not the game, but a legitimate 8-ball from a pool table set) may not seem all that revelatory, but you have to take it in context. I would've loved to spend more time in each of these visions, especially one where a robot uncovers its desire to pray, and that's something to think about.

DOOMSDAY BOOK is produced by Gio Entertainment and Timestory. DVD distribution (stateside) is being handled by Well Go USA Entertainment. As for the technical specifications, it all looks and sounds impressive, and each chapter boasts some very solid performances by all of the players. Also, I'd be remiss in my duties if I didn't point out that the feature won the 2012 Fantasia Cheval Noir Award; and was an official selection of the 2012 Hawaii International Film Festival, the 2012 New York Asian Film Festival, and 2012 Fantastic Fest. Sadly, there are no special features to speak of.

RECOMMENDED. You like zombie films? Check! You like thoughtful heart-tugging science fiction flicks? Check! You like end-of-the-world tales told with more than a hint of irony? Check! Certainly, each piece of DOOMSDAY BOOK is solidly produced; but, as can happen all too often in anthology films, these stories end up wildly mixing influences and producing varying results. It's safe to say that I would have rather seen each installment expanded and turned into its own feature the zombie short had some solid ideas but methinks some of its dark humor was lost in translation, and the disaster from the heavens could've been elevated by more exploration of its decidedly quirky four main characters because, in their present format, there just wasn't enough. Only the middle chapter the robot who found enlightenment was strong enough to stand on its own, but I would've loved to have spent more time in that inspired, thought-provoking reality.

In the interests of fairness, I'm please to disclose that the fine folks at Well Go USA Entertainment provided me with a DVD screener of DOOMSDAY BOOK for the expressed purposes of completing this review.

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This film is in Korean with English subtitles. It defaults to no subtitles. The DVD lacks any commentary, which I would have watched on this particular film.

This production consists of three sharp stories, the first being my favorite.

The first feature smartly utilizes the story of the apple in the garden of Eden as a metaphor for Pandora's box. A rotten apple finds its way into the food chain as cow meal. Humans consume meat from the cow and get a "mad cow's disease" which causes them to act like zombies. The film claims it is a virus, but clearly it is prions. Oprah was right! I loved this zombie explanation.

The second feature is about a robot who develops his own conscientiousness and is proclaimed to be Buddha due to his enlightenment. This segment contains heavy speeches concerning how man has become slaves to his inventions to the point that they impact on his evolution.

The third segment concerns a young girl who orders an eight ball on line only to find out it is being delivered from outer space in the form of a huge meteor that will destroy the planet.

I love colorful Asian cinematography. This one has adopted an appropriate western sound track which gave it the feel of a Hollywood production. The characters were well done. The movie oozes with comedy and satire as well as philosophy. This is without a doubt one of the best "end of the world" films that have come out here of late.

Parental Guide: F-bombs in first episode (spoken and printed in English). No sex or nudity.

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there are a few different stories on this Disc, from zombies to just strange end of the world stories to robots with a soul movie.

the movies are each very short, There is no real meaning, no action, no strong gripping Drama, not amazing acting.

it's even awkward at times and mostly seems like a waste of time.

if you think of a cool futuristic looking movie, do not watch this, this movie has nothing going for it.

the cover looks cool, but the robot is in only one short clip, and the rest if very boring.

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Frankie Go Boom (Blu-ray) (2012)

Frankie Go BoomI am confused about the hype and raves for this film. It is a wanna-be quirky independent film using trite jokes and unreal situations in a world that doesn't require a release form. We are told that Bruce has spent his life torturing and filming his brother Frankie from the film blurb. We get to see one quick episode, hear about a second one, that really had nothing to do with Bruce and the movie is about a third one that again, Bruce (Chris O'Dowd) just happens to film.

The whole set up and building of characters was done in a very poor fashion. The get together of Frankie(Charlie Hunnam) and Lassie (Lizzy Caplan) was slightly humorous, but there was no good follow up. Bruce was extremely unlikeable. Frankie only slightly less so. The characters overall are meh, even the over the top Ron Pearlman..."call me Phyllis now" tried so hard to be funny, that it wasn't.

This is a sex comedy that lacks the crudeness of successful sex comedies, and lacks the cleverness of a good indie. It is a hybrid that doesn't reproduce. Some may find it amusing, I don't recommend it, even as a rental.

Parental Guide: F-bomb, sex, nudity.

FGB is a good first comedic effort for Charle Hunnam. I've read CH had reservations about playing a lead role in a comedy film, but playing the straight character, he was great. it was fun to see him not play a bad ass as he has been cast recently. Ron Perlman is a riot as a transsexual . While I did not find the movie hysterically funny, it is definitely worth watching again.

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"How is Jack Knowles seeing a movie of a drunken woman hitting me with her bike helping you get your dream Bruce?" Frankie's (Hunnam) brother Bruce (O'Dowd) has just got out of prison and is back in his life. Frankie is not happy about this. His whole life Bruce has been filming Frankie in the worst possible situations. When Frankie has an embarrassing night with a woman he just met his brother films that too. This simple act spirals out of control and ends up affecting everyone involved, and some who aren't. I'm not sure what I expected from this movie but it wasn't this. The movie is funny and I did laugh a few times but it was different then I thought it would be. The cast is funny and the dialog is funny but it is borderline offensive so be warned if you are easily offended. I don't want to say too much because this is the kind of movie that each scene builds on itself and saying something will ruin the flow but it is funny, just different. Overall, not bad and worth seeing unless you are easily offended. I give it a B-.

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I'm a Charlie Hunnam fan. This is funny! I love funny and everything Charlie. It's funny but there are also interesting aspects of life here. Poor Frankie is the only sane one. I'm always amazed at how different Charlie can look and be in his different roles. Amazing. I wanted to see it in the theater; I did see it online and I'm happy to own it also.

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If you have ever watched Charlie Hunnam and Ron Pearlman in Sons of Anarchy this is a delightful change for the two of them. The movie is so hilarious. Its got romance and craziness all wrapped in a nice indie film.

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Leap Year (2010)

Leap YearI love romantic comedies and got really excited when I recently saw the preview for Leap Year. I love Amy Adams and remembered Matthew Goode from a few other movies(Chasing Liberty, Watchmen, Match Point). Lately, there have been a lot of romcoms that don't do it for me, they're just lacking the heart, that certain something. Thankfully, Leap Year had heart, laughs and was just all around a well done movie. 24 hours after seeing it, my boyfriend and I were still talking about how much we liked it.

The premise is that Anna(Amy Adams) has been dating her doctor boyfriend for 4 years, they're buying an apartment together in Boston, and she wants to get engaged, but he hasn't asked. So she plans to surprise him in Dublin while he's away on business on the one day in Irish tradition that says the woman can propose to the man, Feb 29th of a leap year. Of course, her trip doesn't go as planned, and she ends up needing help getting to Dublin from Declan(Matthew Goode).

While predictable as far as romantic comedies go, it was fast paced, funny and romantic. We both really liked Matthew Goode's character and his sense of humor. He was excellent as a multi-faceted leading man. I love Amy Adams because she seems like a regular girl(funny, sweet, not a twig)and she was perfect for the role of Anna. The scenery of Ireland was gorgeous, and makes you want to take a trip there. Definitely a great date movie, worth paying to see.

Unfortunately, no good special features on the DVD, only some deleted scenes. I'm a sucker for "making of" featurettes and thought they might at least have done a little something about filming in Ireland. You'll only find a bare bones DVD here.

This is one of the cleanest funny movies I've seen in a long time. Even with its predictable ending, I thoroughly enjoyed every minute of it. Tell me....why can't Hollywood make more of these movies instead of the garbage they usually make. Can't wait till it's released on DVD.

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LEAP YEAR

STARRING: Amy Adams, Matthew Goode, Adam Scott, John Lithgow and Noel O'Donovan

WRITTEN BY: Deborah Kaplan and Harry Elfont

DIRECTED BY: Anand Tucker

Rated: PG

Genre: Romantic Comedy

Release Date: 08 January 2010

Review Date: 26 May 2010

When Leap Year slid past me in the theaters from doing so horribly at the box office and being plagued by rumors that it was horrible; I wasn't all that let down that I missed it on the big screen. Having recently seen it on video, I was shocked at how amazing it was and wished I had gotten the opportunity to catch it in theaters.

The sensational Amy Adams stars as Ann; a woman so many women can relate to: she's dating a guy who may never commit. Her boyfriend of quite some time, Jeremy (Adam Scott) is far too consumed with bettering his career to even stop and consider marriage let alone actually pop the question.

When Jeremy rushes off to Ireland for a career opportunity, Ana is left alone wishing there was something she could do. Upon hearing about an Irish tradition, she realizes there is something she can do. She can fly to Ireland and propose to Jeremy herself, as each leap year allots for this to be customary there.

If you are at all like me, you are already skeptical by the premise and if you've seen the trailer, it only adds to such skepticism. However, film works magic with its weak supposition and the trailer fails to provide it with any solitude.

Ana had no idea just how difficult it would be to track Jeremy down. Between being caught in nasty storms, missing trains and being barricaded by a heard of wild animals, it seems she may never reach her love. All is not lost though, as she is accompanied on these miss-adventures by her unbeknownst to her true, true love, Declan, played by Matthew Goode.

The two can't stand each other for the majority of the film, but we can see their underlying chemistry behind all their bickering. Soon enough, having shared a few moments, and after they let their guard down to one another, they will see it too.

Leap Year was written by the team who crafted such hits as Made of Honor and Can't Hardly Wait. And it has some of the best cinematography of the year, displaying magnificent shots of the Irish countryside that will have you booking a flight there during the movie.

This is the kind of film that evokes thoughts of fate and as a huge advocate for fate, I find this refreshing in films. If you've ever been touched by destiny in your life, then you know exactly what I am talking about. Sometimes we kick and scream at the sight of the path we find ourselves on, only to realize later, and sometimes much, much later, that it is in fact the path we prefer.

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Leap Year is charming for several reasons. One. It is primarily set in Ireland and the lush scenery makes it visually delicious.

Secondly, the classic storyline is freshly retold. A girl who is on the cusp of living her perfect-for-her fairy tale life, lacks one thing, an engagement ring. Her charming, but irresponsible father, reminds her of an Irish tradition. Every leap year, a woman is able to propose to the man she loves and then her dreams will come true. It had worked for a member of Anna's (Amy Adams) family.

When Anna's cardiologist boyfriend fails to propose (oh, he delivers diamonds, but of the earring variety) the night before he leaves for a medical conference in Dublin, Anna decides enough time has passed and she'd grab hold of her dreams and use the Leap Year legend to make it happen. After all, Jeremy is already in Ireland, so there must be a wee bit of fate involved.

Finally, there is serious heart in this movie. Declan (Matthew Goode) plays the angry, wounded bartender who agrees, after a series of travel mishaps, to haul Anna to Dublin. Anna, determined to create the secure life she never had as a child, begins to break down Declan's walls. As the two interact, they soften towards each other and begin to understand one another. There are a couple of satisfying scenes when realization dawns and both actors silently emote feelings that can't be put into words. Leap Year is an old-fashioned romantic story that didn't involve sex first, love later or require a lot of four letter words to make a point. Comfortably PG.

Of course, this is romantic comedy/chick flick territory so there are predictable and yeah right moments. But when the movie is this sweet, does it matter where Declan got clean clothes that fit, or that the intelligent, savvy, extremely methodical Anna didn't think about electricity issues in Europe? Not at all. When this movie releases on DVD I will purchase it.

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I was so happy to find a romantic comedy that I could enjoy with my 11 year old daughter. We both loved it! Beautiful shots, great acting and fun story...nice, clean, romantic fun!

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