Showing posts with label best comedy movies 2005. Show all posts
Showing posts with label best comedy movies 2005. Show all posts

Rites of Passage (2011)

Rites of Passagewhen I first started watching it I thought that it was kinda stupid. I watched the whole thing and was not impressed. Now I gac=ve it a second chance and i'm glad that I did. it turned out to be a good movie. I am glad I purchased it.

Benny (Wes Bentley) and Nathan (Ryan Donowho) are brothers who live on the Anderson Ranch which boasts some Indian burial grounds. Benny has a friend , Delgado (Christian Slater) who stays there and manufactures drugs. Both Delgado and Benny made a powerful hallucinogen from the root of gypsum. Benny does things under the influence of the drug he doesn't remember, regrets and can't fix.

Nathan invites the anthropology class out to the ranch while a bunch of crazy stuff is going on. Soon they all drink the Gypsum tea and all hell breaks loose.

The movie has some humorous moments, but is far from a comedy.

F-bomb, sex, no nudity but a lot of bikini/bra and panties stuff, derogatory toward Christianity in the beach scene. 3 1/2 stars

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"Grandmother Malloy I've come to beg for your roots. I promise to do you no harm. I need to borrow your magic for tonight." After an anthropology student decides to take a few of his classmates to a family ranch in order to do a mock ritual for extra credit they get more then they expect. His brother seeing this as a chance to get revenge for his family decides to make the ritual a real thing. So going in I was thinking this was going to be decent. While I was not totally wrong it could have been way better. The beginning was actually pretty entertaining and a little funny. The longer it went on though the more it started to drag and I was just interested enough to want to find out what happened. What started off as an interesting idea devolved into the kids in an abandoned area start getting killed off one by one type movie. While this is not a terrible movie this is still just OK. Overall, a fun and entertaining beginning gives way to a formulaic ending that isn't as fun. I give it a C+.

Read Best Reviews of Rites of Passage (2011) Here

This film was cool, funny and freaky. Slater and Wes Bently give whacky yet creepy performances that could make this a potential cult classic. When the action gets going, it doesn't stop. The beginning is pretty funny too! A solid blend of fun and scares.

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I loved the mix of blood and humor here. It took a routine premise of kids in a cabin and had a lot of fun with it. But also had some interesting unique character developments that you don't normally find in a story like this.

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All the Right Noises (1969)

All the Right NoisesI actually bought it for a friend and he knew this movie a lot and really enjoy watching it and he would recommend anyone who likes movie about Romeo N Juliet

The British Film Institute is cleaning up many rare 60's British films and releasing them on pal form dvd or Blu-ray, and luckily for us, in regions viewable here in the US, like this rarely seen Olivia Hussey film ALL THE RIGHT NOISES.

All The Right Noises is a very rarely seen 1969 film starring a 17 year old Olivia Hussey (fresh off of 1968's Romeo and Juliet), 29 year old Judy Carne (Laugh In and Love On A Rooftop fame) and Tom Bell (The L-Shaped Room). Tom Bell and Judy Carne play married couple Len and Joy Lewin. Len is a lighting expert for stage and commercials and his wife Joy is an actress who does commercials. Len and Joy seem happily married with their 2 children and modest London flat, until Len notices a beautiful stage actress Val, played by Olivia Hussey.

Whenever he can, Len see's Val after they are both finished with the musical they are both working in. Len has no idea that Val is a 15 1/2 year old school girl, but you will be amazed at his reaction when he finds out. I really enjoyed seeing the changes in Val (Olivia Hussey) as she grows up so quickly. Revisiting 1969 London was wonderful and seeing the beautiful Olivia Hussey and Judy Carne play the women in Len (Tom Bell's life) was very fascinating. You just don't know if Judy Carne knows something or not.

There are great extras as wellA beautiful 30 page booklet, and Special DVD Features: The Blu-ray disc is cleaned up beautifully; Interviews with such a young cigarette smoking teen age Olivia Hussey and Leonard Whiting from 1967 when they are filming Romeo And Juliet (16 min) and The Spy's Wifea rare 28 min film from 1972 starring Tom Bell and Ann Lynn.

Len says "As long as you know when to pick up your cues and make all the right noises, women don't notice things", thinking his wife will never know about Val. But, I'm not sure about that, as you watch his wife Joy (Judy Carne) towards the end. For any one that enjoys rare late mod 60's films, seeing the beautiful young Olivia Hussey and Judy Carne together is a treat. The extras are the icing on the cake, especially the Hussey/Whiting interview.

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Footnote (2012)

Footnote"Footnote" (107 min.) is a 2011 movie out of Israel. It brings the rather complicated but intruiging story of a father and son who both are scholars and researchers at the Talmud Department of the Hebrew University in Jerusalem. As it happens, the son is actually more successful and the movie starts out with the son's acceptance speech upon getting elected into the Israeli Academy of Science and Humanities. Remarkably, we don't actually see the son but instead the camera focuses the entire sequence (probably 3-4 min.) only on the father, who seemingly is shell-shocked and/or confused and/or resentful at the ever-growing successes of his son. Then, about 30 min. into the movie, the father gets the call from the Israeli Department of Education that he'd been waiting to get for 20 years: he's been chosen to receive the prestigious Israeli Prize. Happiness turns to potential disaster when the son gets called by the Israeli Prize Committee the very next day with the bombshell that due to a clerical error, it was he who had been chosen for the Israeli Prize, not his dad!

I don't want to spoil more from the plot, and the movie then really takes off and you'll just have to see for yourself how it all plays out. The movie offers an excellent character sturdy of both father and son, looking at it from both a generational perspective as well as a scholary difference in how each is doing research.

This movie was one of the 5 nominees for this year's Oscar for Best Foreign Movie (Iran's "A Separation" won the Oscar), and rightfully so. This is the complete antitode to Hollywood's mainstream fare such as "John Carter" or "Wrath of the Titans" in that it is an intellectually challenging movie. The lead performances of Shlomo Bar Aba as the father and Lior Ashkenazi as the son are nothing short of outstanding. I was pleasantly surprised to see how many people were in the theatre when I saw the movie this weekend here in Cincinnati, giving me hope thia may reach a wider audience. Meanwhile, "Footnote" is HIGHLY RECOMMENDED!

FOOTNOTE is an appropriately titled sparklingly intelligent and entertaining film written and directed by Joseph Cedar. With a small cast and a focused story this little film form Israel is not only a pleasure to watch as a story performed as shared by brilliant actors, but it is also one of the most visually artistic and creative venture of cinematography to be on the small screen in a long time: the genius cinematographer is Yaron Scharf. Add to this a musical score that enhances every moment of the story courtesy of composer Amit Poznansky and the film simply succeeds on every level.

In a most ingenious way we are introduced to the two main characters father and son, both professors in the Talmud department of the Hebrew University in Jerusalem. The film opens on the confused and somewhat unattached facial expression of the seated father Eliezer Shkolnik (Shlomo Bar Aba) as he listens to his ebullient son Uriel Shkolnik (Lior Ashkenazi) being inducted into the prestigious Israeli academic union. Uriel's acceptance speech reflects his childhood when his father informed him upon questioning that he was a `teacher' an occupation the young Uriel found embarrassing at the time, but now honors his father for this guidance. After the ceremony we slowly discover that there is a long-standing rivalry between father and son. Uriel has an addictive dependency on the embrace and accolades that the establishment provides, while Eliezer is a stubborn purist with a fear and profound revulsion for what the establishment stands for, yet beneath his contempt lies a desperate thirst for some kind of recognition: his only clam to fame after long years of intensive research is that the man who published his findings mentions Eliezer in a footnote. When it comes times for the Israel Prize, Israel's most prestigious national award, to be awarded, a clerical error results in a telephone call informing Eliezer that he has won, while in reality the award was meant for his son Uriel. How this error is resolved open all manner of windows for examining family relationships, fame, pure academia, and forgiveness.

The film is an unqualified success. Lior Ashkenazi (so well remembered from `Walk on Water' and `Late Marriage' among others) gives a bravura performance and that of Shlomo Ben Aba balances it in quality. The supporting cast is strong. Joseph Cedar has produced a fine film very much enhanced by the brilliance of the cinematography that tells the story as much as the dialogue. Grady Harp, August 12

Buy Footnote (2012) Now

This bittersweet comedy from Israeli is set in the rarefied world of academia and is a fine, interesting movie about the bitter relationship between a father and a son who both happen to be Talmudic scholars working at the Hebrew University of Jerusalem and how their rivalry finally overcomes their filial obligations.

Eliezer Shkolnik (a terrific performance by Shlomo Bar Aba) is the father, and he seems a personification of male old age grumpiness. He looks at the at the rest of his colleagues with an insufferable air of intellectual superiority, and believes he hasn't been recognized to the extent that he deserves, yet the movie hints he is a bit of a fraud himself, his main claim to academic fame is having been thanked in a footnote in a book by a famous Talmudic authority. The more successful Uriel (Lior Ashkenazi, who usually plays young macho men, but here plays a middle aged academic against type), is the son. The film lampoons him for being a lightweight scholar and for being too attracted to the media spotlight, yet he seems to be the more psychologically rounded of the two. The tense relationship between father and son finally comes to a bitter confrontation when the elder Shkolnik is mistakenly awarded an important academic prize that was meant for the son (I'm not going to reveal anything else about the plot).

I'm also obviously not going to reveal the ending but it seems underwhelming and unrealized, as if the director Joseph Cedar didn't knew how to end the movie. Thus, what was a fine film until then ends in a curiously unsatisfying way. Nevertheless, this is a fine movie with many great scenes. I especially liked two scenes: one is set in a small but packed conference room and ends when one academic shoves another to the wall. In the second scene, a very pretty female journalist goes to the home of the elder Shkolnik to interview him and manages to get him to say very nasty things about his son.

Read Best Reviews of Footnote (2012) Here

Footnote is an excellent film that portrays a bitter rivalry between a father and son in the world of competitive, backstabbing academia, a world in which winning prizes for research and being recognized and accepted by the academic community is everything. Some people have commented that the first twenty or so minutes of the minute move too slowly; but this is necessary for character development. The rest of the plot moves along at a very good pace; it's anything but boring. The casting was thoughtfully done and the acting is very convincing. The choreography and cinematography lack nothing; and the musical score enhances the film as well.

When the film starts, we are slowly but surely introduced to an Israeli father and son who are both passionate about Talmud research. Eliezer Shkolnik (Shlomo Bar-Aba) is a bitter, autistic older man who has been nominated for the prestigious Israel prize sixteen years in a row but has never received it; by contrast his son Uriel (Lior Ashkenazi) knows how to work the circuit, keep his subordinates in line with him or else and enjoys the attention that comes with giving six much admired speeches all over Jerusalem in just one night! While Eliezer shows disdain for the community that he thinks recognizes people who are not so "scientific" in their research, deep inside him Eliezer cannot help but feel the human need to be appreciated, accepted and receive awards like his son receives. Eliezer's only real source of pride (and he is a remarkably proud man) is a footnote dedicated to him by his mentor in an opus on Talmudic Literature.

Eliezer has another reason to be sour, jealous and depressed. After nearly thirty years of daily research at The National Library, Eliezer was just about to publish a bold, groundbreaking thesis proving there was a different, European version of the Talmud in the Middle Ages--but just as he's about to publish his findings, the culmination of his life's work and the source of what would have been great pride, another researcher (Grossman, played by Micah Lewensohn) by pure chance just happens to stumble over the actual old European Talmud in Italy! Grossman, knowing he would steal Eliezer's thunder and crush him emotionally, publishes his own findings anyway and Eliezer is badly scarred.

Things only go from bad to worse when Eliezer gets a phone call that he has won The Israel Prize he wanted all his life. When Uriel is secretly told that the prize was actually meant for him and not his father, Uriel is stunned. Uriel fights with the prize committee, including Grossman who chairs the committee, so that his father can have the prize; but Grossman's hatred of Uriel's father surfaces and the solution to the problem will not be easy or immediately obvious. There are plot twists after that but you will be able to follow along.

Look also for excellent supporting performances by Alma Zack as Dikla Shkolnik; Daniel Markovich as Josh and Yuval Scharf as Noa, a journalist.

Footnote is a first-rate film that will appeal to anyone interested in family dynamics; the competitive and backstabbing world of academia; dramas with a slight touch of comedy and fans of the actors in the film.

Want Footnote (2012) Discount?

FOOTNOTE (HEHARAT SHULAIM in Hebrew) is an appropriately titled sparklingly intelligent and entertaining film written and directed by Joseph Cedar. With a small cast and a focused story this little film form Israel is not only a pleasure to watch as a story performed as shared by brilliant actors, but it is also one of the most visually artistic and creative venture of cinematography to be on the small screen in a long time: the genius cinematographer is Yaron Scharf. Add to this a musical score that enhances every moment of the story courtesy of composer Amit Poznansky and the film simply succeeds on every level.

In a most ingenious way we are introduced to the two main characters father and son, both professors in the Talmud department of the Hebrew University in Jerusalem. The film opens on the confused and somewhat unattached facial expression of the seated father Eliezer Shkolnik (Shlomo Bar Aba) as he listens to his ebullient son Uriel Shkolnik (Lior Ashkenazi) being inducted into the prestigious Israeli academic union. Uriel's acceptance speech reflects his childhood when his father informed him upon questioning that he was a `teacher' an occupation the young Uriel found embarrassing at the time, but now honors his father for this guidance. After the ceremony we slowly discover that there is a long-standing rivalry between father and son. Uriel has an addictive dependency on the embrace and accolades that the establishment provides, while Eliezer is a stubborn purist with a fear and profound revulsion for what the establishment stands for, yet beneath his contempt lies a desperate thirst for some kind of recognition: his only clam to fame after long years of intensive research is that the man who published his findings mentions Eliezer in a footnote. When it comes times for the Israel Prize, Israel's most prestigious national award, to be awarded, a clerical error results in a telephone call informing Eliezer that he has won, while in reality the award was meant for his son Uriel. How this error is resolved open all manner of windows for examining family relationships, fame, pure academia, and forgiveness.

The film is an unqualified success. Lior Ashkenazi (so well remembered from `Walk on Water' and `Late Marriage' among others) gives a bravura performance and that of Shlomo Ben Aba balances it in quality. The supporting cast is strong. Joseph Cedar has produced a fine film very much enhanced by the brilliance of the cinematography that tells the story as much as the dialogue. In Hebrew with English subtitles. Grady Harp, August 12

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Sucker Punch (2012)

Sucker PunchThe extended cut of Sucker Punch adds approximately 17 minutes and 45 seconds of additional footage, and is R-rated. The extended cut is much darker than the theatrical cut; while not necessarily being more visually explicit, previously implied suggestions are now explicitly overt. The violence and action scenes have also been extended as well, with two re-inserted battle sequences, one with the orcs at the castle (arterial spurts of green orc blood), and the other with the German World War I zombies.

I don't think I quite understand Snyder's multi-layered metaphorical comparisons between the brothel, asylum, and Baby Doll's fantasy worlds, but I will say that the movie (especially the action sequences) are visually stunning, and the colors beautifully contrasted. Credit especially to the actresses for their proficient firearms handling (but where exactly did they store all those extra magazines I wonder?). However, it would be superficial to suggest that Sucker Punch is only about girls in anime costumes fighting monsters in fantasy worlds, though that is certainly an interpretation shared by many critics who panned the movie.

Here are the main differences between the Extended Cut and Theatrical Cut; NOTE, SPOILERS FOLLOW, so continue reading at your own risk.

(1) Baby Doll shoots at the stepfather a second time (as compared to a single time in the theatrical cut), resulting in some CG blood and an arm bullet wound, which the stepfather grabs at.

(2) When Sweet Pea first meets Baby Doll (with Blue and the priest), Sweet Pea says, "the priest brought you here from the orphanage to lose your virginity, right?". Then Blue says, "The High Roller is coming in 5 days to do a little flower picking.." There is no such comment about deflowering in the theatrical cut.

(3) Rocket takes Baby Doll on an extended tour of the nightclub, showing her a backstage area where clients are not allowed. She shows Baby Doll the cleaning closet where new girls are assigned cleaning duties. They pass by the kitchen where the chef makes a lewd face at the girls, who ignore him, and walk onwards.

(4) Full dance number of "Love is a Drug" as performed by Blue & Vera. It's quite extravagant.

(5) The cook attacks Rocket more violently and physically in the extended cut.

(6) The backstage scene where Baby Doll explains her plans is extended. Vera writes the order of the dancers, with Sweet Pea performing first. Rocket and Sweet Pea then sit down, and Sweet Pea tells Rocket that she won't help Baby Doll.

(7) In the World War I scene, the Wiseman briefs the girls for a little longer. The map they are to capture is a map of the trenches and troop locations, the map will be sent via courier by zeppelin. The Wiseman then asks Amber how she likes the mech, to which Amber replies in the affirmative. The Extended Cut includes a great shot of the girls slowly walking out of the fog into no man's land, and additional shots of zombie German troops rushing out of their respective trenches. Amber shoots down several attack German fighters before herself flying skyward, and Blondie grabs her Daewoo K3 and mows down a horde of attacking zombies, littering the battlefield with their corpses. There is additional hand-to-hand and (hatchet-to-bayonet vis a vis Blondie) combat in the trenches, and Baby Doll fights the Zombie commander initially in an extended sword fight. I'm glad they extended the WWI sequence, it looks fantastic.

(8) Vera tries to cheer up Baby Doll pre-performance with a quote by Mark Twain about illusions.

(9) The orc/castle/knight siege scene has been heavily extended, most prominently featuring a new scene of the girls jumping into the courtyard, and decimating the orcs using firearms and edged weapons, while performing various acrobatic maneuvers. Green orc blood spray across the screen. Additional shot of knights trying to break through the gate with a tree trunk. Extended combat scene of girls versus knights, and slow-motion scene of Blondie firing the side machine gun.

(10) Blue tells Baby Doll that he will "pop that smile right off of her face", whereas in the theatrical cut, he falters without completing the sentence.

(11) The sequence where Amber is killed shows Blue's gun being fired twice, rather than the slight vibration in the wine glass. Blue shoots Blondie when she's on the ground an additional time. Nothing graphic is shown.

(12) Blue attacks Baby Doll for a longer period of time (and more physically) in the extended cut, when backstage.

(13) After Baby Doll is knocked unconscious, Sweet Pea steals a white dress while on the lam.

(14) During the last, infamous scene between the High Roller and Baby Doll, white gloved hands undress Baby Doll down to her skivvies. High Roller and Baby Doll talk, and High Roller doesn't just want to deflower Baby Doll; rather, he wishes to grant her freedom from everything, in essence, granting her absolution. Baby Doll seems quite taken and the two begin to kiss passionately, but no nudity is shown. The Extended Cut directly links Baby Doll's deflowering in the brothel to her lobotomy in the real world; I can understand why this scene was cut to make the PG-13 rating, as it's rather sexually suggestive.

Note: I wrote an original review for the film only way back when I saw it, which was actually on opening day. Now that I have acquired the Blu-Ray version of Sucker Punch, I will write a review. My consensus though is to purchase the Blu-Ray package over the DVD, so if you just want to read my thoughts on the movie, skip this section. I will review the Blu-Ray. If you are wanting to know everything about the layout and the general features, Amazon is correct with both product descriptions, so you can trust them.

When I first saw Sucker Punch in theaters, the art direction, CGI, and the colors was absolutely jaw dropping; this was one of the movies that I could see blasting on my TV screen. Well, I am happy to report that Sucker Punch looks and sounds terrific on Blu-Ray. Given the sensory overload Sucker Punch provides, one can only imagine how the potential of the , and the transfer does its justice and brings Sucker Punch to complete life upon your HD TV. The picture is crystal clear and sharp, which gives way to an absolutely dazzling high definition picture on screen. Sucker Punch's intense colors, elaborate architecture, and stylized visuals all come to life onscreen, with a visual intensity on the same boat as any high production value video game would be able to achieve (Think Uncharted 2 or God of War 3. Sucker Punch can surely compete with both games in terms of visual splendor). All the little details of the visual intensity absolutely stand out and are crystal clear. You can see everything little snow-flake, bit of explosion, and piece of dust, yet the little details don't substantiate the stylized and beautiful landscape and architecture. I give the picture an easy 10. It looks absolutely amazing. So safe to say, it is ABSOLUTELY worth buying for television viewing.

The audio is not quite as impressive as the picture of the film (seems fitting, however, given the visual approach to the film), but the sound is no slouch either (I think this has to do with the fact that the Sound design by default is not as good as, say, Saving Private Ryan or Lord of the Rings). Sucker Punch will still work out your home theater system, so if you have a great sound system, it's time to watch Sucker Punch with it. The movie really takes advantage of the DTS Sound track, as you will be able to hear the explosions surround you, the bullets clanking, whizzing, and whining and all around you, and the adjacent sound effects to the visual keys that Zack Snyder is so fond of using is crystal clear and satisfying. Your theater will rumble, and you will be totally surrounded by the immersive sound to really match the whole movie. What else could you ask for? I give the sound a 10, although the sound design is a 9.

As most of you already know, the Blu-Ray version of Sucker Punch adds 18 minutes to the movie. This is a whole 18 minutes of new film footage. More dialogue is added to certain scenes, and while they really don't radically make the story better in a way, it does add some fluency and color to the movie. These add more color and life to the characters and situations. There is also more action to make those peaks and valleys of the action more effective, and there are a couple more graphic shots to the action scenes, as there is a bit more gore. There is also the cut scene that Snyder had to remove (which deals with a sexual encounter), The most prominent addition to the film is a eye catching and theatrical musical number, and it doesn't at all tone down the pure visual and aural onslaught the movie previously had. I'm not going to give out spoilers but the is worth seeing and makes the movie even more of a blast than it was in theaters. Really, what else can you ask for?

As far as the rest of the special features go, here they are.

Maximum Movie Moment with Zack Snyder: The informative and fun special feature from the Watchmen Blu-Ray returns for another round, with Zack Snyder stepping out of the director's chair to give us more insight as to how the film was made, all interactive and almost feels hands-on to an extent. In the Maximum Movie Moment, Zack Snyder discusses how certain interesting and intricate shots and portions of the film were made, which really satisfy the question of "How did they film that?". He is not on-screen the whole time, but there's more than enough useful information to make the feature very worthwhile and awesome. In addition, some sketches and storyboards are thrown into the mix. Zack Snyder really shows how, and with something as interesting and useful as what he does with MMM, who needs it?

*Sucker Punch: Behind the Soundtrack-A somewhat interesting mini-feature regarding the unique and stylistically interesting sound track. Unfortunately, it's wait too short. Giving the short running time (only 3 minutes), Zack Snyder and and company do not go into much detail when it comes to the soundtrack. They basically just give a loose overview of how they came up with the soundtrack. That's it. Sure, it's interesting, but honestly, however, it's not a must see special feature.

*Four motion comics: These four "comics" remind me of a moving graphic novel of sorts. I think they are not substantial, but they do give background and interesting that further flesh out parts of the film. On the downside, each of them are only 3-4 minutes, and there are only four of them. At least they cut to the chase, which, actually, may strengthen their impact.

In addition, the Blu-Ray Combo pack, as you can tell, also comes with a Digital copy and a DVD of the theatrical release (NOT a Blu-Ray version). Be quick though with the Digital copy; however, as all of the digital copies I have owned eventually expire.

Finally, should you get Blu-Ray or DVD? As mentioned before, I do not own the DVD, however, my best advice would be to spend the extra money on the Blu-Ray version of the movie. The Sucker Punch DVD is a bit too bare bones, as the two special feature that the DVD have the run time of less than 20 minutes. Another nail in the coffin when it comes to the two is that the price of the Blu-Ray is not much greater than the DVD. Personally, I would recommend springing for the Blu-Ray version, hands down. If you do not own a Blu-Ray player and have no intention of ever getting one, I can see why one could settle for the DVD. But if you in any way have a choice between the two, I would recommend spring for the Blu-Ray version for sure.

ORIGINAL REVIEW:

After being disappointed with Battle: LA in theaters a couple weeks ago, I crossed my fingers and hoped that Sucker Punch would be the good Spring movie that kicks a major amount of @$$, like Kick @$$ did last year. Well, I put my trust in Zack Synder, and he didn't disappoint. Sucker Punch has got some critical backlash, but what for? Who cares anyway? Sucker Punch, with thrilling action, a massive scope, the patented Zack Snyder style of film making, and absolutely GORGEOUS imagery sensory overload, make this film a must see. It also happens to have some actual decent acting (well, a little over the top, but for this movie it makes sense) and a plot that actually not half brain dead.

So what is this movie about anyway? Well Sucker Punch, while not totally original (the film conjures up many other works as influences, such as Alice in Wonderland, Philip K. Dick, and The Matrix), is a film that blends themes such as freedom, reality, identity, the power of imagination, and escapism, among other things. Sucker Punch is a film that deals with a young girl who is framed for murder, and is about to experience a lobotomy. Given five days of her sanity, she then makes a list of things she needs to escape the institution. Through dancing in order to distract certain members of the mental institution/brothel to get the things she needs to escape (yes, you read that right), she teams up with four other patients to escape the place they have been held in.

Character development, I'll admit, is pretty sparse here. You pretty much know the characters themselves very quickly, and there's nothing too revealing or deep about them. Thankfully though, the film manages to make the characters interesting and likable, thanks to the acting. Sure, you don't find any Oscar winning performances here, but I think it works by just letting the actresses and actors just act like, well human beings, and it's very much present here (that is, if people actually pay attention). I actually think this work better than trying to add a bunch of stupid back stories that we've all heard a million times before; a cheap way to try to humanize a character if you ask me. Snyder is also able to milk the likability of these young actresses to make, them, well, likable, so for all of it's positive aspects characters are not really a problem. As long as you are not expecting the character study that Snyder's Watchmen was a couple years ago, there won't be much problem here.

Sucker Punch, also, has a very emotional undercurrent to it's dilemmas, which was all the more powerful and effective. There's something about the motives of these people and what they are doing that really gives the film the various subtexts it needs, no small feet there. Sure, it's still an action film at heart, but Sucker Punch does leave quite a bit to talk about, and no harm can come from that. All well and good, but that's not even the best part of the movie.....

The best part though, is this film is a VISUAL medium no halls barred. I've seen three Snyder films, and Sucker Punch outclasses both 300 AND Watchmen. Snyder sure knows how to really use the visual film medium, and Sucker Punch holds nothing back. Iconic slow motion everywhere, massive sweeping cinematography, and a unique melding of aesthetic make Sucker Punch have more visual delights in one film that the most of the other bid budget films released every year do combined. Most importantly, Snyder has a sense of wonder and awe that so many countless big budget action films are sorely lacking, the imagery forces your to look on. I must have sat in the theater with my jaw dropped the whole two hours. From huge castles and dragons, dark and grimy asylum halls, Gothic WW1 wastelands with zombies, to a truly awesome futuristic land of trains, futuristic cities set in a galaxy next to a planet. In addition, music and sound also plays a integral role as well, with tons of great sound effects, and a soundtrack with songs from Jefferson Airplane, Pixies, and The Beatles filtered through a dark, almost cyberpunk type of aesthetic, as sweeping as the imagery on screen. Indeed, everything about the film making is first rate.

The elaborate worlds that Babydoll and company are thrust into are amazing to look at. Massive, eclectic, and designed with incredible detail, Snyder did not stop at all in making truly immersible and jaw dropping worlds. Add that with Snyder's great use of music, and you got one heck of a great movie experience. These worlds are as imaginative as you would expect from any Grade A video game, and Snyder doesn't hold anything back in his head. You won't get any lukewarm art design when these action scenes hit the screen (in case you haven't figured it out, all the action scenes are in their head). Speaking of the action, it's, for a lack of a better word, absolutely thrilling. It's just as good as you would expect from Snyder. Massive monster fights from cool looking Samurais to dragons, lot's of guns, huge explosions, heart stopping action that feels like it can pirouette on a dime, it's all here and more. It doesn't let up the intensity either, and each one is a roller coaster ride of sheer movie delight. It has all the giddy thrill you would get from watching movies such as Transformers, 300 (yes, same director I know), or Kill Bill (although obviously not R rated), so that's a big compliment on Snyder's part.

Alright, if my rambling hasn't convinced you already that this movie is worth seeing, then you might as well skip it. Ignore the critical backlash Sucker Punch has received. It's totally worth seeing. It's clear that Zack Snyder always takes pride in his films and loves making them to make them, and it shines through here. As long as you are not expecting Andrei Rublev or a Mike Leigh film, you should at least go into the movie knowing what you are going to get. Sucker Punch, thanks to the visionary and imaginative directing of Zack Snyder, is easily an action film that, well, beats out the competition. Recommended.

Buy Sucker Punch (2012) Now

This has future cult favorite written all over it. Complex, awesome special effects, and a fun cast to boot. If you didn't enjoy it the first time, I definitely recommend watching it again. Zack Snyder really shows off his skills with this film and I can officially call myself a big fan of his work now. So enjoy and make sure to go in with an open mind.

Read Best Reviews of Sucker Punch (2012) Here

I'm starting to wonder if we're seeing the same movies as the critics nowadays. Or at least, if we're getting different cuts of movies. Because I've often found myself walking out going "Did I see a different movie than the critics?"

Of course, Snyder is no stranger to critical disdain. He may be the most misunderstood director out there. True his films aren't for

everyone, but if you look close enough you may just find something there. And Sucker Punch is the biggest example of how big a visionary he isHere he manages to bring to the table a satisfying and exciting new vision.

I was in right from the opening scene. A cover of Sweet Dreams set to a fantastic and tone setting scene depicting her abuse from her wicked stepfather. WHAT an opening scene.

We are then transported to Mount Pleasant Insane Asylum, once a performing arts venue. Baby Doll is just a drop in the ocean of how

many beautiful girls who can dance. Baby Doll doesn't know this until she saves Rocket, another one of the girls. There she meets the rest of the gang, and the sexy Goski, a doctor who has a form of therapydance. When Baby Doll dances, she can slay dragons, fight robots, wield swords, etc. The girls love herbut as it stands, she's dancing... to escape from the asylum with the girls.

The concept may not sound dazzlingbut wait till you see it. Sucker Punch is what its title statesa conceptual sucker punch. Nothing can prepare you for what you will experience. You are in the world with Baby Dollyou feel as if you are experiencing Baby Doll's therapy with her. Snyder totally does a great job with this aspect, and as a theatre nerd and dance lover, arts as therapy really hit home because it's very true, and I've experienced that euphoria from being a performer.

The acting is fantastic, and Emily Browning is great as both an action chick and a confused, disturbed girl. Cugino is sexy and adds her usual charm to her role. Hamm as Blue is easily the best, as his villain is certainly convincing.

Add to that, one of the best soundtracks ever put to film. Working with Tyler Bates, Browning covers a few songs, and quite a few others contribute too. And Bjork's "Army of Me" has never sounded cooler.

I was skepticalSnyder has struck gold with 300, Watchmen and Guardians, but could he manage to make one of his original ideas spark?

As a result he canand he did. Do NOT be a puppet of the criticsexperience Sucker Punch with an open mind. Touche, Zack Snyder...

Touche.

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I don't get all the hate for this movie. It's visually amazing, the writing is good, and it's more impactful than I expected going into it. Just don't expect this to be the next Titanic or Good Will Hunting and you'll thoroughly enjoy it.

Plus the Blu-Ray has some awesome behind the scenes.

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National Lampoon's Vacation (2010)

National Lampoon's VacationThe picture may be only a bit better than the previous DVD releases...the sound is ridiculous and the 43 second intro from 2003...weak. I do agree that the cover art also sucks but I certainly don't care if the disc delivers the goods...this doesn't. Don't bother to upgrade from your normal DVD..its not!

Hands down, one of the best comedies of the 80's. Chevy was at his best and director Harold Ramis was on a role. (Caddyshack and Stripes.)

Many cuts and versions are out there but the truest I've seen, so far, is the anniversary edition. It's in widescreen (I've heard matted/cropped,not sure, but??), nice 5.1 mix, some decent special features but where are all those deleted scenes and the alternate ending?

Plus, a big [..] I have. "I'm so exited" was the song played when Christie Brinkley pulls along side Chevy(Clark Griswald) in the original. Why, still is "Little boy sweet" a song also by the Pointer Sisters used instead?? Both songs were used in the movie. The latter in the truckstop sceen where Chevy eats the pissed on sandwhich.

Is the copyright on that song that expensive to get it??

Dunno. Great movie. Lotta fun.

Best DVD of it yet. Agreed??

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After all these years of waiting, I was very happy to see that Warner was finally going to give "National Lampoon's Vacation" the Special Edition DVD treatment I always felt it deserved. Now that it's finally here, I'm sorry to say that it isn't as "special" as I'd always hoped it would be.

Although this time the film IS presented in widescreen, it is the type of 1.85:1 ratio that actually crops off some of the picture from top and bottom that the old standard VHS version had. That is always annoying to be sure, but since the DVD shows the movie the way it truly appeared in theaters we can't really complain about that. You have to look at it this way: VHS was just showing MORE than was seen in the theater.

The special features leave much to be desired. The group commentary track with Director Harold Ramis, Producer Matty Simmons, Chevy Chase, Anthony Michael Hall, Dana Barron and Randy Quaid was ok, but I've heard much better commentary on other films. With few exceptions, they really didn't say much that was very interesting or insightful, and there were several gaps during the film where no one seemed to say anything! And where was Beverly D'Angelo? I can't believe that she wouldn't have wanted to take part, especially since she appeared a few years ago on the TBS "Dinner & A Movie" with Paul and Annabelle to talk about the movie during commercial breaks with them!

The "Interactive Truckster Gallery" was pretty much a bore, with the exception of the section where stunt co-ordinator Dick Ziker talked about his jump in the desert for the crash scene. Dana Barron also offered an explanation why she only appeared in the first film in the gallery as well. The rest of it was not anything really noteworthy.

The new introduction to the film by Simmons, Chase and Quaid was just a short, silly little piece of nothing. The trailer is here, but I think the original DVD had it too so that isn't anything special. The other languages for audio are a nice touch. Try playing the scene where Clark had a temper tantrum in the car in French, Spanish or Portuguese for a laugh or two.

My big complaint is about the special features that were NOT present, such as deleted scenes. In the shooting script, there are several scenes that could have been presented here, including an alternate ending. The fact that Aunt Edna didn't really die, the Kamp Komfort clerk dressing up as a moose for the "wildlife fun" (see the photo during the end credits of him in the moose outfit), Clark fearing the police are chasing him after he "robbed the hotel" and stopped for gas (where he got the sandwiches he mentioned shortly before discovering Aunt Edna's "death") and the alternate ending would have been good to see, but no dice. No true "special edition" should be without a deleted scenes gallery!

My final complaint is the fact that the original soundtrack was not restored. Unlike the theater and original VHS versions, The Pointer Sisters' "I'm So Excited" was not present during the highway Ferrari scenes. Similar to the version now shown on cable and the first DVD, "Little Boy Sweet" replaces it. What makes that even more annoying is the fact that the end credits were NEVER changed. "I'm So Excited" is still listed as appearing in ALL cable and home video releases. That is almost like adding insult to injury. Why not restore the original soundtrack for the 20th anniversary?

In summary, I give this DVD 3 stars, just middle ground. It's an improvement over the first one, but definitely not all that it could be. Die-hard fans of the movie might want to pick it up, since there might not be any better releases for the 25th or any other anniversary. If your opinion is that you can take it or leave it, I would advise you to just pay a couple of bucks to rent it and save the rest of your money for something better.

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NATIONAL LAMPOON'S VACATION still stands up as one of the funniest road movies ever made. With a canny script and dead-on performances from the superb ensemble cast, it serves as a cautionary tale for families everywhere how NOT to have the family vacation from hell.

Clark and Ellen Griswold (Chevy Chase and Beverly D'Angelo) and their two children (Dana Barron and Anthony Michael Hall) embark on a huge, life-consuming odyssey, otherwise known as the cross-country trip to Walley World in California.

Along the way, they have to contend with a trip to their hillbilly cousins Eddie and Catherine (Randy Quaid and Miriam Flynn) and end up dragging crochety old Aunt Edna (Imogene Coca) along for the ride through Phoenix. Adding insult to injury is the shapely blonde in the red Ferrari (Christie Brinkley) who is following Clark "all the way"...

Hilarious all the way. It is indeed painful to watch the hapless Clark fumble his way (Basil Fawlty-style) through the series of disasters that befall him on his vacation.

The DVD transfer is wonderful after years of...fuzzed-out video transfers.

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Great movie that still holds up today. Chevy Chase and Anthony Michael Hall make the film with superb performances. As far as the DVD, don't buy this thinking you are 'upgrading' your collection to DVD because the quality is just not there. The disc picture quality is NO better than the VHS and is still pan-n-scan. I did a side by side and I think I almost prefer the VHS picture over the DVD, seems to be clearer. The sound is in MONO, which really takes away from the viewing enjoyment. The only reason to upgrade to DVD on thid one would be for the theatrical trailer or convience of chapter search. There also are a few cast bios but nothing more. I'm almost positive that Criterion or someone will re-release this as a special edition SOMEDAY, as this is a really disgraceful handling of an American Treasure.

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The Benchwarmers (2006)

The BenchwarmersProduced by Adam Sandler's company, Happy Madison, this movie has a lot of elements you would come to expect from many of Adam Sandler's past comedic escapades, such as toilet humor and slapstick elements, and "Benchwarmers" makes great use of these and other elements that have delighted fans for several years. Rob Schneider, a recurring minor character actor from several Sandler films, steps up to the plate in this latest baseball comedy, which follows a growing trend of movies glorifying the low people on the social totem pole. I personally have always enjoyed seeing movies that do this, and "Benchwarmers" is no exception. Unless you are totally opposed to this type of humor, "Benchwarmers" is sure to hit a home run with your funny bone! Older children and teens particularly will find this movie a treat, but I would recommend this movie to anyone, regardless of age (with the exception of very young children), who has ever found entertainment value in Adam Sandler or the three featured actors herein!

Just as is the case with all Happy Madison-produced movies, this movie comes equipped with a crappy plot. However, also as usual, the movie manages to be funny and entertaining anyway. The characters and the humorous dialogue are what make the movie worth seeing. Rob Schneider, David Spade, Jon Heder, Nick Swardson and Jon Lovitz are all very funny in their respective roles.

My favorite characters were Richie (Spade) and his brother Howie (Swardson), who suffers from agoraphobia and does not leave the house. He fears the sun, in particular, as he believes that it is bad and that it wants to burn him. Richie finally tricks Howie into leaving the house by telling him that there is an escaped killer running loose in their town who is hell-bent on killing people named Howie. Before this, however, we also get to see Howie go to battle with 2 cute little Girl Scouts.

There are some very funny one-liners delivered in this movie. I found myself laughing out loud more than a few times, usually at something said by David Spade's character.

Jon Lovitz, Craig Kilborn, Tim Meadows and a few others do well with their supporting roles. Lovitz is particularly funny as a nerd-turned-billionaire who spitballs the idea of "The Benchwarmers" team.

I would recommend seeing the movie, but I wouldn't put it on the same level as Spade's past movies, Napoleon Dynamite or any older Sandler movies. I would place it just on the level with a Rob Schneider movie, like Deuce Bigalow. Worth watching, then decide whether or not you want to own it.

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I wasn't all that enthused about watching The Benchwarmers, but the film had me laughing from the very start and really surprised me with its home run of an ending, as it featured a really effective twist on an otherwise wholly predictable story. Underdog movies like this are a dime a dozen, but The Benchwarmers is really one of the better ones. With Saturday Night Live alums every where you look (and a little helping hand from Adam Sandler as co-executive producer), this movie has the comedy covered. Sure, it's decidedly juvenile in nature, but guess what? The film's main target audience is juveniles. Whether we like it or not, growing up involves a lot of fart jokes, underwear incidents, and name-calling. The comedy is actually one of the most realistic aspects of the film, if you ask me.

So here's the deal. After watching some bully athletes torment three kids for daring to play some baseball on "their" public field, Gus (Rob Schneider) decides to drag out the old mitt and play a little ball with two of his really dysfunctional buddies, Richie (David Spade), who sports a 3 Stooges-inspired haircut and works at the local video store, and Clark (Jon Heder), a really dumb paper-delivery guy. When the snotty ball players show up again, Gus challenges them to a game and he, Richie, and Clark actually win, thanks to Gus' baseball prowess. Other challenges roll in, and before you know it local nerd-turned-billionaire Mel (Jon Lovitz) puts together a statewide round robin tournament, with the winner earning a fancy new stadium for his town. All of those who have suffered at the hands of bullies, young and old alike, start turning up to cheer on their "Benchwarmers" 3-man baseball team. Now you might think that, in the end, something happens to Gus and his severely baseball-challenged teammates somehow manage to win the day for all of the nerds and geeks supporting them. You might think that, but you'd be wrong sort of, anyway. The way the ending comes off is no less corny than the rest of the movie, but it is rather delightfully different and serves to reinforce the message of the whole story.

It's sort of a shame that the movie has to be PG-13, since even younger kids will get a big kick out of it, but I don't know that I would have done anything differently (well, a little less projectile vomiting, maybe). Kids can be as crude as they are cruel (and I can pretty much assure you that your little eight-year-old angel will understand every crude gag in this film). I'm just thankful the beef stew thing wasn't around when I was a kid if you don't know what I'm talking about, just nod your head and move on because I can assure you it's nothing you would want to have stored in your personal memory banks of childhood. As for the other stuff like pulling someone else's pants down, taking a shot in the groin, losing control of a bat and hitting all sorts of things with it it doesn't matter how old these gags are, they're still funny, dadgum it (when they happen to someone else, at least). Some of the jokes do get stretched a little too far, but I think I laughed at every one of them.

The film also has a few interesting cameos. I was thrilled when my all-time favorite player, Reggie Jackson, showed up and he brought lots of comedy with him as he tried to turn the utterly hopeless Richie and Clark into ball players. Molly Sims and Erinn Bartlett add just the right touch of eye candy (even though there's no way, in any universe, that the salad girl would fall for David Spade's mop headed character). Still, it's nice to dream. It's also nice to laugh, and you should be doing plenty of that as you watch this film play out.

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After seeing the previews for this movie, I thought that I would never EVER watch this movie. It looked sooooo bad on the prewviews. But I rented it after seen that Nick Swardson (Grandma's Boy) wrote it. I've now learned that anything Nick touches turns to comedy gold. The Benchwarmers is a surprising hit. Rob Schneider and his band of misfit losers put on a great show. The film is full of great slapstick and nerd jokes. But be warned this movie isn't for everyone. It's extremely immature (like myself). Boogers, farts, guys getting hit in between the legs, etc. After thinking this was going to be the biggest joke of a movie I ended up laughing my butt off through the whole thing.

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It's hard to find a fun movie for my son, but this fit the bill. Stupid, physical comedy and gross-out scenes were just what he and his friends needed for a great night in front of the TV. David Spade sports a fab Prince-Valient haircut and for once, Rob Schneider is the more "normal" of the gang. A lot of fun cameos can keep adults happy for awhile too. The nerds triumph over the jock-bullies so the message isn't too bad either.

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Quinn, Colin - Long Story Short (2010)

Quinn, Colin - Long Story ShortTo seriously date myself, I have been watching Colin Quinn since the mid-eighties when he was the announcer/sidekick on MTV's inspired pop culture game show "Remote Control." In truth, while I like Quinn fine, I've never been a particularly enthusiastic fan. His irascible persona has served him well in stand-up and TV shows (Tough Crowd with Colin Quinn, The Colin Quinn Show) and suitably on "Saturday Night Live," but he's never had the cross over success of fellow "Remote Control" alum Adam Sandler. It was of great interest to me, however, when it was announced that Jerry Seinfeld was backing and directing Quinn in a one man stage show. "Colin Quinn--Long Story Short" is a 2010 filmed presentation of that show performed at Broadway's Helen Hayes Theater, originally broadcast on HBO. The show's hook is that it is a satirical look at the history of the world in 75 minutes. Tying modern day phenomenon to ancient civilizations, Quinn journeys through different cultures and eras for a fitfully funny and surprisingly smart engagement.

To be fair, I wasn't sure what to expect when I sat down to watch this presentation. But Quinn acquits himself well in a routine that is thought provoking and insightful. This is NOT a stand-up comedy special. Those looking for traditional jokes might need to look elsewhere. This is an intricately constructed piece that is as much about history as it is about any punchline. While not always as laugh-out-loud funny as you might hope, it more than compensates by its ambition and scope. I've never given much thought to Quinn as an intellectual, but the sophistication in this piece has made me reevaluate that opinion.

Not all of the night's themes are particularly new to comedic interpretation. The main point seems to be that humans are their own worst enemies. Seeking proclaimed enlightenment, our follies and foibles lead us down the path to destruction every time. And history repeats--no matter the time or place. Some of the funniest bits have to do with frustrations in contemporary society as people relate to one another at the ATM or in an elevator. But Quinn is adept at relating the idiocies of the present to those of the past. He takes us through the historical settings of the ancient Greeks and Romans, through to the British Empire, all the way up to the Jersey Shore with lots of stops on the way. I absolutely loved Quinn's premise here. For sure, the material was a bit uneven (some even too expected)--but the success far outweighs any drawbacks. Smart and literate, this satiric romp through the ages is absolutely recommended to those who know what to expect. Once again, this is NOT stand-up but a fully realized one man show which is both funny and brainy--a winning combination. About 4 1/2 stars. KGHarris, 10/11.

My wife talked me into seeing this when he came to philly. i wasn't too sure but i'm glad i did. it took about 5 minutes to get going but when he did it just took off. my only regret is that i didnt bring paper and a pen to write down all the jokes that i wanted to repeat later to friends and family. i cant wait to get this in the mail so i can see it all over again

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Written and performed by Colin Quinn. Directed by Jerry Seinfeld. This show was so well done and so funny, I saw it Live twice at Bleeker St. Theatre. It was so well received it moved uptown to Helen Hayes Theatre in Times Square where I saw it again. Hilarious view of civilization. Highly recommend. Deserves a Tony, if there is a Comedy category. Glad it was made into a DVD.

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This is a hilarious, smart summary of the history of the world. Colin Quinn is largely accurate (I did notice a historical error on the Latin America piece) and wholly entertaining. I only wish there was an edited version I could show my world history students, as the curse words are free flowing. I can watch this repeatedly and still laugh heartily at Quinn's performance. I HIGHLY recommend this product!

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Colin takes us through history using wit and humor to shine a light on the similarities between "now" and "then". Wish I could have seen it live and in person as the audience was really into the performance. Makes me miss Tough Crowd, a lot.

Starter for 10

Starter for 10From a very young age, Brian Jackson has crammed his mind with facts and knowledge, and now he's off to university for more. But the most important lesson he has to learn is that knowledge and wisdom are not the same thing.

Brian quickly makes a strong impression in academia, especially when he gets onto the school team for University Challenge, the wildly popular quiz show he grew up watching with his father. But the rest of life isn't so easy: Brian falls head-over-heels for his beautiful but self-centered teammate Alice, who leads him on despite having no real interest in intimacy; his mother, now ten years widowed, has found a new lover; he just can't sort out his feelings for Rebecca, a student activist with more than a passing interest in him; his blue-collar mates from home are starting to regard him as a class traitor; and any time he tries to be clever or impulsive, it always goes awry.

James McAvoy, who has already won great critical acclaim for his skills in dramatic roles, shows that he is equally adept in comedy, giving Brian an aw-shucks charm that keeps him loveable despite his penchant for saying exactly the wrong thing. Among the rest of the cast, the two greatest standouts are Benedict Cumberbatch, who steals his every scene as the hilariously snobbish team captain, and the extraordinarily talented Rebecca Hall, who plays Rebecca with such spirit and beauty that you can't help rooting for Brian to come around and realize that she's the one for him. Veteran thespians Charles Dance and Lindsay Duncan have a brilliant cameo as Alice's parents, and Mark Gatiss makes a convicing Bamber Gascoigne (the long-time host of University Challenge, and a real-life icon of British TV).

The script is witty, and gives new twists to the traditional conventions of romantic comedy. The climax on the set of University Challenge, and an earlier scene involving a misguided reference to The Graduate, are particularly well done. I can't help feeling, though, that the movie missed a few good opportunities as well. I understand the need to streamline the story, but I can't help feeling that they streamlined too much: fun characters disappear not long after they're introduced, certain aspects of Brian's schoolyear are mentioned when they should have been shown, and so on.

All the same, I thoroughly enjoyed the movie, and highly recommend it for any fans of romantic comedy, British film, or movies with cool '80s soundtracks.

I found this movie quite charming -much to do with the fact that James McAvoy is the central figure in it...I truly think we'll find him in a lot of good films in the future, which is GREAT!-.

The movie's the story of a boy who struggles to find himself while growing up -falling in love and making mistakes on a university TV quiz show are trascendantal-

You can get easily related to it...even more if you have had interest in accumulating a lot of useless -yet fascinatingdata in your brain to feel more intellectual or to guarantee yourself a "special" place in this world. Simple,sweet, funny and as I said before...charming!

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This is a slight film, but one well worth seeing for the fine performance by James McAvoy. A plain-looking nerd who goes off to college seeking to distinguish himself both as academically knowledgeable and, at the same time, as a ladies' man, he must strike a chord in the hearts of thousands of first year undergrads just like him. What McAvoy has going for him especially is his ability to ooze charm from every pore without being in the slightest degree sickeningly sweet. It is his memorable performance which distinguishes an otherwise pretty formulaic college comedy of heartbreak and eventual triumph.

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James McAvoy has that affable quality which makes the viewer like him even when he is being a bit of a prat. That is true throughout this DVD. The storyline is a little "low key," as the adaptation of the book to the screen was not as effective as it could be, but the performances are strong, and the viewer will not feel "cheated" when he finishes watching the film.

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Those of you who read the book may be a bit disappointed by its screen adaptation, an all to common occurrence when a book becomes a film.

Placing that comment aside and reviewing this film without use of a pretense, Starter for 10 is a cute, all be it a bit campy, British comedy about the bumps and hiccups brought by coming of age, finding ones future, and facing ones past. James McAvoy does a brilliant job of making his character lovably awkward. The subtle comedy, satirical character types and romantic interfaces make this a must see for any University Challenge fan (or anyone looking for a good laugh).

1 star off only because the book was better.

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Bad Santa (Unrated Version + Director's Cut) (2003)

Bad SantaIf you are a fan of Bad Santa, DO NOT BUY THIS DVD. I bought it expecting extended and restored scenes, instead I got a totally different ending and hilarious scenes cut out.

This version ends with the little boy outside trying to clean up the blood on his front steps rather than giving the bully a swift kick in the nards.

One of the scenes cut out is the scene in the gym where Willie and Marcus are trying to teach the little boy how to defend himself. That was one of the funniest scenes in the movie.

The packaging is deceptive. If they had said, "new ending" on the notes, I would have left it alone. It didn't and I wasted my money. I thought I would come on here and post a warning.

For those of us who can't quite get into the Christmas spirit, "Bad Santa" is a massive preemptive strike against all of the insufferable sentimentality we're going to be subjected to a few months from now. This movie is every bit as entertaining and funny as "School Of Rock," but where "School Of Rock" succeeded through the overwhelming weight of its good intentions, "Bad Santa" (its moderately heartwarming ending notwithstanding) is all about bad intentions. This movie, especially in its powerhouse first half, displays such a commitment to mean-spiritedness that you can't help but love it.

Billy Bob Thornton's safe-cracking department-store Santa Willie is the epitome of ugliness, all the more so because he commits much of his mayhem in his work outfit. Early on we see him getting drunk and throwing up in an alley, and from there he remains in the gutter for much of the movie. He chain smokes, he wets himself in his chair, he fornicates in a dressing room, and above all, he swears. I don't find profanity inherently funny, but Thornton's acid tongue manages to turn four-letter words into weapons of unimaginable destructive power. More than anything I've seen since the "South Park" movie, "Bad Santa" manages to elevate nasty language into an art form.

Even in its moments of humanity, the movie doesn't aim too high. Willie does have a love interest, but not quite in the conventional sense: intead, it's a young bar waitress with a Santa fetish who demands that Willie wear his stocking cap during coupling. Willie also finds some meaning in his life by striking up an offbeat friendship with a fat, bullied kid named Thurman, a bond that manifests itself in one unforgettable scene when Willie beats the living hell out of the teen skateboarder who gave Thurman a black eye.

Even though it's Thornton's show, "Bad Santa" also benefits from a top-notch supporting cast. In his last film role, the late John Ritter is the picture of ineffectualism as the mall manager; Bernie Mac is admirably slimy as the self-interested security chief; and the three-foot-tall Tony Cox belies his small size with a scene-stealing performance as Willie's "elf" and partner in crime.

"Bad Santa" doesn't have an enormous level of plot development, but then it doesn't really need much. What's really important is the way the movie's cynicism slices and dices the sugary "cheer" (which is often cynical itself) that typically accompanies the holiday season. Christmas isn't all about irritating songs and people rioting in department stores over cheap presents, and we all owe a debt to "Bad Santa" for dumping a little snow on the parade.

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Not only is this Santa bad, he is vulgar, crass, dirty, foulmouthed, loose-moraled come to think of it, I can't imagine a worse Santa. In spite of this, Bad Santa is a brilliant dark comedy, full of huge laughs from beginning to end, as long as you can put up with all of the bad language, which has got to be close to setting a record.

Billy Bob Thornton plays Willie, an ex-con drunkard who gets a job every year at a different department store playing Santa, along with his own elf, Marcus (Tony Cox). The catch is that every Christmas Eve, Willie and Marcus rob the department store blind. Willie wants to get out of this game, but he's so irresponsible and undisciplined that every year he's in dire need of cash again and needs to pull another job. As Santa, he swears at kids, urinates on himself, and is generally the exact opposite of what you want your Santa to be.

This particular year, a young kid (Brett Kelly) who is oblivious to the fact that Willie is not, in fact, the real Santa, attaches himself to Santa. Lo and behold, the kid lives alone in a posh suburban house with only his catatonic granny, so Willie takes up residence with the kid. As Christmas Eve approaches, Marcus becomes increasingly concerned with Willie's condition, the kid becomes increasingly annoying, and Willie stays exactly the same drunk, angry, and generally foul.

Bad Santa is exactly my kind of movie unrelenting, unapologetic, inappropriate, completely distasteful, and utterly hilarious. It's essentially the anti-Christmas film. Billy Bob Thornton has an unbelievable knack for acting, and an almost poetic way of unleashing cuss after cuss. This movie gets a big thumbs up, but definitely is not suitable for kids or the easily offended.

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If you are a bah-humbug individual, a Billy Bob Thornton fan, and/or have an appreciation for dark comedy....THIS is the Christmas film for you! Oh, yes, it requires an open mind and the ability to appreciate the unique, but finally here is a holiday film for those who like their seasonal entertainment with a little less 'sugar and spice'.

First, do not take your 11 year old to see this film, as did the gentleman sitting behind me in the theater. He elected to remain even though I advised him this was an adult film (seems the R-Rating didn't seem to do the trick). I stressed that was probably not suitable for his son even if my answer to his inquiry: "Well, it's about Santa Claus isn't it?" was "YES". Because the entire answer was: "YES, but a very, very baaad Santa".

After the movie, the viewer told me that I was correct, that he should have left, and that he had in fact started to leave several times during the film, but didn't. He added that he himself did not like the film. This made be all the more curious as to exactly why he elected to watch until the credits were rolling.

All the other movie patrons must have checked the ratings (as they were all adults), read the reviews, watched the promos, and perhaps caught Billy Bob on every talk show on TV the previous week (where he spent an inordinate amount of time telling the public 'This is NOT a family film'). They also must have enjoyed the film, because they all laughed, actually, they all laughed a lot.

Being an avid, devoted fan of Thornton, I understand and would be first to admit that I am more than a little biased when it comes to Billy Bob. I think he is incapable of making a film that is not entertaining. That being said, I would have enjoyed 'Bad Santa' if Santa had been portrayed by some other actor (except perhaps Jim Carey, but I digress). However, I don't know any other actor who bring the pathos, the heart, the lewdness, the earthiness, the seediness, and the overall great performance to this film that Billy Bob did.

Billy Bob Thornton continues to explore the depths of his talent and take fans along for the ride by always finding new and unique characters to portray. Generally he does this via the 'independent' film method, because indie films provide the greater opportunities for his enormous creativity.

This time his choice was not a 'new' character, rather actually a very, very recognizable character recognizable at least by name Santa, and this time in a film by commercial film makers. That is where our acquaintance with the character of Santa ends. Willie Stokes' Santa may resemble a lot of characters that we know really exist, as opposed to old Kris Kringle. We know this because many of us have met just such confused people in our real lives, though usually not wearing red velvet suits. The individuals we knew were known to us in the guise of losers, con men, hard-drinkers, and otherwise less-than-perfect people who are just a little bit mixed up about who they are, where they are going, and exactly how to get there.

The only disagreement I would have with many of the reviewing film critics about this film is their insistence that "Bad Santa' does not have a 'good hearted' ending. I would beg to differ. While I won't give it away, I would tell you it has what might be considered an ending that is totally 'appropriate' for a holiday film such as 'Bad Santa'. It isn't an 'It's A Wonderful Life' ending, but then again the film isn't 'Miracle on 34th Street'. But we already know that because the title reveals it from the git-go. I may be a bit of a softie when it comes to kids, but I must tell you some of the tears in my eyes at various moments in 'Bad Santa' were not tears of laughter.

Speaking of kids, Brett Kelly, the young actor who plays 'the kid' in "Bad Santa" is priceless in this film and perfectly cast. Brett is the Coronji Calhoun (Tyrell Musgrove Monsters Ball) of this film. Thornton is excellent in acting in films with children, this film being no exception.

John Ritter, like Billy Bob, has played a variety of characters in a myriad of films during his career and is always 'absolutely on the mark' for the personality of each character. Rather than being 'sorry' for Ritter that his last film was 'Bad Santa'; I believe that making this film with his old friend (from 'Hearts Afire', the 80's TV series) Billy Bob Thornton, in their first film together since 'Sling Blade', was probably a tremendous source of fun and pleasure for Ritter. I am personally very glad that he and Billy Bob had the opportunity to co-star one last time before John's untimely death. While his on-screen time seemed short on this film, John Ritter, as usual, did an excellent job and was very funny, as was always his way.

Open your mind, prepare for laughter, and give yourself the gift of a different kind of holiday cheer this year go see 'Bad Santa'. If what you want for Christmas is a little break from the often false cheerfulness of the traditional and instead a swig of dark humor for the delight of your soul, 'Bad Santa' can definitely make all your wishes come true whether you have been bad or good.

Want Bad Santa (Unrated Version + Director's Cut) (2003) Discount?

Bad Santa, the new anti-holiday comedy from director Terry Zwigoff is one funny movie. It is just what you'd call hilarious and Billy Bob Thorton does make one very bad santa.

Thorton plays a lascivious, acoholic who works with an elf, (hilarious Tony Cox). They're both bad allright! They're business specializes in stealing, by working at different malls around the area and waiting for the right moments to take what they want. Soon a bartender (Lauren Graham) falls for Thorton. The story works out well, it's not amazing (obviously) but it does this movie just fine. As for humor, this movie receives a high rating on my scale. Note: If you find Christmas too sacrosant to joke about or if you don't like scenes using abusive language towards children, then you should skip this. Also Brett Kelly plays a kid, who think Thorton is a real Santa and won't leave him alone.

This is a dark comedy, no doubt. If you have a dark sense of humor, you should definetly look into it. Though the film is vulgar and some of the humor might be viewed as vile, it is entertaining all the way. Bad Santa is rated R for Pervasive Language, Strong Sexual Content and Some Violence. The language is consistent and seems to never end, the sexuality is fairly explicit, you mainly hear sounds, but some is shown. There are only about 3 sex scenes but none include nudity. The violence is reasonably mild, a shootout near the end, which surprisingly isn't bloody and some fistfights. Billy Bob Thorton has also received a Golden Globe nomination for Best Actor for his performance, he does make a great, bad santa, but I'm not sure if he deserves it. Other contenders include, Bill Murray for "Lost in Translation," and yet another nomination this year for Jack Nicholson for "Something's Gotta Give. All in all, a fine comedy, the one thing I might've changed was the constant profanity but I guess it helps make the movie even more funny. Worth seeing in theatres and not a bad pick for owning on Video or DVD.

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