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

Cry-Baby

Cry-BabyI'm really excited to see this great film finally make its debut on dvd; it's been a long wait.

John Waters has proven himself time and time again as America's avatar of bad taste and all things tacky, but he sidelined his more base urges for a greater good over a decade ago. Starting with Hairspray, Waters essentially re-created the American musical, and honed that to perfection with the castly underappreciated Cry-Baby. But it's not just a musical it's also a heartfelt valentine to a simpler time, his beloved Baltimore of the late 1950's.

Depp stars as "Cry-Baby" Walker, a juvenile delinquent from the wrong side of the tracks who spends his time hanging with his gang and singing that evil rock n' roll music. He and his way of life are constantly threatened by the town 'Squares' who are both threatened and repelled by Cry-Baby and those like him.

Naturally, he falls for a Square girl and all hell breaks loose. That part of it is a simple story, and I won't waste time rehashing or giving it away here. No, what really stands out about this film is its gleeful embrace of 'white-trash culture,' its loving tribute to the great juvenile delinquent movies of the 50's and 60's, and its rambunctious energy.

As usual, Waters peppers the film with eclectic casting; Susan Tyrell, Iggy Pop, Ricki Lake, Mink Stole, Joe Dalessandro, Willem Dafoe, David Nelson (son of Ozzie), Traci Lords and Patty Hearst (yes, that Patty Hearst) are just a few of the many talents that form this wonderful ensemble cast. And of course, it's another one of Depp's great iconoclastic roles that have helped define him as one of the great idiosyncratic actors of our time.

So grab yourself an RC Cola, a Moon Pie, and put yer teeth up on the windowsill while y'all enjoy this trashy good time. You'll thank me for it and if y'all don't like it, I'll eat me a bug.

There are two movies that people who don't know John Waters and the types of films he normally makes always love. Cry Baby and Hairspray contain both John Water's sense of humor and style, but don't necessarily dig into the depths of depravity (like eating dog poo) some of his more subversive films do. I'm not a John Waters aficionado yet, but what I've noticed in his films is that they normally center around two opposite sides that will eventually come crashing into one another. From Hairspray to A Dirty Shame, the films do a great job of putting two sides in direct opposition to each other and then letting the fur fly.

Cry Baby is no different. In this case, the Drapes and the Squares square off (pun not-intended) with Johnny Depp's Wade and Amy Locane's Allison at the center. Basically a love story that draws on the same dichotomous split seen in Romeo and Juliet, you have the poor and rowdy meet the rich and on the surface proper. What follows is a funny and zany ride as the two sides end up colliding in a winner-take-all car chase.

The writing is sharp as is the directing. What I admire about Waters the most is his ability to create vivid characters with personality. Sometimes he relies heavily on stereotypes, but each character is his or her own. You won't ever confuse them. They stay sharp, even when the acting isn't exactly stellar. The acting, like a majority of John Water's films, is spotty. Its done in an over-the-top sort of way that you can't help but laugh at. It reminds you that this isn't real and that you shouldn't take it seriously. Water's employs not only great upcoming talent (like Depp) but also people like Hatchet Face who haven't been seen much in film since. All do a great job playing their roles; however, not all of them are good actors.

Once you look past this minor speed bump, the ride is hillarious. It, along with Hairspray, is probably the most accessible of John Water's films. It maintains his sharp satirical writing and funny dialogue, but keeps the humor bawdy but not excessive.

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cry baby what a great film! I am 16 and i have been watching Cry baby since i was 8 years old on a battered and worn out version on VHS. The film makes me feel really happy, the songs are unforgetable and the characters are just real funny especially Johnny Depp. I have mailed the director about releasing the film on DVD and i cant wait for it to happen. I am sure lots of people will buy. So "please Mr Jailer" give us Cry baby on DVD

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I saw the movie Cry Baby with all of its scenes included on IFC years ago. They did a John Waters back to back marathon. I'm glad I had taped it because since then I have never seen the movie with those seens included. For instance, you don't see Johnny getting chased by the policeman on the way to the charm school. These parts are cut out to save time. If you ever get the chance to see it with ALL of the scenes, watch it! It's better, I think. And the part where Traci Lord's character tells exchange student Inga about American boys is great. It's better with the extra scenes. Once you see it, you'll see what I mean.

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CryBaby is a clever satire with everything that a movie should have. Let's face it, every girl wants to be fought over by two hot guys (especially if one is Johnny Depp). The script is witty, the songs are amazing, and the acting is outstanding. I could watch this movie every day for the rest of my life without getting sick of it. I find myself singing the catchy songs around the house. CryBaby takes an ordinary storyline of the good girl falling for the bad boy, and spices it up with music, dancing, and interesting sub-plots. The contrast between the "squares" and the "drapes" (the good girls and boys and the rebels) is hysterical; everything in the movie is hysterical. CryBaby is destined to become a classic.

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Duets (2000)

DuetsI thought this movie was wonderful and am surprised at the vitriolic critiques by reviewers. Gwynneth is always a great actress and she played the part of the daughter reunited with a reluctant father well. There were several subplots in this move, all involving wonderful singing and complex relationships.

Don't believe the critics on this one. It actually is an enjoyable movie, which is in turns funny, sweet and sad.

"Duets" stars Gwyneth Paltrow and Huey Lewis as daughter-and-father karaoke singers.

Go ahead and laugh. Why not? Everyone else does. There's something about karaoke that draws titters. Sure, it's increasingly popular, this singing along to backing tracks, with shows like "Say What! Karaoke" on MTV sending young wannabes into karaoke bars everywhere. But karaoke (Japanese for "empty orchestra"-I guess the singer is supposed to fill the void) is still perceived as something silly that people do when they've had a few too many.

So here's the surprise: "Duets" likes karaoke. In the movie, it's a metaphor for lost souls finding themselves, and, in their conquering a song, an audience, or a competition, filling some kind of spiritual void.

Paltrow, the Oscar-winning actress for "Shakespeare in Love," is the daughter of director Bruce Paltrow, and she comes off as exactly that: a good little girl, more giddy than we've seen her in a while; seeking a reconnection with her father (Lewis), a rock singer reduced to hustling bets at karaoke bars.

Everybody knows that Lewis can sing. But so can Gwyneth, with a shimmering, glistening voice, which she shows off on Jackie DeShannon's "Bette Davis Eyes" and in a duet with Lewis, on Smokey Robinson's "Cruisin'."

And so can Paul Giamatti, best known for his role as "Pig Vomit," the hated radio executive in Howard Stern's film, "Private Parts." A supposed karaoke virgin when he hits a bar, by chance, as he reels out of a dead-end routine as a traveling salesman, he nails Todd Rundgren's "Hello It's Me" and is hooked on singing. (Ah, Hollywood. Competing for a $5,000 prize, Lewis surprises Paltrow by calling her onto the stage, where they do an unreheased "Cruisin'" perfectly, natch. And Giamatti, along with an ex-con hitchhiker played by Andre Braugher, whip up a stunning version of "Try a Little Tenderness," even though Braugher is on the lam and not exactly pleased to have been dragged onto a spotlit stage.)

Braugher actually doesn't sing; his voice is dubbed in. Neither does Scott Speedman, who plays a cab driver. But his pickup, Suzi (Maria Bello, from "Coyote Ugly") does, and acquits herself well on "Sweet Dreams" and "I Can't Make You Love Me."

Bruce Paltrow does toss in a couple of clinkers, but only briefly, and in the background. Curiously, he doesn't employ any Asian singers in any of the half-dozen or so bars in the movie. Karaoke was invented in Japan, became popular in various Asian cities, and has turned the stereotype of Asians as shy non-performers on its head. But you won't find any evidence of this evolution in "Duets."

Nor will you find much original. You've got yer hesitant parent and kid reunion; yer (black) con on the run hooking up with yer burned-out (white) guy making his own kind of escape. Then there's the cabbie who's just lost his girlfriend, and he just happens into the sexy Suzi, a small-town singer with stars in her eyes; she's itching to go to California. So call it three road movies squished into one, with the three pairs, such as they are, converging at a karaoke contest in Omaha.

See? You laughed again. But that's OK. "Duets" may be a bad movie, but it's the kind of bad that you can enjoy. As the New York Times' A.O. Scott wrote, "We could use more bad movies like this."

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Discovering this movie was a happy accident. I had heard the Gwyneth Paltrow/Huey Lewis duet "Crusin'" on the radio and tracked down the movie. It did not get much press, I don't think. I found it very enjoyable, and in watching the extras on the DVD, discovered that all the actors did their own singing with the exception of Andre Braugher. He and the character he pairs up with have the most memorable scenes in my opinion. Braugher is an excellent actor. When I tell people this movie is about karyoke they never want to see it. If I can convince them to watch it anyway, they are always glad they did. It is not really about karyoke anyway, it is about relationships, using karyoke as a backdrop. Discovering Gwyneth Paltrow's singing ability was an extra benefit. This is sort of a "feel good" movie, but it has serious moments as well. And some great comedy scenes thrown in as well. I fell in love with the movie and the soundtrack.

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Director Bruce Paltrow assembled an impressive ensemble cast to deliver this story about a diverse group of people with many things in common-more than they would probably ever realize or admit to, in fact. On the surface, the tie that binds is music; specifically that cultural phenomenon known as Karaoke, a world in which for three minutes or so, no matter who or what they are, the individual at stage center is a star. Underneath that particular aspect, however, the common thread runs much deeper. Because these are people who, in their own way, are all seeking to connect with something, even though they don't know what it is or even consciously know they're pursuing it. They're looking for their personal metaphor-that one special thing, or someone, that will give meaning and purpose to their life. It's a road we all go down at one time or another, in one way or another, and it's that road that is explored by Paltrow in "Duets," an affecting film that illustrates how universally elusive the answers we're all seeking in life are, and for the most part because we simply don't know the questions in the first place.

Ricky Dean (Huey Lewis) is a singer/hustler on the Karaoke circuit; In Tulsa, on his way to a big competition in Omaha, he gets a call and detours through Las Vegas for the funeral of an old friend. While he's there, he meets up with someone with whom he has a special relationship, Liv (Gwyneth Paltrow), who decides she wants to join him on the road. Meanwhile, a salesman named Todd Woods (Paul Giamatti) suddenly realizes he's so burned out from being on the road that he doesn't even know what city he's in, making a pitch to a hotel conference room full of corporate types in Houston, thinking all the while he's actually in Orlando, Florida. When he finally gets home, his wife, Candy (Kiersten Warren), and his two kids are too self-absorbed to even say hello to him, so he goes out for a pack of cigarettes (even though he doesn't smoke), discovers Karaoke and makes a new friend, Reggie Kane (Andre Braugher). Then there's Billy (Scott Speedman), a young man who drives a cab (of which he is half owner), who due to a particular set of circumstances finds himself involved with one Suzi Loomis (Maria Bello), who is on her way to California, by way of the karaoke competition in Omaha. And, ultimately, Karaoke becomes the vehicle through which this eclectic bunch of individuals begin to discover just what it is they're looking for; and who among them ever would've thought it would be in Omaha, Nebraska?

Working from an intricate and insightful screenplay by John Byrum, Paltrow has crafted an engrossing comedy/drama that is entertaining and poignant. There's a lot going on in this film, but Paltrow sets a pace that keeps it moving right along, and uses transitions that effectively eliminate any confusion that could easily have resulted from having so many storylines unfolding at once. The characters are well drawn, and Paltrow establishes exactly who they are and where they fit in almost as soon as they are introduced, which enables the viewer to concentrate on the story without having to figure out who fits where and why. After all, this is not a mystery; and Paltrow uses the screen time of his characters wisely to develop the drama that is being played out in their respective lives, rather than by throwing in unnecessary twists and turns just to maintain interest. It works, because the story is interesting enough, without the aid of any superficial enhancements, and Paltrow does an excellent job of blending it all together to deliver a satisfying and emotionally involving film.

There are a number of outstanding and noteworthy performances in this film, but the most memorable is turned in by Paul Giamatti, who so successfully conveys the emptiness of this middle-aged man who has always played by the rules, and who now finds himself at a very real crossroads in his life. The fact that Todd has accrued 800,000 frequent flyer miles that he can't use, effectively puts his whole life into perspective; and Giamatti sells it with a portrayal that is affecting and incisive. And, as Reggie, the guy Todd takes up with on the road, Braugher hits just the right note, as well, and their scenes together provide some of the highlights of the film, as when they perform their duet of "Try A Little Tenderness"-this is Karaoke at it's best.

Gwyneth Paltrow provides a few highlights here, as well; besides creating a very real, believable character in Liv, it's worth watching the film just to see her sing "Bette Davis Eyes." But there's also an exquisite gentleness in her nature she so ably expresses that makes her decidedly easy to watch, and there's an engaging duet she delivers with Huey Lewis on "Cruisin'" that's a real showstopper. It's quite interesting, in fact, to note just how well the actors in this film deliver their songs (and, yes, they all did their own singing). Other musical highlights include Braugher's "Free Bird" and Bello's rendition of "Sweet Dreams." This entire film, in fact, just may be the best thing that ever happened to Karaoke; it definitely raises the bar and gives it some mainstream credibility.

The supporting cast includes Angie Dickinson (Blair), Lochlyn Munro (Ronny), Amanda Kravat (Redhead), Erika von Tagen (Julie) and Marian Seldes (Harriet). Early in the film, a truck driver asks a hitchhiker-a guy just out of prison-"What were you in for?" The guy replies, "An error in judgment." And, in the final analysis, that's what "Duets" is really all about; the flaws, imperfections and "errors in judgment" that make up the music of life. It's about finding that right note and being able to share it with someone-being able to perform a duet to the score of life.

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I know this movie got some very bad reviews however, I really liked it a lot! Yes, maybe the acting was not the best but bottom line is it is a movie that has imagination to it. Imagine the same 'ole role of life from day to day & all the troubled we face along the way. Wouldn't you like to have some kind of "release?" Well, that is what the movie is about...releasing from the heart by singing at kareoke bars. If you do not have a deep appreciation for music & all the feeling behind it, you won't like this movie. If you do have that special appreciation for music, you will be able to relate and to put yourself in it. Music is about people & expressing themselves, just as Duets does. I really do suggest that you at least try watching this one. No, it may not become your personal favorite, but it is entertaining with the great tracks and seeing the performances in the movie. I am impressed with Gwyneth's vocal talent! I don't care what other's have said, I feel that she sings very well. Take time and check Duets out.....it is worth it!

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Jumpin Jack Flash (1986)

Jumpin Jack FlashLoved this movie when I first saw it in the theater, have had a soft spot for it since. When I saw it was coming to blu, I got excited and immediately pre-ordered it. Received it in the mail today and...wow...am I disappointed. I see no real difference in the video from the DVD (some, but not much)...the sound is a little better...but what is the WORST thing is that this is not just a "bare bones" blu ray...there isn't even a MENU. The movie starts right up...nothing when you hit the "menu" button or anything. There is NOTHING but the movie. This is the 2nd Anchor Bay blu ray that I have purchased with this happening (not even a freaking MENU...the other was "The Entity")...what is going on with this? How much can it cost to provide a menu with chapter stops or something...ANYTHING? This will be the last Anchor Bay blu ray purchase for me.

2 stars because I DO still like the movie, but dang...the blu ray release of "Jumpin Jack Flash" is the crap crap crap.

This movie as far as I am concerned is a classic and captures Whoopi Goldberg at her comedic best. Her timing and responses as a bank teller thrown into the spy world of cloak and dagger is both hysterical and makes for a good adventure. In addition, this film also portrays the first aspects of instant messaging and online communications. Lastly, if I am not mistaken, I believe this is Penny Marshall's directional debut in motion pictures. Therefore why only a three star rating?

This DVD produced by Anchor Bay is rather disappointing. There is absolutely nil in the form of special features, no trailer/preview for this feature (any other films), no documentaries and no commentary, which honestly wouldn't bother me if the DVD itself had a menu screen. When you put the disk in the DVD player a screen pops up and states if subtitles are desired to hit the "subtitle" button on your remote control. When the movie begins it does have a rather clear widescreen presentation, but coming from a company like Anchor Bay this is rather second-rate.

I can recall becoming very excited when some of my favorite obscure films would be released by Anchor Bay. Mainly because Anchor Bay usually pulls out the stops on their DVD releases, extra features, trailers, radio spots, interviews, etc. This 2013 DVD release is abysmal. Nevertheless, I am happy to have this great movie on DVD and will be keeping it in my collection. However, Anchor Bay really needs be ashamed of themselves about this release. For the first time ever, I am going to be thinking twice about buying future Anchor Bay releases.

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Lost Keaton: Sixteen Comedy Shorts 1934-1937

Lost Keaton: Sixteen Comedy Shorts 1934-1937First let me say that a comparison of the 2010 DVD to this 2012 Blu-ray release shows no real improvement. The increased resolution only shows more film grain. Details have not been improved. Even worse, the distorted audio in some of the shorts has not been improved on. The BBC did that for the early Doctor Who shows, Why can't Kino do that here?

If you already have the old DVD set, keep it and save your money for future Keaton films worthy of a Blu-ray release. If you have not bought this collection, then strongly consider whether it is worth the additional cost of a Blu-ray set that has basically the same quality as the cheaper DVD set.

Unlike the Blu-ray re-issues of the films from the old "Art Of Buster Keaton" DVD set, this appears to be the same transfer as the old 2010 DVD set. My guess is that in 2010 Kino did a Hi-definition transfer of the films for the DVD release, enabling them to re-use the transfers for future Blu-ray releases.

I was actually disappointed when I read that the Lost Keaton DVD set was the next Kino Keaton set to get the Blu-ray treatment. Much of the source material was sub-par quality due to the loss of original Educational Films negatives. My hopes were that some of the distorted audio in the DVD set would be cleaned up, sadly not.

Expect to see:

Film splices, some with jumps.

Film scratches.

Noisy to distorted audio.

The only improvements I saw are:

1) Increased resolution now shows the film grain as opposed to digital compression in the DVDs.

2) The Blu-ray set has an informative booklet inside, my original DVD set did not have one. It is possible that it was accidentally omitted from my DVD set.

3) The Blu-ray sleeve includes poster reproductions on the reverse side

If you're reading this, chances are you're already a Buster Keaton fan. If you're not, let me just say first off that this set should NOT be your introduction to the legendary comic actor/writer/director. Keaton's masterworks are the silent "two-reel" comedies he made in the twenties (and available in the excellent Buster Keaton Short Films Collection: 1920-1923 (Three-Disc Ultimate Edition) [Blu-ray], to which this set serves as a companion piece). As many of you will know, Keaton's career fumbled immediately following the silent years, with a 5-year stint making features at MGM. But these films, made for the independent Educational Pictures, represented a return to form of sorts. Here was Keaton back in his element: the comedy short. And Educational also gave him back much of his creative control. . .something he lost working as essentially an actor only for the big studio.

Truth be told (and understand, I'm a HUGE fan), most of these sound comedies don't measure up to the gems Keaton made 10 to 15 years earlier. But there's still plenty for fans to enjoy. Unlike silent stars who had difficulty making the transition to sound, Buster had a distinct voice and used it to good effect. He wisely didn't stray too far from his origins; the best bits in these films don't require speaking or much sound at all to make them funny. ONE RUN ELMER and MIXED MAGIC are good examples of this. Keaton's love of trains and physical, architecture-based gags are also in evidence in several films.

As for the set itself, the video and audio quality varies a bit from film to film. There is the occasional unrepaired splice, resulting in a "jump" in the action. Debris is evident in many cases, although the overall picture quality is quite good for its age. It's worth noting that Educational Pictures was NOT MGM, and I doubt that the independent company ever made a film as polished as the larger, more affluent studios could. If you've seen the Blu-ray release of the silent shorts, you know what is possible with restoration efforts. I would easily give Kino's earlier release of the silent films 5 stars for visual quality; by comparison, "Lost Keaton" scores 4 out of 5. Still a very good rating.

Extras aren't as plentiful as with the earlier set, but you still get a wonderfully informative booklet, with info about each film. There's a still gallery, and a video montage of various stunts and physical gags. And for those who care about such things (as I do), "Lost Keaton"'s package design is virtually identical to the earlier release. . .making a very attractive pair of comedy classics on the shelf. :-)

Bottom line: If you're a fan, this is a no-brainer. If you're not (yet), defintiely start with the earlier set first. Buster Keaton was a one-of-kind comic genius, and Kino Lorber has done him proud with this lovingly-created collector's sets.

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I bought this because I'm a big Buster fan. Although some of the shorts included in here aren't the best of Buster's work, it definitely is worth taking a look at. I LOVE "Grand Slam Opera," "The Chemist," "Hayseed Romance," and "Tars and Stripes" among others. And even though many of these shorts are not as sophisticated as the silent ones, they still contain little gems of material that make you laugh.

Read Best Reviews of Lost Keaton: Sixteen Comedy Shorts 1934-1937 Here

Harold and Maude (The Criterion Collection) (1971)

Harold and MaudeThe editor's review of this film is a fair enough description of the plot. One should add that, despite being made in 1971, the movie manages not to look dated, precisely because it makes such fun of the early 70s style, and that the acting by the three main characters (Harold, Maude and Harold's mother) is simply inspired. Ruth Gordon is splendid of course, while Bud Cort gives a lifetime performance, but it is the portrayal of Harold's mother by Vivian Pickles (what a splendid name for someone in the role) that has to be the most undercelebrated aspect of this film. Her breezy blitheness, outraged exasperation, and British sensibility are all just too wonderful.

But before I go on ...

NOTE: It has been been pointed out to me that since some would consider this review to contain spoilers that I ought to warn people ahead of time. However, I'll add that it's hard to say how much spoilers actually spoil this movie; spoilers may help to make the movie's wisdom more readily apparent on a first viewing. In any case, there are several ahead.

ADDITIONAL NOTE: Some Amazonites have complained that they encountered spoilers in my review despite presumably reading my disclaimer and warning (above) that there are spoilers in my review. I find this odder than some of Harold's mother's behavior, and it makes me want to ask, without at all intending sarcasm, "If you didn't appreciate the disclaimer when you read it, how will reading spoilers harm your appreciation of the film?" ... To paraphrase Maude: "Ah people ...." (They're my species.) ... Meanwhile, back at the review:

Filling out a dating questionnaire for her son, in response to the question "Do you find the idea of wife-swapping offensive?" his mother answers, "I find the question offensive." In response to the question, "Do you feel the women's liberation movement has gone too far," she replies, "It cer-tain-ly has." Even "Harold, eat your beets" is delivered so wonderfully that it's memorable. Eric Christmas also makes the bit-part of a priest into something delightful and memorable, principally by one splendid monologue.

But is this really a black comedy? Personally, I think of black comedies as being morbid and mordant, which Harold & Maude certainly has elements of, but also ultimately cynical. One should not mistake grimness in a film as a sign of nihilism; as the Japanese proverb runs, the ending is all-important. The film ultimately is not about an intergenerational love affair (surely the most "shocking" aspect of the film), but about Harold learning to embrace life. And it is precisely to make as effective as possible Harold's decision to live life to the fullest (rather than continue to prefer to be dead) that it is first necessary to make his life miserable.

As insanely amusing as much of the movie is, it is also full of profundity after profundity from Maude, who is a nearly continuous font of wisdom, with laughter and humor being simply the most crucial values in her wisdom. When she asks Harold what he does for fun, he takes her to a picnic in a wrecking yard. She replies, "I'll grant you, it has a certain something. But is it enough?" When Harold declines her offer of wine, she replies, "Oh go on, it's organic." And most beautiful of all, when Harold says, "I don't want you to die, Maude. I love you," she replies with perfect calmness, "Harold, that's wonderful. Now go out and love some more." If you've been caught up in the genuine spirit of this movie, the line will not seem like some breezy brush-off, but may instead bring tears to your eyes.

The scene of Harold's grief after Maude's death, intercutting silent images of him waiting in a hospital room and driving recklessly around the Marin headlands in the Jaguar he has converted into a hearse while Cat Steven's song, "Trouble" plays, is very well-done and sets up the climax of the film beautifully. Cat Steven's soundtrack throughout, in fact, is a splendid selection of songs, and certainly makes clear that, however morbid things might seem, this film is ultimately life-affirming in a very profound way.

Having watched this movie many, many times and having yet to tire of it, it seems to me there is more to it than meets the eye. And not just because, when Harold gives Maude an engraved birthday gift, she says, "This is the nicest gift anyone has given me in a long time," and then throws it into the San Francisco Bay saying, "That way, I'll always know where it is." And not just because one eventually notices, in the briefest of passing shots, the tattoo of a concentration camp inmate on Maude's arm. In the final analysis, it seems to me that Harold is actually already dead. That his theatrical suicides aren't faked at all, but also don't succeed because he himself is not aware that he's actually dead. It's probably more accurate to say that the director pushes the narrative to the point where Harold seems to be actually dead and not just faking, precisely to make his choice of life at the end all the more inspiring.

And inspiring it is. Harold & Maude is not (alas) for everyone. A viewer who is hidebound like the movie's priest, colonel or mother (read church, state, authority) will find Maude's sometimes gentle, sometimes brash mocking of convention more annoying than enlightening, just as the (not depicted) sexual relationship between Harold and Maude is the thing many people who miss the point remember about the movie. To this, Maude might say, as she does to a police officer, "Don't be officious. You're not yourself when you're officious. That's the curse of a government job." Or as she says, when the priest replies that he didn't like the way she'd painted his statue of the Virgin Mary, "Give it time. It'll grow on you. Some things take a while to appreciate."

A lot of great movies have been poorly digitized or otherwise transfered to DVD without sufficient care and attention, but I was pleasantl surprised by the quality of this one. They found (or restored) a very clean and clear original print of the film and then digitally captured it beautifully. The soundtrack has also been enhanced with a remix of the Cat Stevens songs to take advantage of the stereo front speakers and the subwoofer. A wonderful movie, well presented.

Buy Harold and Maude (The Criterion Collection) (1971) Now

I had heard about this movie through friends but was never impressed by the story. A reclusive anti social kid who befriends and falls in love with an elderly (though young at heart) eccentric. I wrote it off completely til I saw a bit of it on television and thought it was hilarious and as it turns out I rented the movie and was extremely hooked. Harold is a rich kid with a high strung, selfish mother who tries anything to find a suitor for him, in turn Harold escapes from his home to overshadow funeral processions and memorials. At a number of these events, Maude is in attendence and she lights up the scene with her off the wall,and positively upbeat personality that horrifies and amuses Harold. After a while they become unlikely friends. Maude helps Harold live a little and in turn he develops true affection to Maude. With Ruth Gordon's charm and incredible acting abilites, and Cat Steven's classy soundtrack, its not hard to find yourself feeling happy and free after the movie is over. It really teaches you a message about being your own person and enjoying life.

Read Best Reviews of Harold and Maude (The Criterion Collection) (1971) Here

Harold and Maude is just a delight to see. Somehow, the wonderful acting of Ruth Gordon and Bud Cort seem to get away with their relationship (which at the time, was QUITE a scandal!)

What is so great about this show is that it was written so beautifully and sensitively. I don't know of any other movie that talks about life and death in such a sensitive, but yet lighthearted manner.

My favorite scene is when Harold and Maude are in a daisy field and Maude says: "You know Harold, I'd like to come back as a sunflower most of all. They're so big and hearty. What would you like to come back as?" Harold responds by saying "One of these" (meaning one of the daisies). Maude says "How come" and he replies, "Because they're all alike."

Then comes the Kleenex box when she replies "Oh no, Harold, They're not all alike! You see, some grow to the left, some to the right, some have even lost petals, all SORTS of observer able differences . . . You see, Harold, I feel that much of the world's sadness comes from someone who is this" (she picks a daisy from the field) -"but yet ALLOWS themselves to be treated as that" (gesturing to the entire field of daisies).

You can't beat this show for its marvelous acting by Ruth Gordon, especially. You will also never find another movie that can portray all of these intense subjects in such a carefree way that they seem commonplace.

Get this movie and watch it several times to really enjoy it. I've seen it at least 30 times, myself and have enjoyed it more and more each time.

Want Harold and Maude (The Criterion Collection) (1971) Discount?

If such an irreverently offbeat film were to be made today, I wonder how the putative audiences would react. As was probably the case when the film was released, people would probably find the theme edgy, if not inappropriate. This anti-establishment cult classic quite openly explores themes of suicide, love, death and life with a fresh perspective.

The interesting part is how this film will likely find you. In most societies, an older man will likely fall for a woman years his junior. Here though, Harold (Bud Cort) -a shy teenager with an affinity for death -meets his 80-year-old true love Maude (Ruth Gordon), not at a dance or social event, but at funerals.

I guess 'Harold and Maude' plays on '60s-esque themes of turning maverick, challenging societal moulds, denouncing materialism. The story is strewn with delectable humor, and thankfully is not of your average garden variety. Cat Stevens' open-air, acoustic-driven rock 'n' roll makes for a cherishable soundtrack giving the film an authentic organic sound indicative of its demeanor.

A great movie with a warm heart -required collective for every self-respecting library!

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Bitch Slap (2009)

Bitch SlapWhat if Charlie's Angels was raunchy, trashy and rated a hard-R a la Tarantino? Well, you'd probably get this funny, tasteless and breastacular exploitation film which walks a fine line between an erotic clothes-on video shoot and a slapstick crime caper that makes every effort to be bad in the spirit of fun.

Writer/director Rick Jacobson is no stranger to over-the-top, scantily clad tough girls and cleavage. He's directed many episodes of Hercules, Xena, Baywatch and two seasons of Spartacus, and he knows how to deliver. He can't aim a camera at one of his leading ladies without starting at her fun parts. As tasteless as that sounds, Jacobson has crafted a modern, clever throwback to exploitation classics, dragged kicking and screaming into the 21st century.

These girls talk a big game, are way too tough to be credible (because credible is what they were after in making this film, right?), and give us a mix raunchy girl-on-girl humor with silly spy skills.

We have three female leads... The air-headed Trixie (Julia Voth), red-headed Hel (Erin Cummings; Dollhouse, Spartacus: War of the Damned) and the over-medicated hothead Camero (America Olivo; No One Lives, Maniac, Friday the 13th) are three breasty chicks with attitude who are in over their head for $200 million in diamonds. Clearly borrowing from Tarantino's Pulp Fiction (1994), the story jumps from present day to flashbacks, not presented in chronological order, which serve to explain some things in the wake of the confusion while slowly pulling the veil on what's really going on along with some red herrings. This approach is articulate, but it's hard to notice when the view of this cleverness is obscured by so many in-your-face, sweaty boobs.

This mix of female empowerment and exploitation features bullets to the balls, exit wound sprays from the head, threats of genital mutilation, stripper dance routines, comical drug use, a glowing vagina, very weirdly creative (or just drug-induced) analogies, crotch punches, death yo-yos, sopping wet catfights, women touching themselves, a pig-tailed lesbian Asian in a schoolgirl outfit, loads of heaving and fondling, chicks hogtying other chicks with chains, chicks lighting other chicks on fire, chicks exploding other chicks in cars, chicks choking other chicks out, REALLY BIG guns, a female crotch bite (first ever on film?), the longest and most ridiculous catfight ever, and so much more.

The highlight of this director's skills include a split screen girl-on-girl makeout session complete with trancy film-editing transitions. Jacobson also keeps things classy by showing us strikingly few bare nipples...however we do get insinuated lesbian oral sex and more wet breast shots than Piranha 3D (2010) and Piranha 3DD (2012) combined.

The level of crazy corny action, fake acrobatics, cartoonish green-screen work (very Sin City graphic novel-y), utterly tasteless voluptuan montages with sleazy scoring, catfights with metal-scoring, and D-quality slo-mo special effects should provoke uncontrollable laughter.

Kevin Sorbo (Hercules, Xena, Meet the Spartans) makes a cameo appearance as Mr. Phoenix and Lucy Lawless (Xena, Hercules, Spartacus, Battlestar Galactica) as Mother Superior. Sorbo gets the better cameo by far! You can find him in the worst action finale ever.

You should know based on the DVD cover whether or not this movie is for you. It may not be "my style," but it was certainly for me.

I had seen this on dvd first and decided I wanted to own it. Getting it on blu-ray format makes the eye-candy even better. It's a movie that's full of stereotypes/cliches, fun format, some creative dialog here and there, acceptable acting, and more-than-acceptable actresses. It doesn't take itself seriously and is meant to be fun. If you try to take it seriously... well, you can't really. FWIW this isn't a movie for family night. Unless you're a bad parent.

Buy Bitch Slap (2009) Now

I have not seen the blu-ray version but the movie is fun. If you enjoy Tarantino's and Rodriguez's films, you will probably enjoy this. I would love to see a sequel with a higher budget.

Read Best Reviews of Bitch Slap (2009) Here