Showing posts with label comedy films. Show all posts
Showing posts with label comedy films. Show all posts

Salmon Fishing in the Yemen (2012)

Salmon Fishing in the YemenThe Yemen is a river in the country of Yemen, which occupies the south-western corner of the Arabian Peninsula. As we know, that entire middle-eastern area is hot, dry, and arid. In this Lasse Halstrom-directed dramedy, an oil-billionaire sheik from Yemen owns several estates in Scotland and has developed a fondness for fly fishing. He dreams of a way to bring the sport to his homeland and at the same time encourage his fellow countrymen to upgrade their way of life with an improved water supply.

We loved this cast (mostly) from the UK:

* Emily Blunt ("The Devil Wears Prada") is the first person contacted by the sheik. Her job is to research the practicality of the idea and make a recommendation. To complicate matters, her fiancé is soon reported missing in (military) action in Afghanistan.

* Ewan McGregor ("Beginners") is a mid-level bureaucrat with a touch of Asperger's who loves fly fishing on weekends. When approached about the feasibility of this experiment, he makes outlandish demands, assuming that their cost will deter these foolish people. He is struck dumb when his demands are met, e.g., the engineers who designed the Three Gorges Dam in China.

* Kristen Scott Thomas ("Nowhere Boy") is a blunt, plain-spoken government official who can see the public relations advantages for news from the Mid-east that doesn't include the escalating price of petroleum or body bags. She is hilarious in this (initially) preposterous plot and provides many laugh-out-loud moments. You will LOVE her e-mails!

* Amr Waked ("The Father and the Foreigner") is the fabulously wealthy sheik with the dream. It's obvious that he is intelligent and has already studied the situation. When our troubled heroine denies she is anxious, he says, "I have too many wives not to know when a woman is upset!" We can see why this actor is a heartthrob in his native Egypt.

* Tom Mison ("One Day") is our heroine's fiancé, loving, considerate AND handsome!

I haven't read Paul Torday's novel on which this film is based, but knowing salmon are anadromous, I suspect the migration to salt water would be too hot and arduous, so I personally had reservations about feasibility. On the other hand, this film had far more comedy than we expected and was far more touching as well, so eventually it didn't matter. I even got goosebumps when that fish turned around and started upstream. Nice surprise!

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Salmon Fishing in the Yemen is a hard film to categorize. Directed by Lasse Hallström, with a screenplay by Simon Beaufoy adapted from the novel of the same name by Paul Torday, you could nominally call it a romantic comedy, but it's actually far more than that. A character-driven human comedy about faith, passion and fishing comes closer. Add in an absolutely scene-stealing performance by Kristin Scott Thomas as the Prime Minister's take-no-prisoners get-it-done-yesterday! press secretary and you've got Salmon Fishing in the Yemen.

The film begins with Dr. Fred Jones (Ewan McGregor), the British government's leading expert on fisheries, receiving an inquiry about the feasibility of introducing salmon fishing to the Yemen. Jones quickly dismisses the possibility, responding that it is simply impossible for salmon a fish that thrives in cold fresh-water streams found in northern latitudes to survive in a hot and arid environment like the Yemen. The inquiry, it turns out, came from Harriet Chetwood-Talbot (Emily Blunt), a consultant for a company that manages properties for a very wealthy client, Sheikh Muhammad (Amr Waked) from the Yemen. The Sheikh has a vision of salmon fishing, which he became familiar with due to his having an estate in Scotland, as not only a way to create much needed jobs for his people, but also as a way of bringing people together. Undeterred by Jones' initial rejection and buoyed by the persuasive Sheikh's belief in his vision, Harriet persists in pushing for a feasibility study, which Jones continues to dismiss. Until, that is, the project comes to the attention of the Prime Minister's press secretary, the highly formidable and relentless Patricia Maxwell (Kristin Scott Thomas).

A series of recent news items about bombings and other setbacks in the war in Afghanistan, already highly unpopular, has left the government desperately in need of "Anglo-Arabian news that isn't about something exploding." After tasking her staff with "We need a good news story from the Middle East, a big one, and we need it now. You've got an hour. Get on with it!" Maxwell seizes on the salmon fishing project as ideal for the government's needs and pushes it forward, riding rough-shod over any and all objections as to the project's chances of actually working. Which in turn sets everything in motion and brings all of the main characters face to face.

Ewan McGregor's Fred Jones is a man who muses "I was wondering if I was genetically programed to dull pedestrian life." He's comfortable in his government job where his biggest challenge is picking out pictures of fish to spice up his annual report; he's married but it's a passionless marriage, as becomes poignantly clear when his wife (Rachel Stirling) takes a several-months assignment in Switzerland, only bothering to tell him as she's packing for the trip. Emily Blunt's Harriet Chetwood-Talbot, on the other hand, is Fred's exact opposite, passionate in her job and in her private life where she's had a whirlwind romance with a hunk of an army officer (Tom Mison) who's just been deployed to Afghanistan. And Amr Waked's Sheikh rounds out the trio, a philosophical, quietly charismatic man who has a vision that he pursues all the more passionately because it is so impossible. A chemistry develops among the three as Fred finds himself much to his surprise responding to Harriet's optimistic vivacity and to the Sheikh's belief that the more impossible a thing is, the more it is worth pursuing, even when or rather especially when all you have to go on is faith. In addition to becoming not only engaged by but increasingly optimistic about the salmon project, Fred also finds himself coming to believe that other things are also possible as his working relationship with Harriet blossoms into something else. Between the two, Fred ends up making his own leaps of faith, with regard to the Sheikh's fantastical project and to the prospect of finding real love with Harriet.

But it is Kristin Scott Thomas' over-the-top press secretary Patricia Maxwell with her take-no-prisoners approach to everything who supplies the comedy. A powerhouse on high heels, Maxwell dominates everyone else around her, up to and including the Prime Minister himself, and she has far and away the best lines in the film which she delivers with acerbic glee "Is that the best you cocked-up, Oxford-educated, moronic buffoons can come up with?" She also has the best scenes, like ones showing her at home where she's kicking her kids' butts at computer games or ordering them off to school, and you realize that she treats the government ministers above and around her exactly the same way as she handles her kids. And the scenes showing the IM exchanges between her icon and that of the rather hapless Prime Minister are absolutely priceless.

In addition to an engaging script and fine performances by the actors, the cinematography is also quite well done, taking you from highly diverse settings of urban London, rural Scotland and the desert wadis of the Yemen (actually shot in Morocco), all beautifully shot. The scene where the Sheikh discusses his dream project with Jones while the two are fly-fishing is imbued with a grace and tranquility gives added feeling to the Sheikh's vision and you begin to see exactly what he is talking about.

My only quibbles about the film are fairly minor. The way in which Harriet's boyfriend's ill-timed reappearance is handled is dealt with a bit too neatly and ends up feeling out of place. And the reactions on the part of the Sheikh and Jones when some disgruntled Yemenis attempt to sabotage the project seems more "message" oriented than how real people would actually react. But those aside, the rest of the film flows quite smoothly, leaving you both entertained and with more than a bit of its quietly infectious optimism.

Recommended as a quirky but highly enjoyable film and for Kristin Scott Thomas' riotously over-the-top performance.

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If you're going to see this delightful movie, the first thing you need to do is to shut down your critical faculties. Don't ask questions about the state of Ewan McGregor's marriage, or the logic of moving thousands of salmon, or the likelihood of a woman hugging an Arab sheikh in a Muslim country, or the ease with which people travel long distances, and so forth. It doesn't matter because the gentle tone of the movie even with the satirical edge of Kristin Scott Thomas' extremely obnoxious but funny Assistant to the Prime Minister just carries you away. It's sweet, it's charming, it's not cloying and it definitely draws you in to the story. This is the first movie I've been in a long time where the character of a Scot is a key plot element. [What was the name of the wonderful one years ago with Peter Resier (?) and Burt Lancaster as Texans looking for oil off the cost of Scotland?] Ewan McGregor gets to use his own Scots accent and is just wonderful and appealing in his role. Emily Blunt is also good, as she rolls with the plot.

If you're in the mood for a lovely, gently comic, romantic movie, this is the one.

Read Best Reviews of Salmon Fishing in the Yemen (2012) Here

"Salmon Fishing in the Yemen" is directed by Lasse Hallstrom ("Chocolat," "The Cider House Rules"). A visionary sheik (Amy Waked) believes his passion for the peaceful pastime of salmon fly fishing can enrich the lives of his people, and he dreams of bringing the sport to the not so fish-friendly desert. Willing to spare no expense, he instructs his representative, Harriet (Emily Blunt), to turn his dream into reality, an extraordinary feat that will require the involvement of Britain's leading fisheries expert, Dr. Alfred Jones (Ewan McGregor), who thinks the project is both absurd and unachievable. When British government publicist Patricia Maxwell (Kristin Scott Thomas) champions it as a good-will story, however, the unlikely team puts everything on the line to prove the impossible is possible.

Metaphorically, the movie contains the message that we can find our oases no matter the desert. Also resonating is that, with unlimited resources, the wildest, craziest dream can be pursued, if not fully realized. McGregor and Blunt are the film's best ingredients. Both have charm, and it's fun to watch the scientifically oriented Dr. Jones become immersed in politics as a romance with Harriet blossoms. However, the film drags for long stretches until a satisfactory final act. There are two bonus featurettes.

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This is one of the best movies I've seen this year. It's fun, funny, thoughtful, well cast, great screen play.

A genuine good movie for grown ups. Not animated, not full of computer graphic cleverness, no gross gore.

Will probably purchase for personal library. Highly recommend!

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Hollywood Homicide / Hudson Hawk (Double Feature) (1991)

Hollywood Homicide / Hudson HawkThis is a good Blu-Ray Transfer I loved Hollywood Homicide very funny film that gets so much hate from people it's sad. This is not a terrible film I've seen a lot worse. This was just a fun film that both Harrison Ford & Josh Hartnet enjoyed doing. As for Hudson Hawk that was a very bad Bruce Willis film I mean damn. Get this simply for Hollywood Homicide.

I purchased for Hudson Hawk, but I am pleased with both films. I have always been a Bruce Willis fan...

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This is a blu-ray two-fer of action/comedies from the folks at Mill Creek.

I really enjoyed both Hudson Hawk and Hollywood Homicide, but I enjoyed Hudson Hawk with Brice Willis more.

But Hollywood Homicide with Harrison Ford was fun as well.

The PQ and AQ are great with this release, both are in thier correct aspect ratios.

Recommended!

Read Best Reviews of Hollywood Homicide / Hudson Hawk (Double Feature) (1991) Here

Two great movies one low price. Only minor issue is that they are both on the same disc, besides that everything was great.

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Hudson Hawk is a underrated gem. They may have spent a small fortune on the making of this movie, and the budget may not be reflected on screen, but what does remain is a fun, brainless romp. Hollywood Homicide, on the other hand, is a dreadful bore. Blu-ray picture quality on both is very good.

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Post Grad (2009)

Post GradI don't understand the low reviews! I loved this movie, and people seemed to have completely missed the point of the movie. The movie wasn't about life after college, it was about life in general and how there is no certain plan for life, you just have to go with the flow, i loved the crazy family, it would really be boring if the family was just like alexis character wouldn't it! I thought this film was so endearing and held me to the end! I agree it was all over the place but it wasn't hard to follow unless you're stupid. I thought this movie was funny but i felt they weren't trying to be funny, it just was. I really liked the message of this movie, people are so busy trying to make life fit into their little plan that they are missing the fact that this is life, it's happening while you're busy trying to make things happen that just aren't meant to be. Give this movie a try if you liked whip it, martian child, new york minute, uptown girls. I guess people just have different tastes in movies but i really enjoyed it!

I'm not sure why this movie didn't turn out better it had a great cast and a good storyline. Dealing with what happens after you graduate from college and before your adult life begins is a tricky time period. This movie half heartedly addressed this along with other issues, the other half went for cute romance. The end result? It was too all over the place and ended up a slightly less then average movie.

I liked all of the characters except for the cheesy south american soccer player across the street but hey, his type exists. The female lead (Ryden) is part of a goofy but lovable family of self titled losers: Michale Keaton was the father full of losing money propositions, the mother was low key and the younger oddball brother was cute but the family star was Carol Burnett as the wacky grandmother. Enter the love interest who has been Ryden's best buddy all through college but would like to be more. I'll sum up the movie for you: guy follows girl around like a puppy even after he is kicked a few times, gets mad and goes away, girl realizes what she had and runs after him the end.

Given all the talent you would think that the movie would work but it falls apart despite some good scenes (anything with Carol Burnett or the derby race). Perhaps different editing would have made all the difference? I cannot recommend this movie unless you are die hard fans of the actors.

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Post Grad is about a girl who is just like many others at this time. She graduated after trying really hard in college and unfortunately finds herself boomeranged back to her parents house, jobless. She is a doer and an achiever and tries to find a place to start her life, even if it means working in jobs that may or may not require a college degree. She, perhaps like a lot of graduates, was so sure of where she was going with her life. She was thrown off course when things didn't work out and along the way she made some right decisions and some wrong ones, but she lived and learned about what is important to her. It is about finding out whats important in life and going after it; whether it be in the work life or the love life. I think that it is a beautiful and uplifting story. Alexis Bledel was the perfect young actress to pick for the part and she did a superb job. I admit that there was some ridiculousness and silliness with her family, but I think it help make the movie uplifting and a lot of fun. I think the movie leaves the viewer with a smile in remembrance.

In response to a previous review, Feminists are people who want equal opportunity for women and men alike. Feminists want women to strive for the best that they can be and live out their lives to the fullest of potentials. The modern Feminist has a much more political tie-in and in point of fact has really nothing to do with the movie. But in terms of traditional feminism there isn't much to complain about. What her father meant was that its okay to take some risks and she has shown herself to be in control of her life even as a child (eating her vegetables without being told) and she was able to achieve her dreams while realizing other dreams, but doesn't that sometimes happen. Okay, so she left, but she remained the same person as she was at home, even when she went away to college, and now in a different city, she will be different? How does that logic make sense? Geography has nothing to do with success. You can fulfill your dreams no matter where you go as long as you have the determination to do so. She has already shown that she is a go getter. She'll be great in NY too!

Read Best Reviews of Post Grad (2009) Here

This is an easy fun film to watch that doesn't require any thinking. Ryden (Alexis Bledel aka Zooey Deschanel light) and her friend Adam (Zach Gilford) have just graduated college. Ryden has planned her life, except she didn't get the job she wanted. That job was taken by her arch rival Jessica Bard (Catherine Reitman) her "Darth Vader" since the third grade. Adam is love with Ryden who takes him for granted. He has a chance to travel 3,000 miles east to go to Columbia Law School, but hasn't had up his mind what he wants to do in life.

As Ryden hunts for a job, she is supported by her quirky family which I thought could have been better developed. The overly optimistic Ryden quickly becomes a realist as her job search wanes.

The movie is humorous and doesn't get dragged down with dramatic scenes for more than a few minutes. Good flow. Carol Burnett provided me with a few LOL moments. I will say from my experience with cats, they have never done their business in the driveway, they like somewhere they can bury it. It is a romantic comedy, with light emphasis on the romance.

Parental Guide: 1 F-bomb, near sex, no nudity, sex talk.

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Ryden Malby had it all figured out. Make good grades in high school, get a great college scholarship, keep the scholarship, graduate, and then work at the best publishing company in LA. Only things don't go quite as she planned. Instead of getting the job, she ends up unemployed and living with her crazy family once again.

Crazy is NOT an understatement.

Add on to that, a hot Brazillian neighbor and Adam, a guy who's been her best friend since freshman year, yet wants to be more. That's the plot.

The plot, while all over the place, works well for this movie. You're not sure what scheme one of the Malbys will come up with next. Will it be her father's plan to make a fortune online selling belt buckles or perhaps her grandmother (played by the ever amazing Carol Burnett) wanting to take a look at caskets? There's always something going on, with Ryden and her love life, or lack thereof, at the center of it all.

This movie defintely takes you for a ride. One that I really enjoyed.

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Sweetie (The Criterion Collection) (1989)

Sweetie"Sweetie" is here! A Criterion treatment! The first time I saw "Sweetie" was purely by accident. It was before Jane Campion went on to make better known, bigger budget films--this film was her feature debut in Australia. And while I respect many of her works including "The Piano" and "An Angel At My Table", I don't have the passion for them that I do for this oddball of a movie. Part of the joy of seeing "Sweetie" for the first time was having no expectations. The film surprised me in every regard--it's wickedly funny, yet horrifying and moving at the same time. A few years ago, I found it again and I made my friends watch it, too. I was concerned it might not hold up to memory, but that feeling was short-lived as soon as the wondrous Genevieve Lemon came onscreen as Sweetie.

"Sweetie" is a film that really explores the notion of family. As the titular character, Sweetie is a powerful presence whose very existence has crippled her family and, in many ways, held them hostage. Primarily, we see things through Sweetie's sister Kay and I love that the film introduces us to the peculiarities of Kay without explanation. Then when Sweetie arrives on the scene, things start to become very clear as the family dynamic takes the foreground.

I consider "Sweetie" a comedy, but I'm not sure everyone would agree. But then, I have a bit of a sick sense of humor. Certainly there are many laughs to be had in the film--if only uncomfortable ones. But, make no mistake, there is also genuine and vivid emotional turmoil. The films success is that it balances these elements so well--and, in fact, that brings a bold realism and resonance to the proceedings.

The film is shot beautifully, and always slightly askew (which is perfect for the subject matter). The performances are vivid. Karen Colston is great as Kay, and you won't soon forget Lemon as Sweetie. And as odd as the film is, it will stay with you. And you just might recognize elements of your own family dynamic within the excesses presented! KGHarris, 9/06.

I've seen three Campion movies. It took a long time for me to forgive 'The Piano''s humorless, heavy hands and move on to 'Holy Smoke!'. But HS revealed a comic sensibility that 'The Piano' never suspected. 'Sweetie,' Campion's first feature, is by far my favorite yet.

'Sweetie' is an odd film. Mostly, it's an examination of what it means to be an individual--inside of and outside of the repetitive struggles of family dramas--and the perils and joys of exclusion and elitism. Campion uses her sharp wit to draw blood, and without the comforts of a privileged moral voice (e.g. the competent parent or maternal sufferer of most family dramas), the humor can seem a little mean-spirited at times. But 'Sweetie' tempers its alienated perspective with moments of grace that are as terrifying, joyful and sublime as the dry open spaces of its Australian landscape.

Moving the viewer through a fractured world of beautiful and unsettling images, Sweetie is this director's most richly creative and psychically adventurous work.

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This film is to director Jane Campion's The Piano what David Lynch's Eraserhead is to his The Elephant Man a personal highly stylised experiment before the challenge of the more conventional big budget assignments that would allow for both a controlling of each director's excesses and a streamlining of their obsessions. The parallel between Lynch and Campion can also be extended to their mutual interest in loners, misfits and eccentrics, and they both treat them with piteous dignity, in much the same way photographer Diane Arbus did for her "freaks". Sweetie is similar to Eraserhead also because it's an endurance test for those who hold a high opinion of each director's later work. The fine line between pleasure and pain can be felt with great artists and their fine line between genius and crud. Campion here uses a song "Love will never let you fall" sung by Tony Backhouse and The Cafe of the Gate of Salvation Choir as a backdrop to her tale of two sisters. Campion dedicates the film to her own sister and the screenplay written by herself and Gerard Lee is based on Campion's idea, so we know this is a personal story. (Campion's sister Anna is now also a director). Campion doesn't introduce the title sister until she has established the nature of the first, Kay, but also we don't fully understand why Kay is the way she is until Sweetie arrives, and is soon followed by their father. Sweetie is a monstrous child/woman but when the arguments between sisters begin it's hard to know whose side to take, since Sweetie makes Kay just as dislikable. Perhaps because Campion knew the narrative could be reduced to the domestic struggle of those tied by blood, she employs an expressionist use of framing where the person on view is placed off centre, as well as stop motion footage of the growth of plants, a montage of the workings of Kay's mind when she attempts meditation, and a flashback to Sweetie as a childhood performer with a growling dog as audience. There are also strangely disturbing images 2 men dancing together at a cattle station, and Sweetie bathing her father. However, like Lynch, Campion has a wicked sense of humour and the climactic incident in a tree is equally comic, tragic and metaphoric. As the sisters, Karen Colston and Genevieve Lemon are never allowed to become grotesques they are both given touching breakdown scenes and Campion appears to have a special gift for handling child actors, with the little boy neighbour and the girl playing Sweetie as a child at the end particularly good. And like Eraserhead, once you manage to adjust yourself to the slow rhythms and lower your too high expectations, you find that Sweetie gets better as it goes along.

Read Best Reviews of Sweetie (The Criterion Collection) (1989) Here

Once again, the Criterion Collection's given us a marvelous DVD transfer of a wonderful film that had rather fallen through the cracks -in this case, Jane Campion's haunting feature debut, SWEETIE. Odd and intensely personal, the picture's full of striking images (particularly brilliant use of color in the set design), camera angles that are unusual without feeling forced, subversive comic writing, a wonderful soundtrack and, not least, fearless performances from a talented cast. This is the kind of movie that has such strong interior logic, the audience willingly follows where it leads, no matter how bizarre or unexpected the destination proves to be. I'd vividly remembered many scenes of SWEETIE since seeing it theatrically in its original release; experiencing Campion's vision again today is just as strong. The usual superior Criterion touches -fascinating commentary and student works from this director, insightful essay in the accompanying booklet. If the only Campion films you know are THE PIANO or PORTRAIT OF A LADY, you may find many surprises here. Very worthwhile.

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Sweetie (Jane Campion, 1989)/Passionless Moments (Jane Campion, 1983)

Sweetie is the type of comedy I would write if I wrote comedies-relentlessly black, full of subversive moments, and deeply, deeply twisted. Barrel of monkeys? I scoff at your fun!

Kay (Karen Colston) is rather mousy, introverted, and not terribly happy in her relationship with Louis (Tom Lycos), whom she lands after consulting a fortune-teller. Not the best start to a relationship, one would think (and one would be right). Still, Kay and Louis are content, in their own miserable way, until Sweetie shows up. Sweetie (Genevieve Lemon) is Kay's younger sister, and she's well, I believe the technical term is "crazy as a loon". No one but Kay, however, seems capable of seeing this; her parents just see her as slightly eccentric, though still their darling baby daughter. Louis is oddly entranced by her. Gordon (Jon Darling), her manager/boyfriend, is convinced she'll be the one to finally net him some success, and he's not put off by the fringe benefits of managing her, most of which he reaps between the sheets. Loudly. As Sweetie slips farther and farther round the bend, though, the rest of the family does come to see that, perhaps, there might be something wrong; unfortunately, no one's equipped to deal with this new perception, and anything that can go wrong, etc.

I should probably insert some sort of warning about triggering conversations/behaviors, but that's kind of the point of the movie, isn't it? This is supposed to push your buttons (in much the same way that Very Bad Things did a few years later). And it does a very good job of it; the movie was castigated and/or damned with faint praise when it appeared, though it has since been recognized as a classic in the making given some of Campion's later output (e.g., The Piano). Campion, who both wrote and directed, is a twisted genius with a camera here; all you can do is sit back and enjoy the ride. And I highly recommend you do so.

I wouldn't normally review a thirteen-minute film, but Passionless Moments, which can be found in Sweetie's DVD extras, is on Jonathan Rosenbaum's list of the thousand best films ever made, so I should probably give it a paragraph. A short made by Campion in 1983, Passionless Moments takes a number of disparate scenes and puts them together. Each of them is oddly familiar, things you've done or wondered about yourself, but presented from odd angles, or with weird cuts; it's as if Roald Dahl got inside your skull and started writing Tales of the Unexpected straight out of your subconscious. It's absolutely worth your time, and is worth the cost of buying the Sweetie DVD by itself. **** (for both).

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Scary Movie (2000)

Scary MovieScary Movie turned out what I thought it to be (a halirious movie with people getting killed off in wacky ways and silly parodies of recent horror movies) and what I didn't think it to be (showing ...ahem... small full frontal male nudity, and a major major gross scene). The Wayans have majorly beat the "There's Something About Mary" creators with the most gross-out jokes ever displayed in a movie. Anyway, Scary Movie was a good funny movie. The acting, for a parody, was great. And even though it followed Scream by every scene almost, there were other movies parodied and mentioned. For example: I Know What You Did Last Summer, The Matrix, American Pie, The Blair Witch Project, Amistad, Shakespeare in Love, Friday the 13th, and I even caught something that dealt with The Exorcist. And how they copied Tatum's death scene was hilarious. If I say anymore, I will give out what plot here is to the movie, so I'm going to stop. Go check it out!

This is one of the funniest movies I have ever seen. Its totally pointless, but thats what makes it what it is. dont watch it just buy it. or steal it whatever you have to do to get it.

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Hey, Scary Movie wasn't so much of a scary movie afterall. Instead, it is one helluva roller-coaster parody of the recent box-office hits like Matrix and the likes of Scream that promises to bring you a ceaseless 1 and 1/2 hour of nauseous, dizzying, raucous laughter.

Scary Movie not only spoofs hits like Sixth Sense and I Know What You Did Last Summer, it also pokes fun at racism and bimbo-hood, albeit done in the light of humor.

To really enjoy Scary Movie, you'd have to dispose yourself of all reason and rationale and laugh it all down, with some popcorn and coke of course(just make sure not to choke on it while guffawing away). The plot may be thin, but it sure is the one of the funniest movie I have ever seen. Those in hope of a really frightening premise would be sorely disappointed, though.

In all, Scary Movie is the epitome of parodies and brings sexual jokes to newer heights of enjoyment. Way to go!

Read Best Reviews of Scary Movie (2000) Here

Scary Movie was of the best comedies of 2000. With spoofs from movies like Scream, I Know What You Did Last Summer, Blair Witch, and The Matrix, this film will be loved by all. The sexual content of the film makes it even funnier. (Not very explicit, shows very little).

In the opening scene with Carmen Electra, you know this movie will be great. Shawn and Marlon Wayans did a great job putting together this film and they got the greatest cast. The whole over-all plot with Doofy is absoleutly hilarious and you'll be laughing out loud at the end of this brilliant movie.

So, be sure to catch Scary Movie. Anybody and everybody will enjoy this spoof. Buy this DVD and enjoy.

HAPPY VIEWING!

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Scary movie is a fun movie worth a buy or rent. It's a great movie to watch with your friends at a party. It's a spoof off horror movies, mainly I know what you did last summer and Scream. But it also mocks the Blair Witch Project and the Matrix briefly. If you watched Scream and I know what you did last summer, you'll probably enjoy the jokes better. But, the first time I saw it, I hadn't seen either but still found it hilarious. There's not really much more to say besides it's an absolutely hilarious movie that will deliver plenty of nonstop laughter. This movie throughout delivers a constant amount of laughter and afterwards, you'll be telling your friends about the great jokes.

Submarine (2010)

SubmarineBeing a fan of Richard Ayoade from "The Mighty Boosh" and "The IT Crowd," I was eager to check out his feature film debut "Submarine." As the writer and director of this offbeat coming-of-age story, Ayoade demonstrates a deft hand balancing a narrative that is simultaneously outrageous and surprisingly grounded. Championed by Ben Stiller (who takes an executive producer credit), the movie has moments of laugh-out-loud humor to be sure--but it is much more than a conventional teenage romp. I hate using the term quirky as a descriptor. Quirk, as I've often and loudly proclaimed, is the curse of independent cinema. Too many times, eccentric characters and unbelievable situations abound in quirky coming-of-age stories that drain real life relatability out of the comedy. "Submarine," however, employs a real restraint. Its deadpan tone and clever script are its strongest assets in conveying a story that, despite its occasional wackiness, presents identifiable dilemmas and believable protagonists.

Set in contemporary Wales, "Submarine" introduces a high school outsider played by Craig Roberts. Roberts contends with the traditional angst of a boy of fifteen. Trying to navigate the pitfalls of school and, in the process, score his first real girlfriend--Roberts has an understated charm that is pivotal to the success of the film. Even at his most gloriously frustrating, Roberts always holds the story together as one of the most strikingly original heroes I've seen in a while. In addition to his blossoming romance with a very challenging partner, his life faces further upheaval as his parent's marriage seems to be on the brink of destruction. His mother (the always reliable Sally Hawkins) is spending a lot of time with an old paramour who happens to be a neighbor (Paddy Considine). Befuddled dad (Noah Taylor) seems ill-equipped to deal with this new set of circumstances so Roberts becomes both sleuth and mischief maker in a scheme to keep things on track.

In truth, there is nothing in the plotting of "Submarine" that you haven't seen in countless other films. But despite this, the movie still feels very fresh and original. A lot of credit must go to a terrific central performance. But Yasmin Paige as the tough, yet vulnerable, love interest is such a complex and interesting character as well. Hawkins and Taylor make a perfect pair of opposites and Considine has a lot of fun with a new-age self-help psychic ninja shtick (you just have to see the movie). Although quite humorous, this is not always what I would describe as a laugh riot. It has an understated cleverness and much of the amusement derives from uncomfortable situations. If I had to compare the film's sardonic tone to that of another filmmaker, the closest relation in my mind would be Wes Anderson at his most restrained. An easy recommendation, Ayoade has scored a winner and I look forward to future endeavors. KGHarris, 9/11.

It's a short putt from here to a Wes Anderson movie, so if you like Anderson, this should do you just fine.

Here's the scoop. Fourteen year old Oliver Tate is in love with his classmate Jordana Bevan. Oliver's folks are having issues in their marriage and mom's old flame has moved in next door. Oliver feels compelled to get the girl and save his folks' marriage.

This is a quirky flick. Oliver is young and too bright for his age so he comes off as kind of gorpy. Jordana seems nice enough but has a dark side and harbors issues regarding closeness and commitment. Of course Oliver only sees what he wants to see in her because he wants to get in her nickers. His mom seems normal enough but dad is an intellectual stick in the mud. Her old flame is way too into himself and his "New Age" guru travelling show, but he's more alive than dad. This film does much to give the viewer the sense of the craziness one experiences when coming of age. The awkwardness and missteps are all brought to the forefront.

Again, this is a very quirky movie. It's set in Whales and sometimes the accents and Oliver's rapid fire delivery of a line kept me from getting everything, but I enjoyed it just the same. And this is only a happy-ish ending. You get the feeling that Oliver and Jordana, if they move into the future together, might not end up as the storybook happy couple. They both have issues to work on.

This is director Richard Ayoade's first feature length film, but he seems to have already found a voice. This is so good I will easily look forward to seeing his next outing

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Customer review from the Amazon Vine Program I generally appreciate British humor and quirky comedies, and I really wanted to like this movie because I liked Richard Aoyade so much on "The IT Crowd." (Just to be clear, he's the director of the film; he does not act in it.) It wasn't a bad little movie, but it felt pretty flat overall. The acting was good, and the story was certainly quirky enough (in fact, a bit quirkier than I cared for), but I thought the humor wasn't all that humorous.

What it really reminded me of was one of Wes Anderson's less successful efforts; so imagine what Wes Anderson's take on a coming-of-age film set in a Welsh town...directed on an off day for Wes Anderson...and that's pretty much what "Submarine" is like. If that sounds awesome to you, then, seriously, have at. Otherwise, you should probably pass.

Read Best Reviews of Submarine (2010) Here

This somewhat sweet, somewhat creepy coming of age movie is worth watching for its quirky humor and for the sincere acting of its young cast. It is set in South Wales in the mid-1980s. By way of local color, there are some nice shots of the seashore, the hills, the local junkyards and railway depots and deserted industrial plants.

We meet Oliver, a somewhat thoughtful, somewhat geeky kid of around 15 anxious to avoid bullying, if necessary by joining in against even more vulnerable targets. His love interest is Jordana, a cute classmate with an independent streak. Both of them have problems at home.

Oliver's parents are bizarre, each in their own way. His father seems to be in the grip of clinical depression; his mother is obviously frustrated and somewhat attracted by a creepy neighbor who practices a form of "new age" therapy to do with light. Both are hopelessly awkward and inept with their son.

We learn later that Jordana's mother may die of a brain tumor, though when we meet her, she seems amazingly healthy. This is one aspect of the plot that totally fails to work.

Oliver earns Jordana's respect when he submits to a beating for refusing to call her a "massive slut". But then he loses it by failing to show up at the hospital where her mother has just undergone surgery. The two break up -and we watch Oliver try to go through the painful mournful process we all go through when our first love affair dies. At the same time, he makes increasingly desperate and ill-judged attempts to save his parents' marriage.

In the end, all these matters are resolved and the characters walk off into the sunset.

I quite enjoyed it, my wife did not. I think it's worth watching on an evening when there's nothing on the TV and when you can't stand yet another reality show.

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Customer review from the Amazon Vine Program A lot of films strive to 'place' the viewer in the place of the protagonist of the story. To cause the viewer to feel and sympathize with the hero of the film, and cheer him on. It's difficult to think of a film that does just this more productively than 'Submarine'. I went into it knowing nothing about the movie, and came out of it feeling like I had just spent time with a close friend.

Ultimately, 'Submarine' is an exploration of a young man's adolescent failures and tiny successes, but every thought that 'Oliver Tate' (our hero) stammers aloud is met with touches of humor, confusion, anger, conflict, romance and anxiety from both the cast around him and the audience. 'Submarine' is perfectly cast and hits its mark time and time again. I had a great time hanging out with Oliver and his family, and reliving the awkwardness and thrills of young love and adolescence.

A great directorial debut from Richard Ayoade (yes, the guy with the afro on 'The IT Crowd')... I can't wait to see where he takes us next.

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The Adventures of Priscilla, Queen of the Desert (1994)

The Adventures of Priscilla, Queen of the Desert1994 was a big year for Aussie films. PRISCILLA and MURIEL'S WEDDING came out at the same time, and both earned a cult following because of their over-the-top themes. Also, an ABBA revival was happening at that time, and these films featured ABBA music.

PRISCILLA has many funny moments, but what makes it so special is the fantastic scenery and colours truly showcasing Australia's beautiful outback. Overall, the film is a pleasure to watch again and again. It tells the tale of three drag queens who set out across the Australian outback in an old bus affectionally titled "Priscilla". Along the way, they become involved in many outrageous situations.

DVD SUMMARY Originally released as an awful blotchy pan/scan DVD in Australia, the film recently received the treatment it deserved for its 10 year anniversary! Yes, it was recently in it's correct aspect ratio (2:35) and given an anamorphic transfer. While this new transfer is still not 100% pristine (white flecks here and there), it is still a huge improvement on the original DVD release. It's fantastic to see this film in all its widescreen glory after all these years. The colours and scenery will blow you away. The soundtrack has also been remixed in DTS and 5.1 surround sound. This 10 Year Anniversary also contains lots of special features, which is amazing for a film of its age.

The bad news is that the new DVD (in pink packaging) is only available in Australia. I recommend overseas buyers getting hold of this version over the current American DVD. The American DVD is only letterbox transfer (ie. not anamorphic) and doesn't include the special features.

A film like this sinks or swims with the casting of the leads, and luckily, all three main actors are absolutely superb. I have to confess that I hadn't really liked Hugo Weaving before seeing this film. I disliked his role as "Agent Smith" in THE MATRIX, and barely noticed his "Elrond" in THE LORD OF THE RINGS. But I liked him enormously in this one. Of the three leads, he was probably the best and most enthusiastic drag performer. I had previously seen Guy Pearce in L.A. CONFIDENTIAL, RAVENOUS, and MEMENTO, but I have to say that this is probably his finest performance. I have always been a Terence Stamp fan, and I have to say that, unlike the other two actors, he makes a dreadful looking transsexual. Nonetheless, the quiet self-possession and dignity with which his character conducts herself helps Stamp dominate most of the scenes in which he appears. Interestingly, although he plays a post op transsexual, he continues in his performance to speak in a relatively deep, masculine tone. One of the most enjoyable things about the film is seeing the way that the three performers gradually change in the way they interrelate with the others.

The most brilliant thing about this film is that at no point does it succumb to the slightest tinge of self-parody or irony. The director as well as the three leads all take their characters with the utmost seriousness, so that the film ends up not being a film about drag queens, but about three individual who just happen to be drag queens, a subtle but crucial distinction.

Most of all the film is fun. There are many, many over-the-top moments, and not every one succeeds, but most do. The script is superb, the scenery striking, and the music fun, even if most of the songs are, in one sense, outright wretched.

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Terence Stamp, as a Transexual...need I say more? OK...I will: "Priscilla, Queen of the Desert" is a wonderful, frollicking (or is it "frocking?") Adventure. Terence Stamp (of "The Hunger") is fabulous as an aging transexual, with bitter views and a sarcastic, biting sense of humor. His fellow(ette) travelers are performers, en route to the show of their lifetime, across the desert land of Australia....bickering and cat-fighting the entire way. Some of the banter is obviously a politically incorrect portrayal of gay men--the lines are often inspired by the worst-case scenario of gay men bickering--yet, I've met a few of those guys, in real life...so, the PC people will need to suspend their sense of appropriateness and enjoy the entertainment. This is NOT just a movie for "gay culture," as some people think. Straight couples enjoy the film and there are many hilarious scenes that couples can appreciate, together. There are some very Dramatic episodes that make the film more than a Comedy and aspire to give you an understanding of the sub-culture and humanity of the characters (despite personal prejudices). Besides, let's put the Anthropological Dissertation aside and get down to the core of the matter.... "Priscilla, Queen of the Desert" is a great movie!

Wait'll you see what one Lady likes to do with Ping-Pong Balls ; )

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"Priscilla" is now approaching its 10th anniversary. Rather than comment on the movie itself, I'd like to pay tribute to the amazing triumverate of actors at the center of the story. Because as time goes on, it becomes more and more notable that these three appeared together.

Hugo Weaving ("Tick" / Mitzi) Later becomes Agent Smith in "The Matrix" and Elrond in "Lord of the Rings"...i.e., only becomes a central figure in two of the largest franchises in movie-making history.

Guy Pearce (Adam / Felicia) Later becomes Leonard Shelby in "Memento" (and robbed of an Oscar nomination) and Ed Exley in "LA Confidential" (thought he was better there than Russell Crowe). Plus, he's a legend in Australia for his 1986 1990 part in the TV series "Neighbours" (where, most notably) he suited up next to Kylie Minogue).

Terence Stamp (Ralph / Bernadette) Finest actor of his generation? Perhaps. Later becomes Wilson in "The Limey" (don't miss that), Terry Stricter (founder of Scientology-like 'Mindhead' in the under-rated Steve Martin-penned 'Bowfinger'). Also famous to US audiences as General Zod in the Superman series. Career began as 'Billy Budd' back in the 1962 (!) Peter Ustinov classic.

Also here: Bill Hunter, outstanding as usual, as Bernadette's beau "Bob." To me, Hunter was the high point of "Strictly Ballroom" (as Federation President, Barry Fife). Wow, what a great actor.

It's wonderful to see this collection of actors, especially in such risk-taking roles. Especially Stamp, whose career has been hallmarked by intensely masculine roles. He has talked at length in various venues (e.g., 'Fresh Air' with Terry Gross) about his trepidation of playing Bernadette & the freedom he felt once he pulled it off.

So, if you've never seen 'Priscilla' before or don't think it would be your cup of tea, hopefully, I've given you four reasons here to rent or buy it today.

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I think I am probably the only person so far who could write an honest review of this movie. I was born and bred in Sydney, Australia (where "Priscilla" begins), I am a proud, openly gay man (not a drag queen unfortunately....couldn't afford the frocks!) and I have travelled to the country towns that the characters in "Priscilla" visited on their way to the Outback. Firstly, let me say that the movie is absolutely correct! Sydney's Oxford Street (the gay area in Sydney) is choc-full of drag queens and drag acts. Guy Pearce, Hugo Weaving and Terence Stamp should have won awards for their portrayals....they were spot on. In fact, they were better than the acts on Oxford Street. When they were rehearsing for "Priscilla" they all frocked up and blended in with the Oxford Street crowd....and none of us knew! The hostilities these three drag queens face from heterosexuals on their journey to Outback Australia is all true. It actually happens. This is a damn tough country. It's where men are men and the sheep are nervous! I visited Broken Hill (briefly thank God) and was stared at and harrassed for "looking different". I felt very uncomfortable. It's another world out there, a world which I don't really want to visit again. The scenery is very beautiful, but the people (most) are narrow-minded in-breds. The Palace Hotel in Broken Hill really does exist with those horrible murals on the stairwell. And the little Greek man who manages it in the movie actually runs it in real life! I met him. It was like stepping into the movie itself! "Priscilla" was loosely based on a true story. Three Sydney drag queens really did travel by road into the Outback to do a show. Naturally things would be exaggerated for the screen, but when aren't they? I give this movie 6 stars (but there are only 5 to give) for bringing out the message that it's alright to be different....be who you are....and be proud! "To Wong Foo", you tried hard to be a "Priscilla" clone, but you failed miserably. Next time make a film with depth and heart instead of what the Hollywood moguls think gays and drag queens should be like! Footnote: The Imperial Hotel that "Priscilla" opens in really exists as well. It is a gay venue that has now become a tourist attraction because of the success of this film. They even have a cocktail bar there called....wait for it...."The Priscilla Bar". Planet Hollywood, Sydney has the stiletto shoe that Guy Pearce sits in on the top of the bus. Come for a visit Down Under....but don't forget to bring your wigs and frocks!

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Playtime (The Criterion Collection) (1967)

PlaytimeWhy was Playtime a failure, sending Jacques Tati into bankruptcy and costing him control over his life's work of films? His previous film, My Uncle, had been a commercial and artistic success. M. Hulot's Holiday and Jour de Fete had gained Tati world-wide recognition and respect. He had become recognized as one of the few authentic geniuses of film.

Watch Playtime and I think you'll find the answer. Tati in his earlier films placed Hulot in situations where we could empathize with him. Hulot was an innocent. As we came to like him, we also came to like the people he encountered. Even with their pretensions and idiosyncrasies, we could see something of ourselves in them. Tati might be holding up a mirror for us to look in, but M. Hulot was such a gentle companion that we smiled as we recognized ourselves.

With Playtime, there is little Hulot. Instead, we have Tati's view on all sorts of social and cultural issues, from the sterility he saw in much of modern life to modern architecture, group behavior, impersonal offices, loneliness, boorishness and American tourists. We're observers, and our job is to share Tati's viewpoint. Hulot, now middle-aged, has become a minor player in the film. In his earlier movies, Tati was careful to give us small numbers of people with whom, along with Hulot, we could come to know. In My Uncle, for instance, it was essentially one family and one modern home, along with Hulot's own apartment and his neighbors. In M. Hulot's Holiday, it was a small seaside hotel and its guests. With Playtime, we have a large, impersonal office building, all glass and right angles, filled with people -employees, visitors, exposition guests, customers. Then we have an apartment building with huge curtain-less windows allowing the pedestrians to look right in, and we're among the pedestrians. Then we have a nightclub filled with customers, waiters and managers. There is little opportunity to get to know any of these people, much less develop affection for them.

However, as with all his movies, Tati fills Playtime with streams of intricate and carefully developed comic situations (although comic is too broad a term), often that build from small happenings we've barely noticed. There is only sporadic and incidental dialogue, but sound effects are vital to the movie, as subtle and amusing as what we see.

As sterile and unattractive as Tati makes the airport, the office building, a convenience store and the apartment, there are such odd and subtle sights as the bobbing wimple wings on two nuns, a floor sweeper staring at a booted officer, Hulot suddenly sliding down a floor, glass windows and doors impossible to tell if they're there or not, a table lamp that dispenses cigarettes, strange-looking and wobbling food at a self-service counter...and the list simply goes on. And it's not just one thing at a time. Tati can fill a screen with all sorts of amusing occurrences, some happening in the foreground, some in back, some at the sides.

The last hour of the movie takes place in a modern nightclub, the Royal Garden, which has just opened and is barely ready for its customers. A dance floor tile sticks to a maitre d's shoe, a fish is ostentatiously finished table-side by a waiter...then finished again and again by mistake while the two customers ooh and ah. A bow tie falls in the sauce. A bus-load of tourists suddenly appear. When Hulot manages to accidently shatter one of the glass doors to the restaurant, it is a culmination to all those glass walls we've been looking through and walking into. The follow-up gag with the round door opener is almost worth the price of the DVD. As the modern restaurant gradually disintegrates around us, Tati finally begins to ease up on personal viewpoints and let's us simply enjoy the sight of people becoming more like people. And that, I suspect, is the point Tati wanted to make. In an odd sort of way, the last ten minutes evoke the humor and warmth of previous Tati movies...a packed traffic circle with all the cars moving slowly together; a father taking a toy horn from his little boy and blowing it, too; the bittersweet last look at Hulot walking past a bus where a young woman he met at the nightclub is being taken to the airport with her tourist group.

If you like Tati's viewpoint on the impersonalization of modern society, you'll probably like Playtime. Some critics call it his masterpiece. If you like Tati, I think Playtime is essential, if only to understand what happened to him. The movie is an idiosyncratic and gallant failure, in my view, and much too long. Still, I'd rather watch Playtime than most of what passes as genius in films today.

The new Criterion release looks very good. This edition has several extra features including supplements about Tati and an audio interview with him. The case also contains an insert with an essay by Jonathan Rosenbaum, identified as a film critic.

French director Jacques Tati is considered as one of the best directors of all time. Known for his comedic work in France, his character Monsieur Hulot has appeared in several successful comedic films such as "Juor de Fete", M. Hulot's Holday", "Mon Oncle", "Traffic" but there is one film that will be his accolade. That film is "Playtime".

Considered a masterpiece by critics, the film was also a commercial failure and was the most expensive film ever created in France as Tati created a set featuring a whole city block with high rise buildings that looked incredibly real. But the film was ahead of its time.

"Playtime" is a visual film with no significant plot, nor does it have much dialogue. It's a film that is driven by its many characters onscreen and the elaborate setup as characters, buildings and vehicles are treated with so much detail on the film, that it just a feast for ones easy as Tati absolutely created a film that was sheer brilliance.

But part of the problem was his risky gamble on 70 mm widescreen and stereophonic sound. Many theaters were not equipped to handle that and to make things worse (but understandable) is the lack of dialogue which can easily turn off audiences. So, needless to say, the film didn't do well in France and also in America.

It's after Tati died in 1982, is when people found admiration in his work and seeing how his films were truly amazing.

"Playtime" is like a smorgasbord of life being changed by modern technology and as Tati was known to do, lambast modern society as he was a man that was definitely "old school" to the time of his death.

The film revolves around Tati's famous character Monsieur Hulot and an American tourist named Barbara.

For Monsieur Hulot, he easily gets lost in the city and leads him to adventures to various areas such as an office building (which he had a problem with today's modern architecture) as he gets lost trying to get to his meeting and ends up being pulled away to a high-tech trade expedition, a high-tech apartment and then leads him to nightclub known as the Royal Guarden.

As for Barbara, she just wants to experience the beauty of Paris. She accompanies her (loud) American friends but she rather enjoy France her own way. Obviously Barbara had different ideas in mind of Paris but instead she receives a modernize setting.

The film culminates with the carousel of cars as Barbara must leave the city and sees almost a carousel/parade of all these vehicles all around her and how all the people react. What we see is a city that has been transformed to a festive, enormous metropolitan playground.

"Playtime" focuses on these two characters (and other characters who shows up more than once), Tati showcases modernization (which looks beautiful) but it's that demolishing of the France that he loves and now getting used to this new France is what makes "Playtime" quite entertaining.

Viewers can watch "Playtime" with its original French audio but also an International version which features the film in English.

VIDEO & AUDIO:

"Playtime" is presented in 1080p High Definition (1:85:1 Aspect Ratio). Accord to Criterion, the black bars at the top and bottom of the screen are normal for this format. The HD digital transfer was created on Spirit Datacine from the 35mm reduction internegative made from the 65 mm interpositive. Thousands of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system and Pixl Farm's PFClean system, while Digital Vision's DVNR system was used for small dirt, grain and noise reduction.

"Playtime" is featured in its original French language but also a alternate International soundtrack which features a few scenes with English dub.

As for the audio, the audio is presented in lossless stereo. Criterion mentions that the soundtrack for "Playtime" was remastered at 24-bit from the orignal stereo audio stems. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube's integrated audio workstation.

Subtitles are provided in English.

SPECIAL FEATURES:

"Playtime" comes with the following special features:

* Video introduction by writer, director, and performer Terry Jones (6:13) Terry Jones talks about "Playtime" and what he remembered when he watched in on the theater for the first time, what he thought about the film and also a little information about Jacques Tati.

* Selected scene commentary by film historian Philip Kemp (46:44) A well done commentary by Philip Kemp as he talks about certain scenes from the film. Kemp definitely giving an intelligent and yet smooth delivery for commentary for the film. Very informative!

* Au-delà de "Playtime," a short documentary featuring behind-the-scenes footage from the production (6:30) Featuring a behind-the-scenes look of how the set was created for "Playtime" and video footage of Jacques Tati with the cast and crew.

* Tati Story, a short biographical film (20:38) A featurette celebrating the work of director Jacques Tati. Featuring photos and video of Jacques Tati from when he was a child to when worked on his final film. Very good insight to Tati's personal life and his career.

* "Jacques Tati in Monsieur Hulot's Work," a 1976 BBC Omnibus program featuring Tati (49:28) Featuring an interview conduced by Gavin Millar who interviews Tati at the Hotel de la Plage about M. Hulot and films that the character has appeared in.

* Rare audio interview with Tati from the U.S. debut of Playtime at the 1972 San Francisco International Film Festival (Courtesy of Pacifica Radio Archives) Featuring Jacques Tati at the 1972 SF International Film Festival (discussion moderated by Albert Johnson) and insight of Tati's feelings of the film being showing in the US and his appreciation for the American fans who enjoyed the film. A great audio recording that gives us insight of Jacques Tati.

* Video interview with script supervisor Sylvette Baudrot (12:09) Sylvette Baudrot talks about working on the film and reveals some secrets of how Tati made this film work.

* Cours du soir, a 1967 short film written by and starring Tati (27:41) A short film in which features Tati teaching a mime class.

Also, included is an essay (in the insert) by Jonathan Rosenbaum (a film critic for the Chicago Reader from 1987-2000) titled "The Dance of Playtime".

JUDGMENT CALL:

"Playtime" happened to be the first Jacques Tati film that I have ever watched. I was familiar with his character of M. Hulot but for years, I have wanted to watch and experience the film.

The first thing that I found surprising is the attention to detail as the unbelievable set Tati's company had created was just fantastic. The buildings look modern, the set looks like a major section of Paris with all the people, buildings and vehicles. And sure enough, "Playtime" is a film that utilizes everything on screen to show how modern technology has literally chanted the landscape. Some who embrace the changes and convenience of modernization and some who feel they are left behind and are literally lost.

What makes this film work outside of its incredible set is that Tati is a perfectionist. He literally directs each person in the film. Everyone has an import part to play. May it be how characters have this choreographed walk as they go off in several directions to characters at a restaurant as we see people dancing on the dance floor, each person dancing differently. While servants are trying to get the food out and you see visual gags as one servant clearly has their eyes on something inside the club, while another is attentive to the female patrons and those who are desperately trying to get their food out. It may seem chaotic, but Tati knows what he wanted to get onscreen and succeeds.

"Playtime" features absolutely beautiful cinematography as we see bungalows on the work floor which work almost like a maze. We see buildings that appear to be metallic and the lighting automatically synchronizing when they turn on. We see vehicles move almost in synch with other vehicles.

We see people throughout the city in similar routines at work, we see people promoting the latest in modern technology ala the late 60's and what is most amazing is that there is hardly any dialogue. It's like you are given an upfront look at how life is in the city and seeing how various people react to each other.

The film plays out quite interesting as the first half is dedicated to various characters such as M. Hulot who has a business meeting but ends up getting lost in all the modern settings. Barbara is a tourist who has accompanied several American women to Paris and finds the city to be quite breathtaking. We see Monsieur Hulot getting lost in offices from buildings that look alike.

But then the second half of the film focuses on a nightclub known as The Royal Garden that is opening and yet not ready. We see how the builders and the restaurant staff prepare for their major night despite the nightclub not yet ready. Where the first half was quite visual, the second half focuses more intimately on the people of the nightclub and the film becomes more gag-driven but yet with so many people in the film, Tati did a wonderful job in making sure each character had some part in the film and contributed in some fun or hilarious way.

A visual film without dialogue may seem boring and monotonous but fortunately Jacques Tati included a good number of gags to make the whole 124 minutes a bit lively. I did feel the film went a little long and that scenes could have been cut but with Jacques Tati putting all his energy into this film, I understand how difficult it was for him to even cut any scene out. But I do feel that the film could have been much shorter but then again, I would have been curious to see Tati's original, longer cut.

If anything, I really enjoyed what Tati did to create such a beautiful film. Three years of his life and also the crew and talent who made this film a reality is very much appreciated as I was entertained visually and I just felt so much respect for Tati after the film was completed. I did find it a bit disheartening to learn how this film which cost over $15 million (which was incredible for 1967 and was the most expensive French film at the time) caused problems for Tati as he was left bankrupt and unfortunately damaged his career. As much as it was critically well-received, it was a failure in the box office but partly that was because Tati chose 70 mm instead of 35 mm and Stereophonic sound which many theaters were not equipped to play during that time.

The Criterion Collection really did a great job in presenting "Playtime" on Blu-ray. The film looked absolutely beautiful for a film that is over 40 years old and because this film and what takes place onscreen is so immense that each time you watch this film, you will see things that you just didn't catch the first time. You can't help be amazed of how Tati and crew were able to create a modernized city. Tati made sure to really utilize his large cast in this film and what you see maybe different from what others are seeing because there are many things going on in the background. So, definitely a film that I have no doubt will require multiple rewinds because too much is happening in one sitting.

Also, The Criterion Collection edition of "Playtime" on Blu-ray features many special features that Jacques Tati fans will enjoy.

I've heard that the film is a statement by Tati of how much society has changed along with the city he has loved. The modernization with the use of electronics in buildings and restaurants and just making sure he has enough gags to make the audience laugh. If only Tati can see how much has changed today, that would definitely be an entertaining script.

A film that showcases beauty in various ways. This is absolute a film that was the highlight of Jacques Tati's career and despite how this film may have done in the box office, anyone watching now and seeing what the director was able to accomplish with no discernible plot and very little dialogue is fantastic. And again, the visuals are just fantastic. I was really blown away with how beautiful and intricate of a film "Playtime" truly is.

"Playtime" is highly recommended!

Buy Playtime (The Criterion Collection) (1967) Now

This is a singular masterpiece in film making but totally unlike anything, even for it's day. By today's attention deficit disorder standards, this film is really really odd. But no doubt it is a masterpiece if the viewer is willing to put the effort in to catch all the nuances because this is a film of nothing but nuances. Tati himself is just one of many participants.

There is a plot of sorts dealing with a group of female American tourists and the one women who is the odd duck among them. She meets Tati and they spend the night together dancing at a night club and see in the dawn at a coffee shop. Various bits of business are constantly swirling around them and you could view this picture 10 times before seeing everything. There are many jokes but they are gentle visual puns. Don't expect belly laughs, just a wry but amazing view on modern life.

As is standard practice for Criterian these days the extras on disc two are spectacular. The documentaries on Tati's life and this film are brilliant and helped me understand his art and this film much better.

A gentle film with brilliant use of wide screen (this film would make no sense pan and scan) you need to fall into the picture to enjoy it. But there is an endless wealth of material to enjoy.

Read Best Reviews of Playtime (The Criterion Collection) (1967) Here

To say too much or to say too little? I see greatness here, and the more I learn about this film and Jacques Tati, the brilliant, wonderful Jacques Tati, the more I admire this great piece of film treasure. Tati is one of these pure joys that came out of nowhere in my life, and has now fueled me beyond belief. I am in love. This is a film fan's greatest wish to find unexpected little gems like this one and to have it consume them until it becomes an obsession, and then familiar, like an old comfy hat. This is a masterpiece, and it gives me faith in the human race when I see someone go all-out like this. This may have been folly but we are so very, very lucky to have this precious classic!! I grew up with Gilliam's folly, Brazil, and it is so nice to see another person putting themselves so far out over the edge for the sake of TRYING TO SAY SOMETHING IN THE GUISE OF COMEDY. This is a remarkable film and the commentaries on these discs, the Terry Jones intro, the making of features it's all tremendous, and I cannot recommend it enough. We have movie clowns today who waste their time farting and looking at booties and hating so indirectly -you see something like this, and it's like...we need more. That's all I can really say: we need more like these. This is visionary, and a gift for the ages. Remarkable, brave, timeless. This is what film is about.

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My review will be hated by many, but the Truth must out: I just saw this in the Criterion blu-ray on my ten (10) foot screen at home. It was magnificent. I am a comedy afficionado and this may be the greatest of them all, although definitely not the most laughs-out-loud. Anyway, the awful truth: if you don't see it in blu-ray on a large screen (at least 60", I imagine), I think you'll be missing a lot. Tati fills the frame with all kinds of mishegas in the background and on the far reaches of the image. Further, the simpler shots draw power from the large scale of the sets. Now please don't be ticked off....I'm doing you a solid!

Three Stooges (2012)

Three StoogesI just want to give a bit of information to anyone thinking of buying this because the official product description is a bit vague.

While the 3 Stooges did make a few films in 3D in the late '40s, none of them are included here. Instead, it has 4 shorts (Disorder In the Court, Brideless Groom,Sing a Song of Six Pants, Malice In the Palace) that have all been colorized and converted to 3D. The colorization is ok, but I would say that the 3D is actually very good.

If you're looking to expand your 3D library and just want a fun disc for a cheap price, then I would definitely recommend this. If you're a collector hoping to get the Stooges original 3D shorts in HD, then you'll have to keep waiting.

words cant describe how fun this was. amazing 3D depth like i was swept back into the 40s & 50s...worth every cent. they really just shat on the public with the DVD release in anaglyph 3D in the 90's. this makes up for it. Sick-Flix .com is where you can go for a sample of the 3D Bluray. they offer one short called Pardon My Backfire 3D which was actually filmed in stereoscopic 3D. go check it out !!!

Included Shorts in Real 3D & Color !

Disorder In The Court (1936)

Brideless Groom (1947)

Sing A Song Of Six Pants (1947)

Malice In The Palace (1949)

Buy Three Stooges (2012) Now

I own several recent 3D blu-ray movies (Avatar, Avengers, etc), but I must proclaim that this colorized, 3D conversion of the classic "3 Stooges" is a masterpiece!

Reprocessed, from the original 2D, black-and-white videos, from the 1940's, I am simply amazed at the colorization quality, and the 3D rendering...

Moe, Curly, Larry, and Shemp, will live-on, and make us laugh, well into the next century!

:-)

Read Best Reviews of Three Stooges (2012) Here

A great selection. Colour and 3D look great. Gives a new life to some funny short films. Thanks 3D classics.

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When I seen they converted these 2D episodes to 3D with colorization I didn't expect it to be that great in regards to quality, but to my surprise it was fantastic. The depth is is pretty awesome and I'd definitely recommend this to any 3 Stooges fan. I'm hoping they convert more, 4 just isn't enough. As other reviewers stated, this contains shorts Disorder In the Court, Brideless Groom,Sing a Song of Six Pants, and Malice In the Palace.

FYI: Many of the negative reviews I've read on Amazon for this are due to the buyers who thought this was the new The Three Stooges 2012 movie, the description is vague, but it does clearly state the Actors' names: Moe Howard, Larry Fine, Curly Howard, Shemp Howard. This should give the buyer a hint that it contains shorts with the Original Stooges.

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To Die For (1995)

To Die ForIf you would like to see a really great performance by Nicole Kidman, pick up a copy of "To Die For" at your local video store. Directed by Gus Van Sant, screenplay by Buck Henry from the book by Joyce Maynard (both Henry and Maynard have bit parts in the film), "To Die For" is a wicked little gem of a film.

Kidman won the Golden Globe award for Best Actress for her performance, and frankly I thought she should have gotten the Academy Award (unless I remember incorrectly, I don't think she was even nominated for an Academy Award for it). But she is absolutely brilliant in it: chilling, funny, scary, sexy, and horrifically evil.

Kidman portrays Suzanne Stone-Maretto: a devious, calculating, self-centered woman who manipulates Larry Maretto (a very sympathetic performance by Matt Dillon) into marrying her, quickly tires of him when he tries to stand in her way of her greatest ambition in life, which is to be the next Diane Sawyer, and soon convinces her teenage lover to kill him for her. Sound familiar? "To Die For" was loosely based on the real-life story of Pamela Smart, who seduced her 15-year old lover into murdering her husband.

Joaquin Phoenix is Jimmy Emmett, the hapless student who becomes Suzanne's lover; Lydia Mertz is Alison Follard, a young girl who idolizes her; and Casey Affleck is Russel Hines, another student who gets caught up in the scheme. Illeana Douglas is great as Larry's acidic, loving sister Janice, who also gets one of the best lines in the film, and at the very beginning, no less; and Dan Hedaya is Larry's father, Joe Maretto. Dan Hedaya is a master of the "Believe me, you don't want to see me mad" performance, with obvious menace just under a calm surface. The casting is great, and the performances are all right on target.

Look for uncredited cameos by George Segal as a conference speaker, and David Cronenberg as...you'll just have to go see it.

Nothing like a little dark humor and feminine fangs to make a mash of the culture driven by 15-minutes-of-fame. In this case, a riveting Nicole Kidman as a perky, self-obsessed suburban nutcase who has big dreams of finding fame and fortune, even at the expense of her husband.

Directed by Gus Van Sant in his usual cobbled-together manner (hoary, quasi-documentary devices to propel the screenplay, regular flashbacks, direct-to-the-camera diction, etc..) based on Buck Henry's trippy adaptation of a novel by the same name. The result is a pleasantly watchable movie that moves quickly and keeps you guessing the limits to which our protagonist would limp to achieve her ambitious goals.

I felt that the premise, beyond its chirpy surface, is quite thought-provoking. If our perky weather reporter were to be successful in her quest then we could believe that total dedication to a quest is admirable and ultimately rewarded -regardless of the means employed. Can we condone murder though? Perhaps we are offered a tongue-in-cheek hyperbole that extremes are necessary if we are to escape our station in life.

This movie apart from amusing you will surely leave you with something to savor, not just off its theme but from the brilliant supporting performances of Casey Affleck, Matt Dillon and especially Joaquin Phoenix.

Recommended rental.

Buy To Die For (1995) Now

To Die For is an excellent, detailed portrait of a female narcissist. This movie is no comedy. If you ever have the great misfortune of tangling with one of these psychopaths, trust me, you WONT be laughing.

Nicole Kidman plays Suzanne Stone, the girl who grows up as the center of her family's never-ending attention, the Golden Child Who Can Do No Wrong. As life goes on, Suzanne hones her manipulation skills, and marries Larry (played by Matt Dillon), who reflects back to Suzanne the image of herself that she wants to believe and see. Perfect!

That is, until Larry demands that the marriage include him. In bed one morning soon after being wed, Larry wants to make love with Suzanne. She icily shoves his hand away saying "get your hands off me." She has to get ready for work, to "fix my face" for the world. It's performance time, and Suzanne is always on. Larry just doesn't get it. Their life is about HER, not them. When Larry broaches the topics of having children and her helping him out in the family restaurant business, Suzanne decides he has to go. This girl has global aspirations. She won't be marginalized with motherhood and a family business!

When Suzanne lands a job at a community TV station, she turns a small job fetching coffee and running errands into her role as the weather girl reporting from "The Weather Center." She soon executes one of her many grandiose schemes: making a documentary about high school teenagers in their natural habitat. Enter Joaquin Phoenix's character Jimmy Emmet, an introspective but deeply lost teenager who falls hard for Suzanne. She soon sexually manipulates Jimmy into doing her bidding, with promises of eternal love and "then we can always be together." Her blinding charisma engulfs Jimmy and friends Russel and Lydia, and of course she heartlessly kicks them all to the curb the instant she achieves her goal.

If you know anything about narcissism, you'll see all the high points in To Die For: grandiosity, complete disregard for the feelings of others, ice-cold manipulation, and lightning-fast betrayal once the narcissist has achieved her goal. You're seeing how a psychopath operates. If only the narcissists of the world found the same fate as Suzanne Stone. I strongly recommend To Die For.

Read Best Reviews of To Die For (1995) Here

If you like your humor smart, wicked, ironic, and served on a silver platter, this one's for you. Buck Henry wrote the screenplay, which should say plenty about the level of intelligence and sly wit at work here. Nicole Kidman gives the performance of a career as a woman who looks, acts, and dresses like a Barbie doll come to life. She has completely bought into the myth that, frankly, we all believe to one extent or another. That is, being on tv is a good thing and validates a person, makes that person more real than real. Her obsession to be a tv celebrity is like a narcotic for her.

Suzanne Stone lives in a fantasy land, imagining that her role as the weather lady on a local cable access tv station will somehow be a springboard for Babwa Wawa type notoriety. Watching her voracious, yet somehow sadly innocent, ambition is both funny and horrifying. Kidman plays it perfectly, never winking at the camera. The story, though based on actual events, is little more than a vehicle for many wonderful performances. Her husband, played with real comic skill by Matt Dillon, has to go, he's just in the way. The stoner, semi-goth high school students she enlists for the hit, including Joaquin Phoenix, are charmed and subservient, amazed that a celebrity would pay attention to them. (As we would be if Oprah asked us to wax her car, which we probably would, because we also believe that being on tv is a good and important thing.)

Other inspired performances include George Segal in a splendidly cynical cameo, succinctly summarizing tv business reality. Dan Hedaya, who must get his 5:00 shadow somewhere around 9:47 a.m., is just right as the guy who settles the score. But the real sleeper is Illeana Douglas, narrator and Ms. Stone's sister-in-law. She smells a rat long before anyone else, and her wise-acre sarcastic delivery is terrific, especially as she gracefully skates over the evidence. That's cold!

Van Sant is a very interesting director. Drugstore Cowboy was as fascinating as it was disturbing. Elephant offered an amazing look at Columbine through the other end of the lens. Finding Forrester, a tad trite and commercial, did have heart. Good Will Hunting, yikes, what did we do to deserve the twin monsters it loosed upon the landscape? Even Cowgirls Get The Blues, one of the best books ever becomes one of worst movies ever. My Own Private Idaho. This movie, featuring an unnerving performance by the late River Phoenix, was chilling, haunting, beautiful, and absolutely brilliant. Van Sant is certainly capable of greatness, and Kidman is also. In To Die For they are both at their absolute best.

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Nicole Kidman plays the perfect psychopath in TO DIE FOR. The psychopath is the one area of psychology that no one has a cure for. Psychopaths lack moral impulse. They not only don't have the vaguest idea of what right and wrong mean, but they also don't understand why other people can get all exercised about violations of right and wrong. Kidman in the movie doesn't murder because it's calculated and she can get away with it; she doesn't even think that far ahead. And that's what makes acting a role like this so blamed difficult. Kidman pulls it off in what I regard as one of the two greatest bravura female acting performances in the past quarter century. (The other is Kate Nelligan in the 1981 movie, EYE OF THE NEEDLE.) If only the screenplay were up to Kidman's level, it would shake five stars out of me. There's a little too much fussing about with the teenagers, and some scenes last too long. A good editing job could have trimmed ten or fifteen minutes out of this movie and made it one of Hollywood's all=time best. But, given what we have, if you watch it only for Kidman's incredible, incredible performance, you'll get a lot more than your money's worth.

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