An American in Paris (2009)

Warner Brothers' proprietary Ultra-Resolution process has brought new life to such classics as "The Wizard of Oz," "Gone With the Wind," Errol Flynn's "Robin Hood," and "Singin' in the Rain." By going back to the original three-strip technicolor negatives and realigning them digitally, the color and detail blows away anything that customers have seen in the past with home video. "An American In Paris" has now undergone the same process. For those that have a blu-ray player, be sure to order this version, An American in Paris [Blu-ray]. Here is a list of extras that are the same on both versions:

Disc 1:

1.33:1 Full Screen with Original Mono audio * Tech Specs for Blu-ray version: Video is 1080P 1.33:1 * Audio is English, French, Spanish (Both Castilian and Latin), German and Italian DD1.0 * Subtitles (Main Feature): English, French, Spanish, Danish, Dutch, Finnish, German, Italian, Japanese, Norwegian, Portuguese, Swedish * Subtitles (on Select Bonus Material): English, French, Spanish, Dutch, Italian, Japanese, Portuguese

1938 MGM short: Paris on Parade

1951 MGM cartoon: Symphony in Slang

Theatrical trailer

Disc 2:

2002 American Masters Documentary: Gene Kelly: Anatomy of a Dancer (Gene Kelly Anatomy of a Dancer)

`S Wonderful: The Making of An American in Paris, an all new documentary, produced especially for this release. A dynamic history of the making of the film, which reveals how George and Ira Gershwin's classic songs, the dazzling art of the French impressionists and the ultimate teamwork of MGM's legendary "Freed Unit" came together to create a musical masterpiece. Featuring ten new interviews, including co-stars Leslie Caron, Nina Foch, and Kelly's widow. A very enlightening piece; Caron's memories are probably the most interesting, with Foch running a close 2nd. Caron's comments about co-star Georges Guétary being handsome but not too bright seem to be echoed by Kelly's widow, who says Gene spent more time trying to teach him how to gracefully walk down a set of steps than on anything else in the film. It is unfortunate that Maurice Chevalier could not have taken that role as originally intended. You also realize just how revolutionary this movie was (artistically), especially because of the 17-minute ballet tacked on at the end of the movie. Even Irving Berlin disapproved during an on-set visit, which didn't help the confidence of Vincente Minnelli at all.

Outtakes:

Georges Guetary performing Love Walked In (not missed in the movie at all!)

Audio Outtakes: Alternate Main Title, But Not for Me (Guetary), But Not for Me (Levant Piano Solo), Gershwin Prelude #3, I've Got a Crush on You, Nice Work if You Can Get It, 'S Wonderful

Radio Interviews: Johnny Green, Gene Kelly, Gene Kelly & Leslie Caron;

Gene Kelly and Leslie Caron promotional radio interview with Dick Simmons

Not all of the original musical recording stems have survived over the years, preventing a true stereo/5.1 restoration of the soundtrack; instead, a restored mono version is being made available.

Most are familiar with the movie; storywise, it is a little creaky and hasn't necessarily survived well over the years: Kelly is an American artist living in Paris. He falls in love with a young girl (Leslie Caron) who is in a loveless relationship with one of his best friends (Guétary). Kelly is also in somewhat of a loveless relationship with his financial sponsor (Nina Foch). You can probably guess the rest.

The glowing color, fantastic music by Gershwin (arrangements by the talented Conrad Salinger), and the amazing choreography of Gene Kelly will keep this one a classic for years to come despite a predictable plot. Just the ending ballet alone is a masterpiece; the art of Toulouse Lautrec and Utrillo comes to life with Gene Kelly & Leslie Caron dancing their hearts out to some of the most imaginative choreography (Kelly's) in years. The Freed Unit at MGM was at their peak when this movie was made, and this is one of the last great ones that it created.

It is a real shame that with how fantastic the picture is (the colors literally leap off the screen, and it really adds to the appreciation of what an artistically beautiful visual feast this movie is) that the sound cannot match. Although it is clear and free of problems, the Gershwin music just begs for a 5.1 or 7.1 surround track; unfortunately, due to the age and availability of the original elements, this is not possible.

A glorious movie that showcases Gene Kelly's breathtaking talent. Forget the silly story and just watch him dance and dance and dance. He does more with a turn of a shoulder than most dancers can do with their whole body. This movie also introduced the lithe and lovely Leslie Caron as the object of Kelly's affection. The film builds to its dramatic hallucinatory conclusion as Kelly dances his way across a Paris dreamscape, that brings all the elements of modern dance together in a tour-de-force that was unprecedented in musicals of that time. You can't help getting swept away in the feel-good spirit of this movie. It was another time and place.

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(2008 HOLIDAY TEAM)The dazzling seventeen-minute dance sequence of George Gershwin's 1928 orchestral piece, "An American in Paris", is an indisputable masterwork. Choreographed with precision and unparalleled flair by Gene Kelly, the vibrant combination of color, music and dance is still eye-poppingly startling as the piece is broken down into scenes inspired by selected master artists Dufy in the opening Place de la Concorde piece, Manet in the flower market, Utrillo in a Paris street, Rousseau at the fair, Vincent Van Gogh in the spectacular Place de l'Opera piece, and Toulouse-Lautrec for the Moulin Rouge where Kelly wears his famous white bodysuit. The 97 minutes that precede this finale are not as exciting, not by a long shot, but there are certain charms to be had in viewing the entire 1951 Oscar-winning musical.

Director Vincente Minnelli and screenwriter Alan Jay Lerner have fashioned a surprisingly sophisticated if rather slight romantic story focused on Jerry Mulligan, a former G.I. who has remained in Paris after the end of WWII trying to make a living as a painter. With his braggadocio manner and athletic dancing style, Gene Kelly can be concurrently ingratiating and irritating as a screen personality, but he seems to find his oeuvre as the carefree Jerry. The love-triangle plot is focused on Jerry's involvement with Milo Roberts, a self-proclaimed art patron but a sexual predator when it comes to young artists. On their first date in a crowded Montmartre nightclub, Jerry unapologetically falls for Lise, a young woman who turns out to be the fiancee of Henri, a professional entertainer and friend of Jerry's pal, Adam, an out-of-work concert pianist. Romantic complications ensue until the inevitable ending but not before several classic Gershwin songs are performed.

The best of these is the most imitated a swooningly romantic song and dance to "Our Love Is Here to Stay" along a faux-Seine River in a blue hazy mist with yellow fog lights. The way Kelly and Leslie Caron circle each other is transcendent as they approach each other tentatively at first and then synchronize beautifully to the music leading to the final clinch. Few films have so elegantly and succinctly shown two people falling in love. "I Got Rhythm" and "S'Wonderful" spotlight Kelly's nimble tap-dancing and agreeable singing, while "Embraceable You" is danced impressively by Caron in a five-scene montage of Henri's all-over-the-map description of Lise to Adam. Designed to show off Caron's dancing versatility, the sequence is similar to the one in "On the Town" where Vera-Ellen showed off her considerable dancing skills when Kelly's sailor character described his multi-faceted vision of Miss Turnstiles.

As Lise, the nineteen year-old Caron (in her first film) dances superbly throughout and handles her role with unformed charm with her acting talent not to bloom for several years. Looking quite glamorous, Nina Foch plays older as the manipulative Milo and manages to be likeable enough for us to care about her fate, while Oscar Levant is just his sardonic self as Adam. Performing an elegant "I'll Build a Stairway to Paradise", George Guetary plays Henri so agreeably that you feel bad that he does lose the girl at the end. This is not the best all-around MGM musical, but there is certainly enough movie magic to make this quite worthwhile. The 2000 DVD contains a fairly pristine print but little else in terms of extras.

Read Best Reviews of An American in Paris (2009) Here

With all due respect to devotees of "Singin' in the Rain", I think "An American in Paris" is the best musical ever made. Stanley Donen was an innovative director, but Vincente Minnelli was a genius in his field, and "An American in Paris" was his masterpiece. I choose "An American in Paris" over the others for various reasons. (One example: "Meet Me in St Louis" is charming Americana, but it's spoiled by that melodramatic episode in the middle with Tootie's cut lip and the Boy Next Door being blamed; it's so contrived it might have dropped out of another picture.) "An American in Paris' is a completely successful musical with Gershwin songs culled from their stage shows of a previous generation (for instance, "S Wonderful" is from the 1927 "Funny Face" and "I Got Rhythm" is from 1930's "Girl Crazy"), a trim script by Alan Jay Lerner, and perfect casting. Gene Kelly at 38 was in his prime. And here let me say that Jerry Mulligan, Kelly's character in the film, is the brash, can-do kind of guy who was vastly admired in America by both men and women in the years following World War II. His aggressive attitude towards life represented qualities that had won the war. If today he seems a little chauvinistic (in every sense of the word) ... well, times change. The fact remains that Jerry is an ex-G.I. who has mastered the French language and venerates French culture. Hardly the Ugly American. On the flip side is his New World naïveté. In one scene he and his French girl friend Lise (Leslie Caron) meet shyly outside a sidewalk café and take a table. But Lise immediately becomes aware that an old roué nearby is checking her out (assuming she's just been picked up). Embarrassed, Lise asks to leave the café. But Jerry? The poor dope has no idea what's happened. Similarly, the whole movie has a sharp edge unusual for light entertainment. It's evident in the rich American Milo Roberts (Nina Foch) with her soignée chilliness and her somewhat S & M relationship with Jerry. And it's evident in the curmudgeon wit of Adam Cook (Oscar Levant), "the world's oldest child prodigy". His fantasy of playing Gershwin's Concerto for Piano and Orchestra single-handed is every musician's dream/nightmare. The Old World is represented by Henri Baurel, a music hall star, performed by Georges Guetary, who was (I suspect) basically playing himself. (His rendition of "I'll Build a Stairway to Paradise" is the film's only traditional cabaret number.) Throughout the story, his boulevardier suavity,not to mention the savoir faire of the minor characters, indicates the Gallic easygoing attitude towards sex, which was about 20 years ahead of the U.S.'s. (Incidently, look close in the Beaux Arts ball sequence and you'll spot a young gay couple passing Kelly on the staircase.) Despite its glossiness, the picture has a refreshing spontaneity. Notice in the "By Strauss" number that Kelly's cap gets knocked off his head by the florist's skirt. At first he grabs for it, but then it's like "Ah, t' hell with it" and he keeps on going. Appropriately, all the acting is natural and subdued. But not the climatic ballet! It has to be the most lavish experience in all of film entertainment, before or since. It's been said that this ballet is "too much", but i think mehitabel in paris would have said theres no such thing as too toujours gai. With its 3-strip Technicolor, its numerous sets, its hundreds of costumes, Kelly's superb choreography, and of course gorgeous Gershwin, the "An American in Paris" ballet is, like the movie itself, le spectacle ne plus ultra. Savourez!

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1951 was a tense year in America. Julius and Ethel Rosenberg were convicted of selling U.S. nuclear secrets to the Soviet Union. In North Korea, truce negotiations failed. McCarthyism reigned and Hollywood suffered as many of its key players were blacklisted. It is no wonder, then, that the movie-going public sought lighter fare. With its simple script, lush color, and innovative choreography, An American in Paris was just the ticket.

An American in Paris is the story of boy meets girl, boy gets girl-with not much in between. Gene Kelly plays Jerry, an ex-GI trying to make a go of it as an artist in the city of artist's garrets and cheap cheese. When he spots Lise (Leslie Caron) he knows instantly that she's the gal for him, and he sets about wooing and winning her, ignorant of the fact that she's dating Henri (Georges Guetary). Complicating things (but not much) is his wealthy patroness Milo (Nina Fochs). Another ex-patriot, Adam (Oscar Levant), plays the fifth wheel, adding comic relief to a script that doesn't need it. But people don't really watch this movie for the script, they watch it for the beautiful cinematography and the singing and dancing.

The set design is gorgeously colorful, making Paris dangerously magnetic to anyone who might be making travel plans. This is the Paris of sweet children seeking bubble-gum, kind elderly Parisian ladies who break into dance in cafes, a happy nightclub scene on clean stone streets, and of course lavish flowers, safe riverbanks, and Parisian churches. It's a perfect setting for the score, which includes such songs as "Our Love is Here to Stay," "I Got Rhythm" (sung by Kelly with a team of little urchins), and "'S Wonderful". And the dancing is. Quite wonderful, culminating in a 17-minute ballet (choreographed by Kelly) at the climax. That things resolve just a little too quickly and easily thereafter will bother no dance fan-and all the moviewatchers who have a low tolerance for song-and-dance will have been flushed out of the room long before then.

An American in Paris was Leslie Caron's first American film, shot when she was a just-turned 18. Her inexperience with movie making shows on the screen as kind of a gamine innocence and plays well with Kelly's confident American mien. The chemistry of all cast members (or should I say "the troupe") coalesces to make this musical a don't-miss. 4 stars for the average movie watcher; 5 if you're a big fan of dance.

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Camelot (2012)

Yes, 'Camelot' is a flawed movie, but a MAGICAL one, nonetheless. It is too long, and Franco Nero's dubbed singing voice as 'Lancelot' is laughable, and YET! Yet, we have RICHARD HARRIS, so perfect as the failing King Arthur, Vanessa Redgrave, never lovelier than in her role as the torn Guinavere, and David Hemmings, a dastardly 'mod' Mordred reeking havoc on the troubled Kingdom. Franco Nero (dubbing notwithstanding) brings a wonderful comedic touch to Lancelot, and with the sumptious sets and costumes, 'Camelot' really is a BEAUTIFUL film. It has been critisized for having a 'Sixties' feel to it, but the somewhat hippy-ish design just adds to the pleasure; and it REALLY doesn't matter that Richard Harris is wearing WAY to much blue eye-shadow we're in CAMELOT, for goodness sake! There may very well be a 'legal limit to the snow' there, but when it comes to make-up, no holds are barred! Oh, one can pick a MILLION holes in 'Camelot' but why bother? It's better just to pour yourself a glass of mead, light some candles, put 'Camelot' in your VCR and let Lerner and Loewes wonderful score sweep you into a magical time which never existed. 'Camelot' is pure escapism, but it's escapism with 'heart', and that heart belongs to Richard Harris. This movie is HIS, and years after first seeing this movie, when I imagine the face of King Arthur, the face that I see is Richard Harris'.

In the annals of musical theater, there are more than a few great scores. Among them is Lerner and Loewe's "Camelot" which has more than its share of great songs that shine away from the musical play.

In 1964, Jack Warner produced "My Fair Lady" at Warner Brothers. It was an excellent film, if a bit too cautious. The play was a phenomenon and Jack didn't want anyone mucking about with it. Going to see it was almost as exciting as going to church, even though the film itself was entertaining and beautiful to look at.

Four years later, Warner attempted to do the same thing with "Camelot." In many ways, he failed, but in a couple of others, he outshone "My Fair Lady" and many other fine movie musicals. First, but not foremost, he enlisted the talents of John Truscott to design the film. No medieval tale has ever benefitted from so fine a vision. His sets and costumes are among the finest -yet most realistic -ever created. Second, and this is the best part (for me) -he acquired the services of the finest composer/conductor Hollywood has ever produced. Alfred Newman had already won 8 Academy Awards prior to scoring "Camelot." Newman was one of a handful of composers who invented film scoring in the 1930s and 1940s. As head of the Fox music department from 1940-1959, Newman had the best orchestrators, best musicians and best composers working for him at Fox than could be found anywhere else.

For "Camelot," Newman had a free hand, along with his associate Ken Darby who had worked with Newman for nearly 20 years, collaborating on such film musicals as "Carousel," "The King and I" and "South Pacific."

The reason I'm making such a fuss over this -in addition to the fact that "Camelot" earned Newman his 9th Oscar -is that "Camelot" rates as one of the best scored musicals in film history and on this DVD, you can hear the entire musical score, free of dialogue and solo vocals, in 5.1CH stereo!

What separates "Camelot" from "My Fair Lady" is that in the latter, Warner would not let conductor Andre Previn alter the basic orchestrations of the play. Previn had some leeway, and it really shows in the score when he cuts loose. By and large, though, this did not include songs....just musical underscore/transitions. Newman, on the other hand, virtually co-composed the entire score. Using the thematic material, he wrote a dynamic, Erich-Wolfgang-Korngoldian ("Robin Hood," "The Sea Hawk," etc.) underscore that rouses you, thrills you and makes you feel great even if the film drama itself can't quite live up to it.

Watching a film for this isolated score feature alone is something only die-hard music lovers could tolerate, but it's there and can be enjoyed by anyone. Think of it as a full-orchestra karaoke feature and you can sing your favortie songs backed by one of the finest Hollywood orchestras ever assembled!

I've always been partial to "Camelot" for the score, the sets and the luminous presence of Vanessa Redgrave.

In truth, however, "Camelot" never looked as good in its first-run roadshow performances as it does on this DVD. This movie shimmers and sparkles and glows. It looks absolutely NEW. The sound does show its age in spots.

If only Arthur didn't run around all the time calling Guinevere and Lancelot "Ginny" and "Lance." (Lance. Ginny. Ginny. Lance.). That almost ruins the film for me -that and Arthur's eccentric blue eye shadow. And if only Hollywood had not entrusted another great musical into the musically uninspired hands of Joshua Logan (one of Broadway's greatest directors but whose heavy hand all but ruined the film versions of "South Pacific", "Camelot" and "Paint Your Wagon.")

It's a whale of a movie. And the score is one of the finest ever committed to film.

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In this lavish adaptation of the Broadway musical based on T.H. White's modern classic "The Once and Future King," the music of Frederick Loewe and Lyrics of Alan Jay Lerner weave this story into an intricate tapestry of unforgettable heart-stirring emotions. The emotions are quite overpowering and you almost have to watch this movie three times to fully appreciate the texture and detail of the 45 sets and 3,500 costumes.

Camelot is a timeless romantic drama that takes us to a medieval world that could only be imagined in your most romantic fantasy. The humor is witty, the music is unforgettable and the world of Camelot has castle scenes that are beyond compare. In fact, if you love castles, you will see scenes from dreamy castles in Spain. The Castle of Camelot is modeled after the Castle of Coca. The architectural details in the design are partly Romanesque, Norman, Viking and Gothic. The decorations have a "fantasy" medieval flavor.

The movie is at first shrouded in mystery as Arthur sits in a dark misty forest. Arthur is about to go into battle and doesn't want to die in a state of confusion. Merlin advises Arthur to think back to the time when he met Guenevere.

We are transported into King Arthur's memory, where the entire story takes place in vivid detail. King Arthur sings about his fears of the wedding night and it is all rather cute and humorous. We instantly see King Arthur as an eternal boy and later find out how he became king quite by accident when he draws the sword, Excalibur, out of a stone.

Guenevere arrives all wrapped in fur as she travels through the "most ferocious, savage, terrifying forest" she has ever seen. The branches are laden with snow and icicles. She simply adores the danger and beauty. When she hears the forest is quite dangerous, she wishes to be stolen away. Her heart is quite hungry for adventure and romance as a damsel in distress and all she has to look forward to is an arranged marriage.

When she meets "Wart" she has no idea he is King Arthur and asks him to run away with her. Vanessa Redgrave and Richard Harris are like two happy children living in a magical dream. King Arthur has a boyish charm, plenty of witty lines and the almost periwinkle eye shadow quite matches his turtleneck sweater and promotes a whimsical mood.

The royal marriage is magnificent and the wedding gown flows between two seas of candles. For a time, we truly believe this arranged marriage will succeed. Arthur shares his dreams of uniting the feudal city-states and Guenevere seems intrigued with her husband's leadership qualities. She too seems to be dreaming of a new world filled with chivalrous knights who fight for right.

When French knight Sir Lancelot arrives, he destroys the intimacy between Guenevere and King Arthur, although he promises to be the king's defender in this newly civilized world. Guenevere becomes a woman who must make impossible decisions. Lancelot dreams of all the good he can do, all the wrongs he can right and in fact, his desires lead him to a place where a fragile utopia is destroyed.

"Camelot" then becomes a serious study in how three people are almost forced to make irreversible decisions. King Arthur (Richard Harris) seems to quickly go into an extended period of denial and since he deeply loves Guenevere, he forgives her for being human. Lancelot (Franco Nero) lives life intensely and feels deeply about King Arthur's mission. He is filled with a passion for life and makes promises he can hardly keep once he enters Guenevere's world.

Guenevere (Vanessa Redgrave) is so innocent in her love of both King Arthur and Lancelot. She falls madly in love with Lancelot because he embodies all that she has always dreamed of, despite the fact that their love now destroys Lancelot's chivalrous ideals. He fights for her and his impressive battle skills and depth of emotion after he fights in the joust draws her into his world. Each time they look at one another, the world stands still and in awe of this love they feel for one another. If only she had met Lancelot before she had been promised to King Arthur.

I doubt there is a more powerfully erotic and yet angelic scene than the one where Guenevere stands in the doorway with her golden hair flowing behind her in the drafty castle. This scene portrays her in an almost angelic way as "If Ever I Would Leave You" plays on, drawing us into an intimate circle created by three hearts who are forever woven into this immortal tale. How can your heart not melt when Lancelot declares his undying affection by saying: "I, I love you. God forgive me, but I do."

There are a lot of extras:

1. Jump to a Scene

2. Explore Camelot

-Cast & Crew

-The History of the Legend Information on King Arthur (Interesting ideas, like that King Arthur was really a Celtic chieftain in the 5th century who became a king in the legends after his death. He was believed to have been killed at a battle at Camlan in 537 AD.), Excalibur, The Holy Grail (Why King Arthur was seeking this magical object) and The Knights of the Round Table

-King Arthur Comes to Hollywood

-Building Camelot

-Costumes

-Awards

-Featurette: The Story of Camelot

-Featurette: Special Premiere Footage

-5 Theatrical Trailers

3. Languages You have to choose "English" or you will only hear the Musical Score.

4. Recommendations

I really can't think of a more perfect movie. Sadly at the end of the movie, the story is not quite what we expect. Yet, I don't think we would want this movie to end in any other way.

~The Rebecca Review

Read Best Reviews of Camelot (2012) Here

The 1967 film version of "Camelot", always seems to ignite feverish debate among movie fans over its merits both in production and performances. The viewpoints tend to range from "the worst musical sung by non singers in movie history", to "a totally beautiful film production that captures the spirit of the famous Broadway musical to perfection". Having been fascinated by the legend of King Arthur and his Knights of the Round Table since I was a young boy I tend to view this film very affectionately while not for a moment failing to see its shortcomings. Criticism is always heavily directed at the two main leads Richard Harris and Vanessa Redgrave and their "talk singing", of the show's memorable score, however viewers must realise that the original Arthur on Broadway was Richard Burton who like Rex Harrison cornered the market in talk singing in a very successful way. Certainly many of the cast have a very 1960's appearance however it has to be remembered that this is an adaption of a Broadway musical with a medieval setting, it is not trying to be a careful document of life in the middle ages. On a high note the film boasts amazingly lavish sets and a musical score courtesy of lyricist Alan Jay Lerner and composer Frederick Loewe that is one of the most beautiful I have ever heard in a movie musical, it being highly romantic and sensual in feel which suits perfectly the great talents of both Richard Harris and Vanessa Redgrave ideally cast in the leads.

Based on H.T. White's "The Once And Future King", Warner Bros. Screen version of "Camelot", tells the ultimately tragic romantic love triangle involving King Arthur, his lovely wife Guenevere, and the dashing French Knight Lancelot. Arthur has a dream of world peace where all the collective rulers will come together around a special round table. However what he doesn't realize is that one of the strongest believers of this principle, the French knight Lancelot Du Lac who travels to Camelot to put his services at Arthur's disposal unexpectedly becomes involved in a passionate affair with Guenevere. The Queen of course also loves her husband but is drawn to the passionate Frenchman which threatens to destroy the whole kingdom. The arrival of troublemaker relative Mordred also spells trouble as he conspires to destroy Arthur's whole belief in the principle of a early united nations. When Lancelot and Guenevere are trapped in a passionate embrace the Queen is condemmed to death by being burnt at the stake however at the moment of her execution Lancelot rescues her and Arthur must go into battle to save his kingdom and the principles he has fought so long for. On the morning of his battle with Lancelot after learning that the remorse ridden Guenevere has left him to join a convent Arthur comes across young Tom of Warwick in the camp and the young boy's simple sincerity and belief in the principles that Arthur is about to fight for restores his faith and belief that there is hope for the world.

To this day there is still feverish debate in regards to the casting of the leads in "Camelot" and to the merits of the overall production. Personally I think Richard Harris and Vanessa Redgrave make perfect casting as Arthur and Guinevere, while Franco Nero is the very image on screen of what the dashing Lancelot should be like. Immortalised on Broadway by Richard Burton, Julie Andrews and Robert Goulet respectively, critics seemed to have difficulty with the actors selected for the same roles in the film version. As Vanessa Redgrave was famously quoted as saying at the time of production; "If Julie Andrews had really wanted to play this role in the film version she would definitely be doing so now". Richard Harris gave I believe one of his most likeable performances as Arthur and like Richard Burton before him manages beautifully with the many "talk singing" numbers that make up a large part of the score of "Camelot". Vanessa Redgrave normally associated with gritty dramatic roles in films as diverse as "Blow Up", "Mary Queen of Scots", and the superb "Playing for Time", here is luscious in the famous role of Guenevere , the very epitome of beauty and romantic passion. Rarely has she appeared more beautiful on screen, which is an attribute about Ms. Redgrave which is sadly often overlooked. Her opening scene as she approaches Camelot through a snow covered forest for her upcoming wedding clad in a magnificent white fur coat is probably one of the most beautiful images captured on screen in any 1960's musical. In supporting roles many actors succeed in creating a great impression often in limited screen time from veteran character actor Lionel Jefferies in a comic performance as the forgetful King Pellinore, through to David Hemmings in a wonderful turn as the villianous Mordred Visually "Camelot", is a feast for the eyes and displays it's lush budget at every turn from the rich colour photography to the sumptuous locations used in Spain and France, to the stunning set of Camelot itself which was miraculously created on the backlot of Warner Bros Studios in Hollywood and was one of the last great outdoor sets to be constructed at the studio. So special was this "Camelot" set that it was to reappear six years later magically transformed to represent Shangri La in the 1973 musical version of "Lost Horizon". It is the rich musical score of "Camelot", by Alfred newman however that in my belief is it's shining glory. The prelude and overture combines some of the most beautiful instrumental compositions of any musical and the other numbers are sublime including the wistful "The Simple Joys of Maidenhood", to the lively "The Lusty Month of May", through to Arthur's magical "How to Handle a Woman" an of course the film's romantic highlight with "I Loved You Once In Silence". Despite the criticism of actors who are not trained singers attempting these numbers the compositions of these musical numbers ideally suit the talents of Richard Harris, Vanessa Redgrave and Franco Nero and the end result is some of the most romantic musical moments you could imagine in a motion picture.

Nominated for achievements in cinematography, musical score,and of course for the superb costume design "Camelot", was crucified by a majority of critics at the time of its release in 1967. The film however has that warm nostalgic feel to it that makes repeated viewings of it essential. The passage of time makes me wonder at some of the spite of critics back in 1967 as the film is far from the total disaster that we are always led to believe it is and is really part of that last gasp of elegant film making just prior to 1970. It certainly captures Richard Harris in his prime as the good hearted, high principled King with a dream and provides Vanessa Redgrave with a stunning showcase for her considerable talents in the role of the beautiful but ultimately tragic Queen Guenevere. While "Camelot", is certainly very much of its time, i.e. the mid 1960's, its romantic story is sure to charm all lovers of well made tales of romance, combined with tragedy. Enjoy!

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WARNING: I saw Camelot as a child when it was first released-it made an impression. I then read the OFK by T.H. WHITE in one day and wrote an honors thesis on the development of the Arthurian legend in college. So yes,the story had some resonance for me. But why do I think Camelot works, whereas Excalibur, the latest King Arthur film and all the earlier films don't really? Because Camelot remembers 1)That audiences are more interested in people (character(s)) than plot. The people NOT the battles, NOT the magic, NOT the SPFX. (See why Spiderman2 works, or LOTR) And (2)Camelot is the ONLY version of the story that had a TRIANGLE--where 3 people care about each other EQUALLY, yet it still breaks. And the only way you get that tragedy is if both Guenevere and Lancelot love Arthur as much as they love each other. Otherwise it's just another adulterous affair, and Arthur is a cuckold we don't give a damn about.

Re production: The sets were not cardboard. They filmed on-location in Spain at Coca, Alcazar of Segovia etc. etc. Warners backlot built actual bricks/morter castle courtyard & real forest.

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Going the Distance

Just finished watching the movie.

Short rant:

This film is rated R. I have read through the reviews here, about people only watching 10 minutes of the film and turning it off due to language... If you look at the rating on this page and on the box itself, it is rated R for language, some drug use, and sex. If you are sensitive to the F word, sexual images, drugs, *and* you are trying to watch this movie with your family, then you are doing something wrong. Also the "I expected better of Drew" comments... actors try new things. Yes, Drew Barrymore has done lots of romcom chick flicks that you can watch with your preteen, but you might take notice that they are by and large PG-13, not R. If you are sensitive and/or watching this with your family or young ones, it is *your* responsibility to read the rating, not blindly watch a movie expecting it to adhere to your standards.

/end rant

As for the movie, the beginning introduces us to Garrett (Justin Long), who is newly single as a result of a funny miscommunication with his (now ex) girlfriend, and a summer intern, Erin (Drew Barrymore), who is working for the New York Sentinel newspaper while on break from grad school at Stanford. They meet at a bar and hit it off in a really unique way--over an interrupted game of Centipede; our female lead is the reigning champion on the arcade game's score board, and our male lead the interrupter and runner-up. It was unusual enough for me to take notice and expect a different kind of movie! The two leads hit off while a countdown starts running on the 6 weeks Erin has left before her summer internship is over.

Garrett has a conversation in the local bar with his friends before he meets Erin about how he didn't cry over losing his girlfriend, that maybe he didn't care enough about her to do so. This is something to keep in mind over the movie... I paid a lot of attention to the characters' faces throughout.

The movie tests out different features of long distance relationships: loneliness, texting, skyping, phone sex, jealousy over sexy coworkers, etc. Probably the most interesting topic addressed by the movie is career vs. relationship. There is a marked push-and-pull between these two competing interests, and it is interesting how the two main characters resolve this conflict.

So many things give this movie its quirky charm. Garrett's roommate, Dan, listens through Garrett's walls and tries to DJ his hookups; Erin's sister is a clean-freak and germaphobe; Garrett's other friend has an obsession with snagging an older woman using his mustache; Erin's niece Maya is a little monster ("Maya, STATUE!" haha); and Garrett has a Top Gun fetish.

Several funny moments punctuate the film and make it a fun experience. I would recommend this movie to you if you like off-beat humor, don't mind the R rating (language, sex, and drugs), and want to see a a rom-com that takes on long distance relationships. If you liked Knocked Up [Blu-ray], The Hangover (Unrated Edition) [Blu-ray], and He's Just Not That Into You [Blu-ray], you'll probably like this one. On a personal note, I'm getting married in three months to a man I've been seeing for 2+ years, nearly one of which was long distance, so I definitely resonated with a lot of the funny moments in the film.

Short Attention Span Summary:

1. Guy meets girl.

2. Girl moves away.

3. The two try to carry on a long distance relationship, and the conflict is (of course) the effect of the distance on their relationship.

This movie was good all the way through, and while the content was chick-ish, it did provide many a good laugh. The writing was very good and the characters were well cast.

It would be worth the price of a second hand DVD to me. (As it happens, I saw this film on a plane included as part of the ticket.)

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I usually do not write reviews on sites such as this but felt like I should for this film (considering that roughly a third of the reviewers have given it a 1). I know that film is subjective but I can objectively say that you are a moron if you gave this movie a 1.

A few reviewers attributed their low rating of the film in part due to the "bad language" in it. Well the film is rated R "for sexual content including dialogue, language throughout, some drug use and brief nudity", can you people read...do you not bother looking at a film's rating before you watch it. If you do not want to watch a film because it has bad language in it then fine, don't watch it, and definately don't give it a bad review for it.

Also, a couple people pointed out that the film was "cliche"...people pointing out how something is cliche has become cliche at this point. Let me tell you something: at this point everything is cliche, everything has been done before. Whether or not it is done well is what I care about when watching a film.

In my opinion this film was well written, directed, and acted. Yes, there was bad language in the film but guess what? Most 20-somethings swear, I actually liked this aspect of the film...it gave it an added sense of realism. I personally thought the dialog was sharp and witty, much better written than your average romantic comedy. I like films that have a little edge to them and this film had that.

Regarding the acting, I thought everyone did a very good job. I don't watch a lot of Drew Barrymore movies but I thought she was very good in this as was Justin Long. They both are very natural on film and seem to have good chemistry. I also like that they both look like they could be your neighbor which is very far from standard in these kind of films. The supporting cast was great as well. Sudeikis and Charlie Day were very solid as Justin Long's friends. If you saw Horrible Bosses than you know how well they work together.

Now don't expect a lot of belly laughs from this, I found the film to be much more humorous than laugh out loud funny. That being said, I would rather watch a film that is consistenly humorous than one that has a couple of big laughs but drags the rest of the time.

So, in closing, I would say the film is a 4 out of 5 but I'm giving it a 5 because of all the 1 star reviews. Give it a chance it was much better than I was expecting from the trailers/reviews.

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It was surprisingly really funny. I am usually very critical of romantic comedies, but I really enjoyed watching Going the Distance. It is one you can watch over and over again and still laugh and enjoy it each time. It was just cute, smart, and witty, qualities such movies are lacking these days. Watch it, its worth it, and you will not be bored. Sooo Funnny :)

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I am shocked that more people didn't respond to this one. It's a great movie with a hilarious supporting cast and cute love story too. It would make a good date movie or just watch it alone even, why not...Justin Long is adorable and the chemistry between the two main characters is obvious and nice to see on screen. Not bad at all & I definitely got a few laughs. This one's worth it...four stars!

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My Sucky Teen Romance (2011)

I absolutely loved this movie made by a young filmmaker, Emily Hagins. My husband and I had seen the documentary about her and really enjoyed this!

This movie is hilarious! This parody of the ever-popular vampire romantic comedy provides the viewer with a movie they can laugh at, but still feel themselves empathizing with. A very funny film from such a young director! I can't wait to see more of what Emily Hagins has to offer!

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An entertaining film that is a good mix of comedy and horror. Low budget but is easily better than a lot of much larger budget films good actors, cinematography, and direction.

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The trailer to My Sucky Teen Romance really pulled me in, but the movie itself was just so-so. You could walk away often and not miss a thing. The cast I thought did a great job for unknowns I thought Elaine Hurt was amazing! The pacing of this teenage rom-com vampire flick is what hurts it and if the film was just shorter it would of been much better.

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my aughter loved this show...definately good vampire movie for a teen without the gore...it has some blood,but in all not bad. she likes that they make some of things they says like making fun of Twilight

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13 Going on 30 (2004)

Despite the unoriginal premise (the movie Big recast with a woman), 13 Going on 30 is a very entertaining movie and this is due in large part to its star, Jennifer Garner, who brings to her role loads of charm. This movie is the perfect vehicle for the actress because it allows her to break away from the action hero persona that she cultivated with the T.V. show Alias and Daredevil and prove that she can do a romantic comedy.

Garner, with her warm, disarming smile has a wholesome, girl-next-door quality that is quite endearing. She's beautiful but not in an unattainable way. She also has natural comedic ability, for example, in one scene, Jenna livens up her magazine's boring party with an impromptu dance to Michael Jackson's "Thriller," inspiring others to get up and dance as well. Garner also has a very expressive face that is perfect for the broad comedy of this movie. She is willing to take risks and make fun of herself. She is also willing to put herself out there and is not afraid to appear goofy and this only makes her that much more appealing.

13 Going On 30 is the victim of the dreaded double dip. If you already own the Special Edition version of the movie, the two new extras hardly warrant a re-purchase. Also, if you already own the previous edition you might want to hold onto it as the audio commentary by director Gary Winick and the commentary by producers Gina Matthews, Donna Arkoff-Roth, and Susan Arnold is not on this edition.

New to this edition is "Fashion Flashback: Into the 1980s" that features teen models gushing about how much they love the "retro" look of the `80s. It tells you what to look for and where to track down "authentic" clothes of that era.

"Making of a Teen Dream" takes us through the making of the movie in a fun, breezy way that is customary of most press kit type featurettes. The cast speak admiringly about each other in this self-congratulatory extra.

There is a "Bloopers" reel, a collection of blown lines and other assorted goofs that are quite cute.

Also included are two music videos, one for Pat Benatar's "Love is a Battlefield" and another for "Jessie's Girl" by Rick Springfield that allows you to immerse yourself in pure `80s cheese.

The most enjoyable extra is "I Was A Teenage Geek." The cast talk about what they were like in the `80s. Everyone tells amusing stories of what they were doing in high school with photos of what they looked like at the time.

There is also an "Alternate Beginning and Ending" that features different actors playing Jenna and Matt when they were kids. The scene is about the same length as what is in the movie but is edited differently. We get more detail on Jenna's desire to be one of the popular girls. Thankfully, these were not used.

Finally, there are 15 deleted scenes with more footage of Jenna and Matt at the magazine party and so on. These scenes flesh out the relationships between the characters.

Although this movie is often inaccurately referred to as a girly version of Tom Hanks BIG the movie is actually so much more and so much better. Whewreas in the previous movie Hanks character stays in the 1980s when he receives instant adulthood, in this movie an element of time travel is involved when 13 year-old Jenna goes to sleep in 1987 and wakes up all grown up in 2004.

The movie is all the better for this plot device, we get to see where most of the characters from 1987 are now, and the implications of the decision Jenna makes at the beginning of the movie. Its both piognant, romantic and funny in its execution and you would be pressed to find a truly more involving comedy drama in recent years.

Carrying the movie is star of television show ALIAS, the impossibly beautiful and talented Jennifer Garner. She proves that her entertaining turn as Sydney Bristow was no fluke by ably showing of her comic timing and delivery. Not a slam-bang comedy of the Ben Stiller or Adam Sandler vein this movie is more subtle and less in your-face.

As a 32-year old who remembers 1987 well the pop culture references to that era in the initial scenes were drenched in nostalgia and as someone who has chosen a similar career path as Garner's character it is even more involving and interesting. Without giving too much of the well crafted story away, this movie makes you reflect on the decisions you make and the impilcations each decision makes. In this sense it is like the recent Kutcher movie THE BUTTERFLY EFFECT although far more entertaining and light hearted.

This movie is well recommended.

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I was rather pleasantly surprised by this film. Obviously, the storyline is by no means unique, and I've seen too many films featuring kids and adults miraculously switching places to feel all that confident about going once more into a similar breach, but 13 Going on 30 is actually, well, delightful. I'm a big Jennifer Garner fan going all the way back to her role in the short-lived Time of Your Life; by and large, I think she did a wonderful job in this role. It is certainly a different Jennifer Garner than we see on Alias, and it certainly appears as if she relished a role in which she got to be silly and whimsical. I would have to credit Mark Ruffalo with an even more impressive performance, though, as his was the subtle glue that held the fantastical elements of the plot together.

Young Jenna has just turned 13; already unhappy with the way she looks and anxious to be popular, she suffers an embarrassing indignation which has her fervently wishing to be 30. Thanks to some wishing dust on the model dream home her obviously infatuated by "not cool" friend Matt built for her, she gets her wish. I thought the early scenes featuring 13-year-old Jenna reacting to the instant passing of 17 years and adjusting to her new, uh, accessories was a little awkward, and a certain lack of continuity in regard to her reactions to new stimuli popped up sporadically as the film progressed. One minute she's acting like a young teenager, and then she will suddenly seem to have grown up into her new age to a significant degree. Anyway, she discovers that all of her dreams have come true: she was popular, and she has become mighty successful in life actually sitting atop the fashion magazine she was addicted to as a kid. Before long, though, she begins to see that having it all isn't all it is cracked up to be. This grown-up body she inhabits is actually a rather empty shell of a not so nice person. She learns that she has done some rather nasty things over the course of the missing 17 years. The only person she can turn to is her friend Matt (Mark Ruffalo), but the two have gone in very different directions over the years. In the process of trying to save her magazine, Jenna learns that the dreams of childhood don't turn out the way you thought they would and other obvious life lessons, etc., etc. You can probably guess what happens at the end.

The film does succeed rather well as a comedy; the Thriller dance scene, while uncomfortable to watch, is indeed quite silly, and some of adult Jenna's interactions with young teens also play well. I also loved the fact that the movie helped take me back to the 1980s, to some degree. There are some classic 80s tunes on the soundtrack, and beginning the film with the sound of the Go-Go's definitely qualifies for a star in my book. That being said, I have to say that I don't remember some of the awful hair-dos of the film actually existing in the late 80s certainly not among the girls my eyes gravitated toward in those halcyon days of youth.

In the end, this is basically your silly, entertaining, feel-good comedy, and it stars one of Hollywood's most attractive, talented actresses. It doesn't try to be anything more than what it is, and that is a big reason why it works as well as it does. It is by no means a must-see, but I do believe it is a film you cannot help but enjoy.

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Jennifer Garner is wonderful in 13 Going on 30 ! She is so believable as a young girl who wakes up to find she's turned 30 over night.

The storyline and script are really funny and enjoyable, with a very heart-warming ending. This is a great movie for a Mom and young daughter to go see together both will be able to relate to it.

Even the guy I dragged along, said he was amazed at how good the movie was.

Also, if you are into 80's music this is the movie for you ! The soundtack is Excellent !

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This is an absolutely charming and delightful comedy with an excellent cast. Do not, however, see this film unless you are ready to suspend disbelief. After all, the premise of this film is that a distressed thirteen year old girl suddenly finds herself propelled into the future and into the body of her thirty year old self.

Jenna Rink is a typical teenager, a little gawky, a little insecure. She pals around with her uncool best friend, Matt Flamhaff, but, at the same time, is trying to make it into the cool six chicks clique at her school, a nasty little group of teenage hotties who use Jenna for what they can get from her. They agree to come to her thirteenth birthday party, if she will do a class report for their leader. She agrees.

Matt is the first guest to arrive, and he gives her a little, doll sized dream house that he has made for her, replete with magic dust. When the other guests arrive, they soon depart with the needed report in hand, after playing a very mean trick on Jenna and leaving her desolate. A set of circumstances causes the magic dust to fall upon Jenna, just as she makes a wish that finds hers transported into the future and into the body of her thirty year old self.

Jenna discovers that she now has every thing for which she had dreamed when she was thirteen. She also discovers how she has changed, and it is not a change for the better. She turns to Matt, whose friendship, she is shocked to find, has been lost somewhere along the way. Jenna then sets about putting to right what went wrong. Of course, there are any number of humorous incidents that arise out Jenna's current situation.

Jennifer Garner is sensational as a thirteen year old girl trapped in the body of a thirty year old woman. She infuses the role with just the right amount of innocence and joyous abandonment that teenagers often exude. Kittenish and coltish all at once, her charm is infectious. Mark Ruffalo is perfectly cast as the grown-up Matt. He exudes sensitivity and niceness, all rolled into one very compelling package. One cannot help but like both characters tremendously.

This is an entertaining film for those who enjoy light-hearted fantasy films. This film has been compared to the film, "Big", and while there are some similarities between the two, this film stands on its own two feet and deserves its own accolades. Deft direction by Gary Winnick and excellent performances by the entire cast make this film a comedic gem to be enjoyed by those who like a charmingly realized film.

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Sweetie (The Criterion Collection) (1989)

"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.

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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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The Princess Diaries: 10th Anniversary Collection (The Princess Diaries & The Princess Diaries 2: R

To start off I have to say that I enjoyed watching these movies when they first came out in watching these again brings back great memories. These Blu-rays are wonderful and provide a great quality experience for the viewer and on top of this they also have put together a great list of bonus features that my kids really enjoy. Both of these movies are definitely family-friendly and ones that I would highly recommend anyone to watch. The movies are light, fun and offer a great time for all.

Both blue ray movies on the same disc and two separate discs for the DVDs allows us to have the movie in multiple places. Also let the family move right on from the original to the sequel. Great story, characters and family friendly movie!

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The recent reissue of both The Princess Diaries: 10th Anniversary Edition and The Princess Diaries 2: Royal Engagement on a new Blu-ray/DVD package may have been due to nothing more than the titles coming up on the "to be Blu-rayed" list. It may only be coincidental that producer Whitney Houston passed not long ago -or that Princess Mia, in the second film, wields a bow and arrow (suggesting the upcoming Brave), but that's probably reaching.

According the the generous audio commentaries on both discs (recorded several years ago on previous DVD issues), The Princess Diaries book was purchased by Houston's company and brought to Disney. The wisdom of casting Julie Andrews as the Queen (her first Disney film since Mary Poppins) and Garry Marshall (he of the modern-day Pretty Woman fairytale rom-com) cannot be underestimated.

Marshall has a talent for talent -casting Anne Hathaway while she was still in her late teens and a movie unknown. His movies have a stock company that stretches back as far as his days with The Dick Van Dyke Show, not to mention Happy Days, Laverne & Shirley and Mork & Mindy. His commentary on the first film, likely supplemented by copious notes, is a wall-to-wall comic monologue of moviemaking technique.

Julie Andrews, ironically, takes the Henry Higgins role in transforming awkward Mia into a princess. To me, she's really training Hathaway to be Julie Andrews, since Dame Julie has made a fine art of presenting herself as the gracious magical movie icon that she is. The first film was also shot at what is now the Julie Andrews stage -Stage 2 on the Disney lot, the same one where Mary Poppins soared.

Julie Andrews and Anne Hathaway share a high tea in their previously-released commentary on the first film. It's especially interesting to hear Hathaway's ambivalence to film acting and her reluctance to wear a swimsuit -little did she know what stardom (and love scenes) were ahead for her.

The second film is perhaps not as cohesive as the first, but how can it be -how do you follow up a Cinderella story? With a courtship and wedding, in this case, with another "newcomer," Chris Pine, as the garden-variety rom-com guy.

Julie Andrews returns with Garry Marshall for the commentary on the second film, also from an earlier issue. Marshall is less meticulous in his spoken details about this film, but no less enthusiastic. Princess Diaries 2 is more of a children's film, even including a song sung by Dame Julie!

Marshall's directing skills and his ability to surround himself with some of the best production people in Hollywood is evident as you savor the fine photography and staging made more clear on Blu-ray. While both films are frothy confections, they're also beautifully rendered and a joy to experience again.

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This is a good movie, but it is not similar to the book series. For those of us who read the novels, then watched the movies, most of us were disappointed. It is a good movie and they did a good job, just I'm upset because they changed everything from the book including they eliminated characters and events. They should remake this series.

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In 2000, the first volume of Meg Cabot's epistolary novel series, "The Princess Diaries", was released. A year later, "The Princess Diaries" was released as a film and achieving commercial success as it grossed over $165 million in the box office.

The film was produced by singer Whitney Houston and directed by Garry Marshall ("Pretty Woman", "Beaches", "Runaway Bride") and the success of the first film would ensure a sequel in 2004 titled "The Princess Diaries 2: Royal Engagement", the sequel would feature a screenplay by Shonda Rhimes (best known for creating and producing "Grey's Anatomy", "Private Practice" and "Scandal").

The two films would star Julie Andrews ("The Sound of Music", "Mary Poppins", "10″), Anne Hathaway ("The Devil Wears Prada", "Alice in Wonderland", "Get Smart") and Hector Elizondo ("Pretty Woman", "Runaway Bride", "Chicago Hope"). "The Princess Diaries" would be the first feature film debut of Anne Hathaway.

And now, both films will be released in a 10th Anniversary Blu-ray+DVD combo pack, courtesy of Disney.

VIDEO:

"The Princess Diaries" and "The Princess Diaries 2: Royal Engagement" are presented in 1080p High Definition (1:85:1). The video quality on both films is much better than the original DVD release and while the first film does show its age during the title credits and stock footage of San Francisco, the actual film is looks very good on Blu-ray with the additional clarity and more emphasis on colors. Especially detail on closeups of the characters faces. Skin tones natural on both films, black levels are good and there are no video issues that I spotted during my viewing of the film.

AUDIO & SUBTITLES:

As for audio, "The Princess Diaries" and "The Princess Diaries 2: Royal Engagement" is presented in English 5.1 DTS-HD MA, French and Spanish 5.1 Dolby Digital. While both films are dialogue-driven, there is also quite a bit of music featured in the films and also scenes that utilize the ambiance of various moments. Such as the first film which features Mia in a rainstorm or the sounds of crowds, but for teh most part, both films are front and center-channel driven as expected. Not exactly immersive but for both films, the lossless soundtrack is appropriate.

Subtitles are provided in English SDH, French and Spanish.

SPECIAL FEATURES

"The Princess Diaries" and "The Princess Diaries 2: Royal Engagement" is quite interesting when it comes to special features as Disney has elected to not include the special features on the Blu-ray release (only the "Royal Bloopers"), while most of the special features can be found on the accompanying two DVD's.

The Princess Diaries

Royal Bloopers (4:20) Outtakes from "The Princess Diaries" (featured on Blu-ray and DVD).

A New Princess (24:19) A featurette hosted by Anne Hathaway with interviews with director Garry Marshall and the cast of "The Princess Diaries".

Audio Commentary Featuring an informative audio commentary by director Garry Marshall.

Audio Commentary A second audio commentary featuring Julie Andrews and Anne Hathaway.

Deleted Scenes Featuring an introduction by director Garry Marshall and eight deleted scenes.

Livin' Like a Princess (3:27) Featuring animation on a princess' life.

Music Video "Miracles Happen" (4:18) Featuring "Miracles Happy" by Myra

Music Video "Supergirl" (3:54) Featuring "Supergirl" by Krystal Harris

The Princess Diaries 2: Royal Engagement

Royal Bloopers (3:56) Outtakes from "The Princess Diaries: Royal Engagement" (featured on Blu-ray and DVD).

Deleted Scenes (4:21) Featuring an introduction by director Garry Marshall and eight deleted scenes.

Games & Activities: Find Your Inner Princess A game/quiz for those to find their "inner princess".

Making a Return Engagement (15:37) Director Garry Marshall and cast talk about working on this second film.

The PD2 Makeover (11:07) Featuring Anna Curtis, Anne Hathaway's stand-in for the film.

Music Video (4:02) Featuring "Breakaway" by Kelly Clarkson

Audio Commentary Featuring audio commentary by Julie Andrews and director Garry Marshall.

EXTRAS:

"The Princess Diaries: 10th Anniversary Edition" Blu-ray comes with a separate DVD for each film.

JUDGMENT CALL:

"The Princess Diaries" and its sequel "The Princess Diaries 2: Royal Engagement" are two-lighthearted, fun and delightful films that would appeal to young ladies but also with director Garry Marshall, the film also appeals to people of all ages, especially with the older crowd as the film also pays a little homage to his 1991 film "Pretty Woman".

First, lets discuss the storyline. While the first film is much more enjoyable than the sequel, part of the enjoyment of the first film was seeing new and older faces. When "The Princess Diaries" first came out, I actually saw star potential within actress Anne Hathaway and as Lindsay Lohan at the time, was the up-and-coming star in films such as "Mean Girls" and "Freaky Friday" and would later incorporate this bad girl image, Anne Hathaway is an actress who came out of nowhere but yet had this pure image in which she fit into the heels of Princess Mia quite perfectly.

While Hathaway was a teen actress known for her role on "Get Real" (which she starred alongside Jesse Eisenberg back in 1999-2002), there was no doubt that this role propelled her career and would blossom into roles in "Nicholas Nickleby", "Ella Enchanted", at the time, she captivated audience with her quirkiness and felt that she fit the role perfectly as Mia.

And part of my enjoyment of seeing this film was watching Julie Andrews, who was still as charming onscreen since her classic films of "Mary Poppins" and "The Sound of Music", and also carried the grace that she is known for, as grandmother to Mia in both films.

Going back to the Garry Marshall reference to "Pretty Woman", Marshall brings back his "Pretty Woman" actors such as Hector Elizondo and Larry Miller, but also brings back Allan Kent to repeat the same line "It Happens All the Time" in "The Princess Diaries" as he did in "Pretty Woman". In fact, the song "Sempre libera degg'io" from "La Traviata" featured in "Pretty Woman" is used once again in "The Princess Diaries 2: Royal Engagement". So, there are "Pretty Woman" references in this film, which I found quite interesting.

So, for the first film alone, I enjoyed the "unpopular girl finds out that she is a princess" storyline, but the sequel seemed a bit out of the place as the goal was now "princess to become queen and must find a husband". While the storyline did work, I suppose that the rush into seeing the character of Mia needing to find a husband in order to become queen, just wasn't exciting enough. And as much as I enjoy Shonda Rhimes as a writer, this is one film that tried to capitalize on the success of the first film and to tell you the truth, I didn't think it was needed. Especially since the sequel has nothing to do with Meg Cabot's original novels (as the novels began to focus on Mia's teenage life and life in college).

As for the Blu-ray release, the Blu-ray definitely is a worthy upgrade for fans who own it on DVD. The video and audio quality is much better but for those who already own the DVD's, its important to note that Disney didn't even bother put the special features (except the gag reel) on the Blu-ray release, they are on the accompanying DVD's. So, unless you have never seen the films or enjoy the films and want in HD, if you own the older DVD releases, there is nothing new, in terms of special features, added in the Blu-ray release of "The Princess Diaries: 10th Anniversary Edition".

Overall, I still feel that "The Princess Diaries" is a fun and delightful film, the second was OK...for the value of both films on Blu-ray, it still makes this release worth owning (if you don't own the previous two DVD's).

For parents looking for a fun family film for their daughters (both films are "Rated G") or may you be fans Anne Hathaway, Julie Andrews or simply love Garry Marshall films, for the upgraded visuals and audio in HD, "The Princess Diaries: 10th Anniversary Edition" is worth owning and upgrading to Blu!

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If You Are the One (Import) (2009)

If you are looking for a Hong Kong or Hollywood romantic comedy do not buy this movie. This is a modern Chinese romantic comedy in the manner of Big Shot's Funeral also by Feng Xiaogang and his favorite male lead, Ge You. Xiaogang uses outrageous premises that are put into motion in modern China's reality. The roles of the women Xiaogang puts opposite Ge You are excellent especially if you have seen them in their other bodies of work. Let me just say the segments of dating are delightfully humorous in the pursuit of a non-perfect mate for our "hero".

The dating segments build up what the story is about, finding love with the right person in a country where there are too many choices. Instead of him finding love he accepts a bargain to settle for someone he rejected. She has realized that she can never have the person that she loves but knows that life is not complete without a companion.

To start out their new life together they must go to Hokaido, Japan so she can end the old relationship and start their life together. There is excellent Chinese humor while they are in Japan (you will laugh when he becomes a loyal Yakuza) as we learn his reluctances and it is very serious as we her reluctances. You might even think it is going to be a Chinese tragedy but it does end up in a Chinese way as a romantic comedy. Some parents may not want to share this film with their children as some of the conversation are frank and there is one extremely short shot of nudity from behind (so beautifully shot, set and choreographed that it is not gratuitous).

If you want a sappy, happy-go-lucky romantic comedy skip this movie. If you want a serious yet funny movie about love then do not skip this movie, it is the one.

Chinese film "If You Are the One" is a romantic comedy, and a unique one at that. The story is about a forty-something single male Qin Fen (Ge You) looking for his future wife on the internet. One interesting thing about the mild-mannered guy (and very wealthy because of his strange "invention") is that he is a very honest person. Qin Fen says he is not handsome; he is not looking for someone like Angelina Jolie. He is just an ordinary man who wants to settle down.

Some of his blind dates turn out to be very unique. One beautiful woman tries to sell something unexpected to him; another is a pregnant girl who wants him to be her baby's father; even a male shows up. During his unsuccessful effort to get married, Qin Fen meets a beautiful flight attendant Smiley (Qi Shu, "The Transporter"). He at first passes up a chance to date her, but later a strange twist of fate bring them back together, and Smiley, with a little secret of her own, agrees to marry him only on one condition, a condition that few males would feel comfortable with.

The romantic comedy is directed by Xiaogang Feng ("Assembly" "Legend of the Black Scorpion"), a renowned director with a string of box office hits in mainland China, and by watching his "If You Are the One," you know why he has been successful. Shot against the backdrop of modern lifestyles of China, the film closely follows the story of two characters you can relate to, played by the talented cast. The story itself is nothing new, even slow-moving to some, but occasional humor (often clever references to modern Chinese society) and the director's authentic touch given to the characters make the entire film believable.

Unanimously well-acted, the film also greatly benefits from the breathtakingly beautiful landscape of Hokkaido, northern island of Japan. One huge disappointment for me is the film's wrap-up part that I think is a bit shorter than it should be, and the role of Vivian Hsu that is smaller than I expected. Still the romantic comedy is worth watching, entertaining, humorous and life-affirming.

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This is the highest grossing film of all time in China. Hard to believe, as it's not really a remarkable film, except for Shu Qi, she's remarkable. When she asks her date if he believes in love at first sight he responds "I loved the first sight of you!" It's a very pleasant film. Funny, slightly quirky, it's an intimate study of two people's vulnerability, and it's thoroughly Chinese. I'm sure some of the humor was lost on me due to the fact I don't speak Mandarin! And Ge You's Mandarin accent is as thick as syrup. He does a great job playing a forty-something guy who's made his lot in life selling zany inventions and now has a very specific set of criteria he's looking for in a mate to settle down with. He meets Shu Qi and the two of them continue to meet, almost just to spite one another, neither believing there is anything there for the two of them. But love has an odd way of growing just my virtue of time spent together. This is a great 'date' movie.

Read Best Reviews of If You Are the One (Import) (2009) Here

Once again I see a movie from China that knocks me out and I reflect on how sad it is that so few people will see this. As of today, this will be only the seventh review for a movie that has been out since 2008. On the other hand, there are probably hundreds of reviews for any of a number of retreaded, predictable, juvenile, CGI-driven, product peddling, Pixar'd, cloying, and/or disturbingly violent movies that can't hold a candle to the beauty, emotional power, and sheer loveliness of If You Are the One.

Chinese favorite You Ge and the lovely Qi Shu play the two main characters and imbue their performances with nuance, genuine chemistry, and emotion. Throughout the two hours, I was moved to guffaws of laughter as well as lip-quivering tears. Xioagang Feng's poignant contemplations on love, relationships, marriage, and heartbreak struck nerve after nerve in me.

It saddens me that what passes for wisdom in Hollywood offerings usually reflects not so much our shared global humanity but rather our peculiar self-absorbed ethos and our superficiality. There are movies that are quite good (I just saw The Descendents and it was very good), but the vast majority is the equivalent of fast food garbage that appeals to the lowest common denominator. Indeed, there might be no better reflection of the decline of our society than the low number of well made movies coming out of Hollywood. How sad that, more often than not, Pixar makes the movies that touch us emotionally.

I apologize for this rant embedded in a review, but when I see such a beautiful motion picture as this one, I think how fortunate I am to have a fiancé who is Chinese to even bring this director to my attention. I hope to pass on this rare find to you. Indeed, this is the kind of experience you want to share with your fellow citizens. Isn't that what these reviews are really about? Isn't it about offering your opinion for the benefit of your brothers and sisters so that they might share in what you experienced (or be forewarned)? Highly recommended.

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This is one of the most beautiful movies I've ever seen. Story of love and regret, and abounding with more love. Very touching.

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Top Gear - Great Adventures 3 (2010)

Watch out, this does not play in the Playstation 3 and a handful of other blu-ray players. Works in my friend's LG, but that's about it. Uses a 1080i/50 encoding that is not supported by most. This should not be marketed towards Americans.

Watch out! (1) TopGear: The Great Adventures 3, (2) TopGear: Apocalypse and (3) Clarkson: The Italian Job Blu-rays DO NOT PLAY on my new state of the art Samsung players. Both of my NEW Samsung Blu-ray players are up to date but they complain about changing the resolution of my NEW Samsung TV. It is interesting to note that TopGear 14 and TopGear 15 play stunningly!!! I will be sending them back for exchange or refund. I would prefer an exchange as I "love" TopGear UK".

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I purchased this first from Bluflick and i thought it was the disc.They told me to update my firmware on my Blu-Ray player but even after that it still didn't work!So i sent it back to them and ended up buying it from another seller Once again it did not work in my PS3.So i ended up buying a NEW Blu-Ray Player and not just any Blu-Ray player i bought the Denon DBP-2010ci! and guess what still did not work.Found out it was really made for European player it plays at 1080i/@50hz that only a few player support not sure if any american player will even play it! DON'T BUY THIS!!!!

Read Best Reviews of Top Gear - Great Adventures 3 (2010) Here

Purchased this Blu-ray from a dealer on Amazon, without having read the comments (my bad, sorry). I LOVE 'Top Gear'. Love watching Jeremy, James, and Richard. So, when I found out that the disc wouldn't play on my player, I was pretty upset--especially since my Polar expedition disc, and series 14 and 15 discs played without a hitch on my PS3. Thankfully, someone had posted (in the comments section) a link to a list of Blu-ray players that would play discs that had been programmed to play only on PAL systems. However, I couldn't find a player where I live, that was on the list, and at an affordable price. Happily, I estimated from the list and purchased a LG BD630 Network Blu-ray Disc Player that I found in a store here and IT WORKED! I am also happy to report that 'Top Gear-Great Adventures 3 [Blu-ray]' was so worth the money, aggrevation, and stress!!! If you are a fan, and enjoyed watching the episodes that aired on the TV, you are going to love the Director's Cut and extras!

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Did not work in a newer Toshiba Blu Ray. Got the Blu Ray to work in an old Samsung BD-P1500, and it is great... The South American adventure is the best they've done so far, and they threw in a commentary by James May, as well as Bonneville and Romania. Necessary addition to a Top Gear collection, and nearly worth finding a compatible Blu Ray player.

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