Showing posts with label indian comedy movies 2010. Show all posts
Showing posts with label indian comedy movies 2010. Show all posts

Glory Road (2006)

Glory RoadFive MOMENTOUS Stars!! A Great Movie!! "Glory Road" tells the true story, with much dramatic license along the way, of one of sport's greatest moments. A moment that changed the face and color of college basketball and rippled across all sports. It's the story of a little known college basketball coach, Don Haskins, and how he came to be the coach of little known Texas Western College in El Paso, Texas. It's also the story of the black players who would be recruited from all around the USA to eventually wind up playing in one of the greatest moments in college basketball: David "Daddy D" Lattin, Nevil Shed, Willie Cager, Orsten Artis, "Wee" Willie Worsley, Harry Flournoy, and of course the late floor general, Bobby Joe Hill. And the other team members played their vital roles also: Jerry Armstrong, Louis Baudoin, Dick Meyers, Togo Railey and David Palacio. Producer Jerry Bruckheimer does a wonderful job of bringing back the singular moment of the all-white Kentucky team under Adolph Rupp (Jon Voigt is a hoot in this role) and Haskin's all-black starting five meeting in the NCAA basketball national championship final game spotlight during some tough racial times for the USA. In fact, Haskins had played this combination of players many times before during the season to little local fanfare, so it was no big deal to him. He just wanted to win. Josh Lucas is great as Don "The Bear" Haskins in this excellent James Gartner-directed movie. It's said that Lucas, in preparing for this role, was driven out into the desert by Haskins in his truck and they just sat and talked (and drank) for many hours discussing how Haskins did it and the way he did it. (This has turned into quite a good friendship since then.) The movie pre-screenings, with all of the living original players on hand, in El Paso are greatly appreciated by all of us who lived through those incredible times and are still here.

In light of today's social freedoms, the movie does a great job of depicting the tough racial times of the 1960's and the events that put Haskins, the team, and TWC on the athletic map forever. Not to mention the huge pot of money that TWC got from participating in the tournament. Shortly after these events, the University of Texas education system made TWC a full partner by the redesignation of the "University of Texas-El Paso" and a boatload of construction/faculty money flowed from Austin to El Paso. I was there and it was a grand moment to be remembered. A great must-see movie not just for the sports but also for the social impact of those times. Hats off again to Jerry Bruckheimer for personally carrying the banner on the national-level TV and radio shows promoting this movie. Five "Slam-Dunking" Stars.

(Notes:

*"Glory Road" won the "ESPY" Award as the Best Sports Movie of 2006.

*The Texas Western College NCAA Championship team was inducted into the Basketball Hall of Fame in 2007.)

Glory Road is the true story of Texas college basketball coach Dan Haskins.

In 1965, white players dominated college basketball and a predominantly black team was just not even thought of, especially in Klan infested Southern states.

The coach assists his Texas-Western players in breaking down race relation obstacles still grasping the nation and even more brazenly evident in violent Jim Crow South.

Coach Haskins drives all his players, both on the court, and demands more then passing academic grades in the classroom as well.

Classic Soul and R & B music of the mid-1960's era play a key part through out this well made picture.

"The incredible story of the team that changed the game forever / Based on a true story"

Buy Glory Road (2006) Now

"Glory Road" tells the story of the Texas Western Miners, a college basketball team who won the NCAA Championship in 1966. But this wasn't just an ordinary championship, no, for the starting line-up in the championship game was all Black players, a thing that was unheard of in '66. Or better yet, even a black player being recruited by a college team was out of the ordinary. However, the 36 year old coach Don Haskins recruited seven Black players for his Texas Western team (when the season begins, he starts three of those players). The team was barely even thought of in the college world before then, then with the help of the seven black players, they went on to win the championship.

The movie opens with a girls basketball game, and you see that Don Haskins coaches girl's basketball. Later on, he is asked to coach Division 1 basketball, for the Texas Western team (with one drawback; he would have to live in the dorm room with his wife and kids). Then, he sets out to recruit players that would help the team win. When he recruits all Black players, it's obvious that most people (even the Black players themselves) thought Haskins was crazy. Among the players he recruited were Bobby Jo Hill (played exceptionally by Derek Luke), Willie Cager, David Lattin, and Harry Flournoy. His practices for the team were intense and his rules were strict. This would all pay off in the end though, with the Miners winning the championship over Adolf Rupp's Kentucky Wildcats (with Pat Riley, who is a character in the movie, it's weird to hear his name called while he's playing, knowing he's a game-winning coach with plenty of rings).

The movie does depict the racism at the time as well. It wasn't an easy ride for the coach or the Black players on the team. In the first game, the fans clapped for the two starting white players, but the whole arena was quiet when the Black players were announced. The team had racial slurs written in their hotel room during their game. One player was even beat up in a bathroom. Haskins was harassed as well. The racism almost tore the team apart, but with the coach's help they stayed together and changed the course of basketball.

All around, the acting was great. Josh Lucas did a great job as Coach Haskins, completely becoming his character. Derek Luke did great as Bobby Jo Hill. Jon Voight played Kentucky coach Adolf Rupp, but you wouldn't really know unless you read the credits. Nonetheless he did a great job. Mehcad Brooks, Sam Jones III, Schin A.S. Kerr and Damaine Radcliff (who played Flournoy, Worsley, Lattin, and Cager, respectively) all did excellent in their roles. The actors practically become the players. The cast couldn't have been better.

Overall, Disney has released another superb movie about sports underdogs winning it all (I enjoyed Remember The Titans as well). If you like that movie, there's no way you'll dislike this. It is a well-cast, well-directed movie that will satisfy any basketball fan, and will keep everyone watching. It's been said that it follows the cliches of all other similar movies, but don't we always watch them anyway?

The film triumphantly shows how one coach changed the game (and face) of basketball completely. One quote from the film is "You're acting like negroes are gonna be the future of basketball!" and I couldn't help but laugh when that line was said. The importance and significance of that season and the tribulations of the team is wonderfully shown. Don't pass this up.

Read Best Reviews of Glory Road (2006) Here

From the powerful "Hoosiers" to last year's excellent "Coach Carter," we have witnessed a number of basketball films in which a coach takes command of a team of underdogs, nourishes their skills through a rough season, and takes them all the way to the Big Game. In short, you have seen "Glory Road" before, even if you haven't purchased a ticket yet.

You are familiar with all of the cliches: the coach, and the players, face hardships on and off the courts, moments of in-game suspense are established by slow-motion, and the ending is so foreseen that you can bet your life on what will happen. But somewhere between the first scene and the end credits, I forgot that I had seen this done before, and I left the theater inspired.

"Glory Road" tells the story of Texas Western University's 1966 championship victory over the intimidating Kentuky Wildcats and the journey they took to get there. The newly hired coach, Don Haskins (Josh Lucas), takes a bold step in hiring a number of black players, all of whom, he believes, are undiscovered talent waiting to be put in the spotlight. It was this move that began to breakdown the racial barriers not just in the NCAA, but in the United States, and the segregation issues that existed in that time are heavily studied in a number of the film's sequences.

First, there is the matter of the players already playing for Texas Western, who must accept the presence of their new teammates. Then there is the matter of school officials, who, naturally, find Haskins' methods of recruiting unorthodox. Finally, there are the opinions of the media, who will find it insane that that Haskins would recruit talented black players and, eventually, start five black players in the national championship game.

But the aspects of the players is not what makes "Glory Road" an excellent film. What makes this an excellent film is that we get to know the players, their struggles, and their personal histories; the well coreographed game scenes that accurately portray what actually happened during the games are more like extra goodies. Chief among the new players are Bobby Joe Hill (Derek Luke) and Willie Scoops Cager (Damaine Radcliff), who introduce a new style of basketball that would later become an influence to the modern principles of the sport. Their style conflicts with the style that Haskins believes in, and in one memorable scene, when his team his down, he orders Hill to play the game his way and they arise victorious.

Another key character is Kentuky head coach Adolph Rupp, an inspired and firey performance by John Voight. He knows that Texas Western is making history as they progress through the season and into the championship game, which he why refers to them as "a special team" during one of his timeouts. Given the historical context of his first name in relationship to racism, you would think that "Glory Road" establishes him as a villain, but it doesn't. The film just sits back and observes the arrogance of Rupp and other individuals during that time who were rooting for Kentuky just because Haskins had black players on his team. The film doesn't pick sides. It presents both of them, so graphically in one scene that it pushes the barriers of the PG rating. It's not being biased in favor of the black players. It paints an honest portrait of what happened.

The performances are excellent, with Josh Lucas playing Coach Haskins in a role that should be talked about for a while. However, the film's spirit doesn't totally lie in the powerful depiction of it's characters, but in what happens after the events of the story, and most of it's awesomeness comes out of what we know now. If there wasn't a Coach Haskins who recruited a Bobby Joe Hill, then there would have probably never been a Michael Jordan, a Lebron James, or an Allen Iverson. "Glory Road" is inevitably a valuable history lesson, which we are still learning in our society today, and like "Crash," it establishes the lesson by showing victimization and antagonization.

I suppose that's what sets "Glory Road" apart from most other sports films: the race relationship is just as important as the game. Making ends meet through a checklist of sports cliches, director James Gartner and screenwriters Christopher Cleveland and Bettina Gilois deserve much respect for what they have accomplished. But the film makes a very haunting point in its context. Although its amazing how far we have come in the past forty years in race relations, we still have a long way to go. Isaac

Rated PG; 106 minutes; Directed James Gartner

Want Glory Road (2006) Discount?

"Glory Road" is the story of what some have called the most important game in basketball history: The 1966 NCAA Championship game between the Texas Western Miners, coached by Don Haskins, and the Kentucky Wildcats, coached by veteran Adolph Rupp. The game's significance was that all of the Miners who played in that game were black. Never before had so many black players been seen on an NCAA court at one time. And they won. This created a lot of opportunity for black college athletes, particularly in the South, and changed the way people play basketball. "Glory Road" focuses on coach Don Haskins' (Josh Lucas) efforts to build a great team at Western Texas College (now UTEP) and the struggles of the black athletes to win respect while they were constantly gibed and occasionally threatened. Eager for the opportunity to coach a Division One team after succeeding with girls' high school basketball, Coach Haskins moves his family into the Texas Western men's dorm and sets about recruiting some good players -only to find that his budget was insufficient to lure any coveted athletes. But other schools are not courting black players. So Haskins scours the nation, from junior colleges to urban streets, to find great players. He ends up with a team of 7 black and 5 white athletes in whom to instill his ideas about "fundamental, disciplined, defensive basketball."

"Glory Road" is shot is a naturalistic, unrefined style bordering on cinema verite and conveys a strong sense of the mid-1960s culture in which the events take place. Natural, directional light, which tends to be high-contrast, and a muted color palette combine to make a distinctive visual style. It's a wonder that the style is as consistent as it is, since cinematographer John Toon shot half the movie before having to quit due to illness and was replaced by Jeffrey Kimball. Both of these cinematographers deliver a consistent and appropriate visual style for first-time director James Gartner. The film focuses on Coach Haskins and the Miners team that won the 1966 Championship. The legendary Don Haskins was more of a disciplinarian and also more of a rogue than we see in the film. He hustled pool to fund those recruiting trips. Josh Lucas brings an intensity, energy, and amiability to the role. Although we know something of the players' backgrounds, the focus is greater on the black players than the white, and even then it is cursory. The film is more about the obstacles that black players faced than about the players themselves. There are several nice supporting performances, but John Voight's turn as Coach Rupp is particularly memorable.

The DVD (Disney 2006): Bonus features include 4 deleted scenes (7 min), 3 featurettes, a music video for "Sweet Music" by Alicia Keys (2 min), and 2 audio commentaries. "Legacy of the Bear" (13 min) is about Coach Haskins' long career at Texas Western/UTEP (1962-1999) including interviews with Don Haskins and wife Mary, some of his players, biographer Ray Sanchez, et al. "In Their Own Words: Remembering 1966" (23 min) is about the 12-man 1965-1966 Miners team. Interviews with Harry Flournoy, David Lattin, Nevil Shed, Willie Worsley, Dick Myers, Togo Railey, Orsten Artis, Louis Baudoin, Don Haskins, and Pat Riley, who was on the opposing Kentucky team in 1966. In "Surviving Practice" (4 min), Tim Hardaway talks about coaching the actors. The first audio commentary is by director James Gartner, who discusses what elements of the film are literal and what has been fictionalized, casting, his intentions in various scenes, what was included, what was left out, and why. The second audio commentary is by the writing team of Christopher Cleveland and Bettina Gilois, who provide additional information about Don Haskins, discuss input they got from the players and the purpose behind some of the scenes they wrote. Captioning for the films is available in English. Subtitles and dubbing are available in French and Spanish.

Save 50% Off

The Holiday (2006)

The HolidayNancy Meyers' "The Holiday" has been seriously dissed by most of America's film critics--including one who suggested that any man who goes to see it should be forced to pay with a crucial part of his anatomy instead of money. "The Holiday" is indeed a prime example of what is condecendingly known as a "chick flick," and it's not a movie you can make great claims for. But "The Holiday" succeeds outstandingly in living up to its title; it provides an audience with a two-hour vacation filled with charming, likable actors playing charming, likable characters. The movie is set during the Christmas holidays in which two women with man problems--Iris (Kate Winslet), an English journalist, and Amanda (Cameron Diaz), an L.A. producer of film trailers--meet over the Internet. On a whim, they decide to switch houses for Christmas; Amanda ends up in Iris's picture-postcard-pretty cottage in Surrey, Iris in Amanda's luxurious, gated mansion in Beverly Hills. There, they discover new romantic complications: Amanda with Iris's brother Graham (Jude Law) and Iris with a film composer named Miles (Jack Black). There's also a subplot about the friendship that develops between Iris and an elderly screenwriter played by the venerable Eli Wallach. Nothing that happens in the movie is at all original or consequential. I could even quibble about an inaccuracy or two in Meyers' screenplay (Cary Grant was from Bristol in Gloucestershire, not Surrey). But seeing "The Holiday" makes you feel happy and light of heart, which is all it sets out to do. While the film's appeal is necessarily greater for women, I also think most men will find this a more-than-serviceable date movie. Sometimes you want a movie that's rich, gooey and sweet, that contains no sharp edges and requires no sharp utensils for its consumption. In an increasingly abrasive world, the need for cinematic confections is greater than ever, and "The Holiday" fills that bill.

Two women. Two failed relationships. Two houses. One great romantic comedy. The Holiday is the story of two women, Iris (Kate Winslet in a poignant performance) and Amanda (Cameron Diaz), who swap houses for two weeks thinking it will help them get over their relationship problems. Amanda will take Iris's house in a small cottage just outside of London, and Iris will stay at Amanda's house in L.A. They will both meet someone who will help them mend their heart.

Let's get one thing out of the way: Yes, this is a chick flick, but a damn fine one at that! I'm not much of a fan of the genre, nor of Nancy Meyers' films, but when I saw this in theatres with my girlfriend last December, I loved it. I thought the film would've lost some of its charm on second viewing, but it hasn't lost one bit of it. With a running time of 136 minutes, you'd think it would drag but it feels like a 90-minute film.

The film has a few surprises and most of all, a great subplot around Arthur's (screen veteran Eli Wallach in a brilliant performance) character. The film goes back and forth between the two relationships, the one in the UK and the one in the US, which gives it a great rhythm. Nothing seems forced and it doesn't fall into the typical clichés of the genre. The dialogue is very well written, kudos to Meyers for that. The characters are interesting; Winslet (my favorite actress) shines in her role as Iris, the girl who falls for the wrong man. I usually avoid movies starring Cameron Diaz and/or Jack Black like the plague, but they were both really good in that one. Jude Law brought some class to his role. The supporting cast was very good (keep your eyes open for a cameo by a famous actor in the video store).

Overall, The Holiday is a very enjoyable film and you don't have to love romantic comedies to enjoy it. It's closer to Something's Gotta Give than What Women Want, and it's much better this way. Check it out, you won't be sorry!

Buy The Holiday (2006) Now

I don't think this decade has had much success with romantic comedies, but trust me that with "The Holiday", the 2000s have never looked better. I consider this film to be one that extracts the finest performances from Jude Law, Kate Winslet and Cameron Diaz EVER, and once you see it, you will know what I mean.

Kate Winslet has acted in many good movies ("Hideous Kinky", "Holy Smoke", "Iris") but its ironic that her most poignant and well-written role comes in "The Holiday". You probably know the story already its about two women on two different continents who swap houses and lives after a chance meeting on the Internet but the treatment and above all, the DIALOGUE, is what drives this romantic comedy to the heights of that most rare animal a cinema classic.

And thats what "The Holiday" is. I honestly think that a genuine, feel-good film such as this should be embraced by the Oscar group, instead of their focus on typical epic films such as "Babel" and "Gladiator". This is where the magic is. Cameron Diaz especially, has never found a better vehicle for her goofy charm (yes, this is even better staggeringly better than "There's Something About Mary"). Jude Law, who has had his share of incredible dramatic performances in films such as "Wilde" and "Alfie", uses his effortless charm and natural screen presence to radiate such magnetism, that he is undeniably the most spot-on best romantic lead you would have seen for a while.

Audiences I saw this with claimed that "The Holiday" was at least twice as better than "Pretty Woman". No comparison. The films I consider really good romantic comedies would be "Never Been Kissed", "A Life Less Ordinary" and "Theres Something About Mary". However, "The Holiday" is all that, but the amazing thing is that it has a heart of gold and does NOT rely upon slapstick humor to make the dialogue and situations work.

Kate Winslets' character in fact, is one worth coming back to and studying, even from a film students' perspective. She infuses her role with so much wit and warmth, that we do not mind if this girl even ends up single in the movie we just want her to find herself. The scene where she dumps her boyfriend after three years of emotional abuse is absolutely wondrous the actress glows and gives off such electric spark that its impossible not to FEEL for this beautiful character.

Jack Black, in a superb cinematic role as a Hollywood music industry biggie, is never meant to be taken seriously as a love interest for Kate, much as some would like to think so. Their sad tale is of two people in two different bad relationships finding a friend again I loved how the end of this movie did not strive to hurriedly bring two people together rather, it allows space for the characters to breathe and live their emotions, which is why its so easy to take this film seriously, and which is why you MUST watch it.

Finally a film worth buying! I have waited so long for a movie of such depth, grace and respect for the art of film-making.

There are so many amazing scenes here Kate in her quaint cottage trying to commit suicide (a poignant moment filled with humor and grief all at the same time), Kate waking up in the lap of luxury in Los Angeles, the initial meeting between Cameron and Jude and their wondrous chemistry, the moment where they realize they are in love with each other, the moment where Cameron meets Jude's kids, and her ultimate realization that her selfish, unloving persona has been undone by this mans' love and the scene where she leaves it all behind to run back to the person she loves the most. There are SO many such moments during this movie. Consider this a return to form for Hollywood in general.

I would especially like to thank the makers of "The Holiday". I don't know if any of them read Amazon reviews, but as a critic of film, I find it so hard to like so many of the "serious" films out there today. Most of them are made to win Oscars, and then there are those tailormade to win Academy Awards. Either way, they're made to win something. And then you have the disposable comedies of the "Scary Movie" variety. But a film such as this makes me realize that the glory days of the 1950s and 60s of Hollywood still exist.

I must also state here that I only saw this film because I saw that it starred Kate Winslet. This is one actress that has never let me down throughout her amazing career and to find that she gave her best ever performance in this film made me all the more happier. She takes a beaten down, funnily written character and transforms her into a woman of great intelligence and feeling this is NOT Bridget Jones' Diary!

Which is why its obvious why these stars signed up for a movie such as this. On the face of it, "The Holiday" is a two-story arc that converges into one in the end about the love lives of two very different women. But it is so much more than that in fact, it is a meditation on love and hope in this day and age.

If my praise seems extravagant, all I can say is, buy this. Do not rent it, buy it. It is the pinnacle of working excellence for all three major stars Jude, Kate and Cameron, and it is by far the best romantic comedy of the 2000s by a long shot. Also, I find it hard to believe that anything more amazing than this would be released anytime this year.

Highly Recommended. Five Stars. Hollywood finally redeems itself and gets it right.

Read Best Reviews of The Holiday (2006) Here

Cameron Diaz and Kate Winslet star as women who are simultaneously suffering from man troubles, and want to get away for a while for the holdays. Through a web site, they agree to swap homes for the holidays Amanda (Cameron Diaz) ends up in a storybook cottage outside London, while Iris (Kate Winslet) finds herself in an L.A. mansion.

The movie unfolds as two movies, cutting back and forth between their stories. Amanda meets Iris's brother, Graham (Jude Law), who turns out to be unexpectingly different than any other man she's ever met. Meanwhile, Iris meets Miles (Jack Black), a funny goofball of a guy who helps Iris lighten up and stop pining for the man who will never love her.

Want The Holiday (2006) Discount?

"The Holiday" is a cute, romantic movie about two women, Amanda and Iris (Cameron Diaz and Kate Winslet), who both find themselves royally screwed over by the men in their lives. Amanda and Iris connect via a housing-swap Web site and agree to switch houses for two weeks in order to escape during the holidays. Amanda heads to England, where she is immediately swept off her feet by Iris's charming brother, Graham (Jude Law). Meanwhile, Iris arrives in L.A. and is blown away by Amanda's posh lifestyle. She befriends an elderly neighbor (Eli Wallach) who is a retired Hollywood screenwriter, and ultimately finds an unexpected new love interest in Miles (Jack Black), a film composer.

This is a fun little movie. I enjoyed the Amanda/Graham scenes most of all. Diaz and Law have excellent chemistry and make a great on-screen pair. I am a huge fan on Winslet and she did a great job in the film as well, but the scenes with her really dragged on a bit in the beginning. There were too many scenes where Iris was just sitting around lamenting about her cad of an ex-boyfriend. My other major beef with this film is that I do not understand why Jack Black is in it. Was no one else available? I have no problem with Black, but this just isn't his type of role, and there was absolutely no romantic spark of any kind between him and Winslet.

In spite of its few flaws, I still enjoyed "The Holiday" very much. It's a sweet romantic comedy that will make you laugh and smile.

Save 25% Off

Ichi the Killer

Ichi the KillerAfter watching Takashi Miike's powerful "Audition," I thought following up with "Ichi the Killer" an excellent idea. I don't see much of a comparison between the two films unless you wish to look at the disturbing scenes of gory violence and the fact that "Audition" has more of a social message than this gore extravaganza. I have come away with the impression that Miike is a brilliant filmmaker capable of forcing extreme reactions from his viewers. Hollywood should take note of this guy and bring him over here for a project or two. But doing so probably wouldn't work out; Miike's warped visions would send American censors scrambling for a sedative, and most mainstream viewers would recoil from the graphic nature of this director's films. A word of warning for those thinking of indulging in "Ichi the Killer": the movie is loaded with sadism, gore, black comedy, and all around unpleasantness. It's as though this movie turns upside down everything we associate with cleanness and decency. It's a tough watch, even for a gore fan like me, so prepare thoroughly--how, I cannot really tell you because I do not know--before diving in. Good luck.

"Ichi the Killer" is based on a "manga," a Japanese comic strip of a type often embodying grotesque images and disturbing themes. The film follows several Yakuza gangs as they do what they do best: murder, torture, plot, and generally cause lots of unpleasantness. I am unfamiliar with the structure of the Yakuza, but I gathered from the film that there are numerous gangs (or families, as the mafia would say) each headed up by a boss. These bosses then report to a committee composed of other gang leaders and a sort of "boss of bosses"--played here by a wheezy little runt who pops up to mediate disputes every now and again--designed to keep everything from getting out of hand. When an anonymous killer named Ichi takes down a yakuza leader, the boss's underlings, including a bleach blond thug by the name of Kakihara, seek revenge. At first, Kakihara thinks rival groups had something to do with the disappearance, so he kidnaps some thugs and tortures them in an effort to get information. These gruesome antics go so far beyond the pale that the yakuza overlords send Kakihara and his fellow gang members into exile. Instead of putting an end to the out of control violence, this judgment only encourages Kakihara to even more extreme acts of nastiness. It turns out that this blond goon worshipped his boss because the leader possessed the ability to fulfill Kakihara's S&M cravings. This is sick stuff, to be sure, but it only gets worse as the movie progresses.

Kakihara seeks out Ichi to avenge the boss but also to challenge the enigmatic assassin to a showdown. We soon learn Ichi is far from the icy killer we have come to expect. He's actually a meek sort who witnessed a brutal incident as a child and has since become a victim to his own guilt. A guy named Jiji expertly manipulates Ichi's psychological problems in order to carry out assassinations. All Jiji needs to do is tell his friend that certain people were involved in Ichi's childhood trauma and mayhem rapidly ensues. Clad in a black suit bristling with razor sharp blades, Ichi can turn a room full of people into sushi in about thirty seconds. After the murders take place, he often sinks into a weeping, cringing depression over what he has wrought. Jiji, completely indifferent to his friend's remorse, always has a few more targets lined up for the slaughter. Women, children, and men: all are fair game when Ichi goes on a rampage. As the movie progresses, and as Kakihara comes closer to his final showdown with the hyper violent Ichi, Miike throws in enough plot twists and turns to keep the viewer constantly guessing as to character motivations and the very nature of the reality these people move in.

I am guessing I missed out on a ton of inside jokes and cultural references, probably because I do not speak the language, am not Japanese, and do not live in that country. I have never even seen, let alone read, a manga comic strip. Fortunately, Miike's film boasts plenty of black humor and gory violence to the point that being non-Japanese makes little difference in understanding the picture. You don't have to be an expert on Japanese cinema to laugh at Jiji's "muscular" transformation or the scenes where Kakihara expresses his disappointment at Ichi's subservience when the two finally meet (Kakihara actually attempts to pick his foe up in order to get him to fight! Funny!). And you definitely don't need any inside knowledge to gape at the violence. This is an insanely sick film packed to the rafters with bloodshed and carnage. My mouth dropped open, and stayed that way, when Kakihara administered a hot oil "bath" to a particularly close-mouthed gangster.

Gorehounds the world over will flock to "Ichi the Killer." While you will need an iron stomach to get through this one, the film goes to great lengths to prove this is all cartoonish fantasy. I quit taking the whole thing seriously after the tongue scene, when Kakihara said, "It will get better if I keep talking," and then spoke normally in the following scene. I took this as a wink-wink, nudge-nudge from Miike, a message to the viewer that one should not take the film to heart. As far as the DVD goes, I think it should go without saying that watching the unrated edition is the way to go. If you really want to watch a movie like this one, why waste time and money fiddling around with a cut version?

Live Action Anime...yes it is an oxymoron, but it's one way to describe what Director Takashi Miike has done with Ichi the Killer. It's like a live action version of Akira or Ninja Scroll.

The film's plot is secondary so I won't dwell on it here, but if you have never seen Miike's films, get ready for a ride through the imagination of a complete mad man. The best part about the film is that Miike and his team are actually outstanding technically, and his sense of humor is both original and in my opinion hilarious.

Ichi the Killer is as glossed over and stylized as it is sadistic and violent, and believe me when I say that this film is violent. It's sexually violent content is out of whack as well and alone might earn Ichi an NC-17 stamp but it's violence is so fantastic it almost seems cartoon-like. If you didn't find humor in films like Dead Alive, Robocop, Evil Dead 2 or Kill Bill pass on Ichi, but if you like those films like I do, give Miike a chance, you won't regret it.

Buy Ichi the Killer Now

(2008 HOLIDAY TEAM)"Ichi the Killer" ("Koroshiya 1") is a stylistic, well-made film representing a Japanese idea that seems strange to most non-Japanese, the idea that violence, even extreme violence, can be beautiful. As seen in films such as Kenka Ereji's "Elegy to Fighting," violence is an art form and a genre of Japanese movies.

This film is about killing for the sake of killing, by those who love doing it with a sexual passion. Kakihara, the masochistic Yakuza killer featured on the box cover, complains while receiving a beating that "There's no love in your violence." To commit violence without love is like having sex without emotion, and empty physical act. Director Miike Takashi has put love in his violence, and style and art.

Kakihara is the star of the film, being both brash and beautiful, but it is Ichi the Killer who is the true protagonist. Mentally unstable and boyish to the extreme, Ichi is a deranged assassin who wears a superhero costume with a bold Number 1 ("Ichi" means "Number 1" in Japanese) emblazoned on the back. Ichi is an almost-controllable tool of Jijii, who plays the gangs against each other for a mysterious motive. Jijii aims Ichi like a gun, then pulls the trigger. Kakihara deepest fantasy is to be slain by Ichi, the ultimate killer, but not before the time is right.

As you can see from this description, "Ichi the Killer" is a trip into a dark underworld of sado-masochism, lustful violence and other avenues of human nature that most people would not willfully venture into. It is without a doubt the finest film in the genre.

Read Best Reviews of Ichi the Killer Here

The actual film gets 4 out of 4 from me (amazon and most sites only let you rate 5 out of 5), but after close to a year of waiting after this disc got pushed back and back, the end result is a completely unacceptable Bluray disc. The image quality, I'm sorry to say, is no different than the DVD and looks to be derived from the DVD with marginally increased sharpness. The sound quality is what made me return the disc. The Japanese Dolby Digital 5.1 track sounds AWFUL! Worse than the DVD, which had a great 5.1 mix. Also, it looks as if the only Dolby True-HD tracks on the disc are both English and Japanese Dolby TrueHD 2.0! Why would you include an HD 2.0 mix on an HD disc that most definitely has 5.1 audio. I've seen 'Ichi the Killer' theatrically and know all too well that it looks and sounds better than this. Sorry I had to burst the bubbles of many eager 'Ichi' fans (myself included), but I sent this back almost immediately after buying it. A shame.

Want Ichi the Killer Discount?

This movie is the true definition of a car wreck. From the opening credits to the ambiguous ending, you cannot turn away from the shock and horror director Takashi Miike serves up.

Sadism is the true star of this flick as we travel a road filled with unrepentant pain and suffering. Unless you have seen the movie, then you have no idea how confrontational a film can be to your very senses. Rape, torture, murder, gore and general brutality are relentless traits of this movie. Sometimes cartoonish (its Manga roots showing), sometimes jet black in its humor, the savage pace of Ichi never slows even with a 2+ hour run time.

This is not a film for the squeamish. It makes no apologies for what it is and dares you to eject it from your DVD player. But, you simply can't. This movie can only be described as beautiful revulsion.

Just a quick comment about the packaging (which is the only downside to this release). The "Blood Pack Edition" contains 2 discs of excellent material including a commentary with Takashi Miike and Ichi's Manga artist/writer Hideo Yamamoto and an intensive "making of" documentary. However, the plastic blood bag housing the discs is a sadistic joke. The suction cup like plastic sleeve makes it incredibly difficult to actually get the damn discs out of the bag to watch them! Great gimmick, poor execution.

If you are a true horror and gore enthusiast, your collection is incomplete with this brutal slice of Japanese genius.

Save 23% Off

Strictly Ballroom (IMPORT - Region B)

Strictly BallroomBaz Luhrmann at his finest. This terrific film is really three movies in one. First, there's the tremendous dance movie whcih centers on Scott Hastings (Paul Mecurio) and his struggles to introduce 'new steps' to the sheltered world of Austrailian ballroom dancing. For dance afficiandos, despite the broad comedy that infuses the movie, the dancing is the real thing. Mecurio is a formally trained dancer and you simply can't fake, edit, or body-double the moves he pulls off in this film. Even if you're not a dancer, Mecurio's athletiscism alone is worth seeing.

The second movie is a Dirty Dancing-style, boy-meets-ugly-duckling tale. The story allows you to peek behind the covers of a first generation Australian and her awkward attempts to fit into a new culture while maintaining her European ties at home.

The third movie is what sets Strictly Ballroom apart from the field tremendously funny, broad caricatures squabbling around the periphery of Scott and his struggle to bring his 'new steps' to the Pan-Pacific Championships. Pat Thompson is hysterical as Doug's mother Shirley, and Bill Hunter is wonderfully over-the-top as dancing kingmaker Barry Fife ('There are no new steps!'). But attention first-time viewers keep your eyes on Barry Otto as Scott's father, Doug Hastings. This odd, seemingly shell of a man is actually the emotional core of the film. He provides the movies funniest moments (particularly as other reviewers have alluded to a flashback sequence so over-the-top hilarious that it defies description) and its most relevatory ones.

Play this film over and over again and you will never be disappointed.

This Australian gem is one of those rare films that entertains, thrills and pokes fun at an established activiity (in this case, a ballroom dance federation).

To take this film seriously is to miss out on one of the great moviegoing/ moviewatching experiences of the 1990s.

In a nutshell, an up-and-coming champion ballroom dancer gets bored dancing the same tired steps that everyone has danced in competition the past 50 years and wants to break out and do things his way. Of course, his way is the better way, but that causes all the angst, high drama, dashed hopes and utter hilarity that ensues as forces clash to prevent the young man from taking the ballroom dancing world by storm and up to a new level.

Of course, it's what we've all, always, expected: Things don't change in such events because those who judge and teach can only judge/teach that with which they are familiar.

The cast is perfect, from the dashing young lead embodied by Australian ballet principal Paul Mercurio to the shy, at-first clumsy female lead played by Tara Morice (who also lends her vocals to Cyndi Lauper's "Time After Time" in a stunning rooftop pas de deux as she starts learning how to dance with him).

Paul's mother -beautifully and hysterically portrayed by Pat Thomson -and his seemingly introverted, odd father -a wonderfully giddy Barry Otto -are perfectly realized, as are all the other roles, including Bill Hunter's terrifically change-resistant Barry Fife, president of the dance federation.

This is probably Baz Luhrmann's most mainstream movie, since it's more firmly grounded in the now than anything else he's done.

Be on the lookout for a stunning cinematic moment during an outdoor sequence at the girl's house with the lead learning from her father how to correctly dance the Paso Dobles. When it's clear he's gotten the hang of it, the camera does a closeup on him turning and then cuts to an oncoming train, that parallels the house, sweeping down the lower right of the screen. It's one of those Luhrmann touches that set him apart from most other working directors.

"Strictly Ballroom" is a wonderful entertainment that flows along so quickly..and has dramatic highs...and even more thrilling dancing highs...that most of you will be very sorry when it's over.

But never fear...it holds up very well on repeat viewings. It's one of my most-played videos.

Buy Strictly Ballroom (IMPORT - Region B) Now

Okay, maybe that's an overstatement, but the first time I watched this movie, I checked it out of the library. I was a recently divorced single parent of two, struggling with a house note and bills I couldn't pay. On this particular day, I was fighting a bad cold, and feeling generally tired and unhappy. I took this movie out based only on the "Two Thumbs Up" recommendation of Siskel & Ebert at the bottom of the case. After viewing this film, I felt energized and full of good humor. I eventually bought it and have shared it with my mom, sister, kids, friends, and new husband. They all loved it! Where do I start? 1. The performances. Everyone in this movie is wonderful. They are believable and credible even though the material is completely over the top so much of the time. I love these people. 2. Then there's the romance. The main love story is very sweet, but all throughout the film, you feel like romance is literally in the air. It's also amazing how much sensuality is conveyed without any overt sexuality. 3. The dancing. I never gave ballroom dancing a thought until I saw this movie. Now, I love watching it. 4. The family relationships. They may seem unbelievable, but that mother is all too familiar to me. 5. Paul Mercurio--he's hot! Enough said.

This movie is funny, touching, and like nothing I've ever seen before or since. I can't even compare it to anything else. I'm happy to see how favorably other people have reviewed it.

Read Best Reviews of Strictly Ballroom (IMPORT - Region B) Here

I skimmed through several reviews and kept seeing comparisons to Dirty Dancing. This movie can't even be compared to that!!! First of all, the dancing in SB moves the plot along, while in DD, it could be edited out and no one would know it was ever there. Secondly, this movie is the MASTERPIECE that DD is not and will never, ever be. Every thing about this movie is perfect--I especially love the chemistry between Paul Mercurio and Tara Morice. They really make Scott and Fran credible and believable characters. Being that this is a small movie, it really works--and that is probably why it is better than anything Hollywood has produced in some time. And charming extras to the movie-Tara Morice sings the TIME AFTER TIME song that runs throughout some of the movie. Paul Mercurio did his own dancing--including adding additional choreography. (He was a former ballet dancer before making this movie as his acting debut.) There are many others, but I'll leave you to discover them.

Want Strictly Ballroom (IMPORT - Region B) Discount?

The story is pretty conventional : since childhood Scott Hastings' parents have pointed him towards the Pan-Pacific Grand Prix Amateur

Championships. But in direct contravention of the rules and traditions of ballroom dancing (which have as much to do with the teaching of dance to

willing customers as with dance itself), Scott has recently developed a dangerous desire to dance his own "crowd-pleasing steps". When Scott's

partner leaves him, he's forced to audition new ones, none of whom are very satisfactory, until, improbably, the homely and awkward Fran, who

usually has to dance with another girl, demonstrates that she understands what he's aiming at. As Scott's mother and teacher try to find a more

acceptable alternative, Scott and Fran practice in secret, eventually receiving assistance from Fran's aforementioned father and her loving

grandmother, who does a mean rumba herself.

What follows is largely predictable but still endearingly romantic and exciting. Baz Luhrmann, who had directed a stage version of the story for some

ten years before turning it into a movie, brings a pulsing energy (which mixes soundtrack, color, and motion in fascinating ways) and an off-kilter

sense of humor to the film that make it quite distinctive. If you liked Mr. Luhrmann's Moulin Rouge but thought it was a bit over-the-top, you'll like

this one much better.

The best aspect of the film though is the way in which Scott, who when we meet him is totally self-absorbed, has to learn that for all his desire to

express himself in dance, he must do so together with his partner. He and Fran must communicate with one another, share themselves, and be able to

yield something of the personal in order to be true to their art. They must respect the conventions of ballroom dance, with its basis in the couple,

even as they expand its possibilities and violate the self-serving diktats of the corrupt elders who run the competitions. So much of modern art and

literature celebrates egotistical individualism unfettered by any restraint; it's unusual to find such a compelling story about the requirement of

submerging purely selfish concerns in order to achieve higher purposes.

One of the leitmotifs of the film is that "A life lived in fear is a life half-lived". Much of the atomization of modern life is a function of fear, a fear of

being hurt by those we open up to. Scott begins the film as only half of a couple, unable to share anything, even a dance, with his partner. He is

living only a half-life. But he becomes wholly human, begins to live a whole life, when he becomes a true partner with Fran. It's rare enough to see

such profound truth portrayed in film, but that it's done here such a joyous and exuberant fashion makes this a remarkable movie.

GRADE : A+

Save 54% Off

48 Hrs. (2013)

48 Hrs.great chemistry between two high powered actors makes this one of the best films of the action buddy genre Nolte and Murphy are off the charts good togrther

I can only say that if I had a choice to buy this again or not, I would without hesitation! I'm glad I did this time around!

Buy 48 Hrs. (2013) Now

That Obscure Object of Desire (1977)

That Obscure Object of DesireOh, you devilish French people! What with all of your obsession with, well, obsession! Men and women constantly throwing themselves at one another! Sex, sultry sex, and more sensational sensual sex! How refreshing it is to come across a slightly older classic that shows not all of you young or old are constantly happily copulating with one another twenty-four hours a day, seven days a week! How delightful it is to discover that those rare few of you are doing little more than emotionally torturing the one you presumably love, once and for all proving that the rest of us may very well have a chance to stand toe-to-toe with you in matters of carnal conquest and rejection!

(Not that there's anything wrong with it ...)

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

THAT OBSCURE OBJECT OF DESIRE is the story of an older man named Mathieu (played by Fernando Rey) who becomes smitten with his new maid-servant, Conchita (played in alternating appearances by two actresses: Carole Bouquet and Angela Molina). Initially, she spurns his advances even runs from his affections only causing the man to be increasingly captivated by her. As their relationship grows (or does it?), the two continue a bizarre mating game, one that borders the lands of faithlessness and self-destruction, until there's nothing left for a possible happy union.

After watching the film, I had to do some research as, for the life of me, I couldn't figure out just what Spanish director Luis Bunuel (who also co-wrote this adaptation with Jean-Claude Carriere) was trying to say artistically in casting two separate women to play the same role. Over the course of the story, Bouquet and Molina appear interchangeably as Conchita for no particular rhyme or reason I could fathom. The best I've been able to ascertain is that Bunuel was a surrealist (an art form characterized by "subconscious or nonrational significance of imagery arrived at by ... the exploitation of ... unexpected juxtapositions"), the goal of which would appear to invoke a `dream state' under which one's conscious mind has no influence.

Well ...

The best this unschooled mind has been able to put together is that, by casting two different women, Bunuel hoped to keep the audience (and his characters) in a persistent state of flux where illogical emotion could wreck havoc on these people. Conchita regardless of who's playing her frequently uses her feminine charms to arouse Mathieu; but she regardless of who's playing her never gives in to him sexually. In fact, the close she comes so far as the film implies is that he allows him to lie partially naked with her in bed. When he proposes alternative ways of gratification, she spurns him further, shutting him out of his bedroom or even locking him out of the house.

Also, the two actresses are of different heritage Bouquet is as French as a woman can possibly be, while Molina is the more sultry Spanish beauty. This could imply that Mathieu's attraction either might or might not be related to cultural normalcy (i.e. dating or marrying within one's nationality). Certainly, the women are both attractive but possess markedly differing physical traits, also suggesting that perhaps there is no universal body type provoking man's desire.

The thrust of DESIRE would be to suggest that satisfaction isn't possibly attainable at least not for any measureable duration because there are no constants that can be added up in any magic formula to display sexual fulfillment. There are only variables variables which change from place to place, from person to person, even from time to time and, as such, lasting happiness will always be close enough to touch but never quite within man's reach.

Lastly, there's an odd juxtaposition of scenes in the film's climax that bear further exploration, as I believe they underscore whatever idea Bunuel was reaching to say with his final film. Mathieu and Conchita appear to have reconciled, and they're shown in an alley perusing windows of some small French shops. Together, they're drawn to one display where a delicate woman patiently mends a tear in an elaborate woven dress. Bunuel focuses on this scene for quite some time, and then we're shown our two leads up in the corner of the frame speaking with one another, but the audience no longer hears what they're saying (they're on the outside of the glass window pane). Are they speaking about the dress? Are they reflecting on their relationship? Are they debating stitching choices? Conchita frowns and walks away, then Mathieu frowns and follows, but in the last image we're shown an explosion (a radio report playing in the background discussed mounting terrorist attacks in the city only moments before) ... and that's the end.

What I suspect I could be wrong Bunuel was saying is that even when the process of mending is under way, there will always be elements that pull us apart, that force us in other directions. This would imply that we're never truly under control of ourselves or our existence that we're always subject to the randomness of life and perhaps this would imply that the pursuit of fleeting happiness is nothing more than the pursuit of fools.

The film isn't as depressing as it sounds, though it certainly teeters close. Psychologically, it's an interesting study of a very complex idea, though I would have to say it certainly isn't an idea for everyone. Scholars might find plenty to get excited over here, but Mathieu sure didn't. (Pun intended.)

THAT OBSCURE OBJECT OF DESIRE is produced by Greenwich Film Productions, Les Films Galaxie, and In-Cine Compañía Industrial Cinematográfica. DVD distribution is being handled by Lionsgate. As for the technical specifications, this Blu-ray release looks and sounds very good, though I experienced one sequence late in the film the seemed a bit out-of-sync (for a few brief seconds); I have to wonder if that wasn't a production issue back to the original film. This is a French spoken language release (with English subtitles), but there is an English-dubbed track available. Lastly, the disk includes a nice assortment of special features: "Arbitrary Desire" (an interview with screenwriter Jean-Claude Carrier); an interview with Carlos Saura; "Double Dames" (interviews with actresses Carole Bouquet and Angela Molina); and "A Portrait of Luis Bunuel" which is an in-depth discussion of the director and his films. It's certainly an impressive collection for a film of such distinction.

RECOMMENDED. As I indicated above, this one isn't for everyone. While there's a clear narrative at work here, so much of THAT OBSCURE OBJECT OF DESIRE is the study of an idea. It's a surreal investigation into the art of seduction and repulsion of how love leads to hate and vice versa. All of the players do a solid job, but I suspect the ending will leave more folks conflicted than they are happy, which is probably just what the director wanted.

In the interests of fairness, I'm pleased to disclose that the fine folks at Lionsgate provided me with a DVD screener of THAT OBSCURE OBJECT OF DESIRE for the expressed purposes of completing this review.

Yes, there is no other reason to watch this flick unless you are into Bond chick's and this one gives you what Bond's movies dont--some skin of future celebrities. The movie itself, however, kinda strange as most of Frenchies and lost in what the message is or should be. My understanding also, this flick is the only copy that is not cut in pieces. Recommended.

Buy That Obscure Object of Desire (1977) Now