Arthur (Movie-Only Edition) (2011)

Whenever a remake is released, comparisons to the original are inevitable. Most people tend to go for the original and remakes are rarely as well liked. The 2011 "Arthur" is a good movie though.

Brand is a comedic actor with unique talents but they fit this role like a glove. He is onscreen virtually every minute and it is on his shoulders this movie rests. His "Arthur" is a more a fun loving playboy than Dudley Moore's sloppy drunk and that is a good thing. No one could top John Gielgud's Oscar winning peformance as Hobson but Helen Mirren does a good job nonetheless. The rest of the movie is well cast although in the original, the father of Arthur's poor lover got off some of the funniest lines of the movie and here, he is mostly invisible.

I don't know that this is a better or worse movie than the 1981 original but it is an enjoyable film. Brand is funny and believable and his charms are just right for this version of "Arthur".

Short attention span summary:

1. Russell Brand does the best that he can do to fill Dudley Moore's shoes. No longer a loveable slushy drunk, Arthur's now a wild boy child, throwing money around doing his best to ease the recession (and possibly share a few std's along the way).

2. Helen Mirren gets caught between the moon and New York City as she lovingly rolls her eyes at his antics and then makes it all better with a stern look and a snappy comment.

3. Greta Gerwig plays his first real love interest (not counting Helen Mirren's character,Hobson), an aspiring writer of children's books by night and an illegal tour guide by day. Her character, Naomi, turns his heart around, and next thing you know, he's closing down the town (or at least Grand Central Station)

4. His fiancée Susan (Jennifer Garner), her dad (Nick Nolte) and his mom (Geraldine James) compete fiercely for the "most unlikeable" award. I know it's crazy, but it's true.

5. Bottom line is that this is an "okay" movie, barely nodding to its predecessor with one short burst of the melody of the original theme song, but at the end of it, you'll wake up way across town and find it's not still with you.

Amanda Richards, July 8, 2011

Buy Arthur (Movie-Only Edition) (2011) Now

The world was not clamoring for an update of the Oscar-winning "Arthur" (1981), but Warner Bros. didn't listen. Russell Brand delivers zero laughs in the Dudley Moore role, with Helen Mirren a decidedly bizarre choice to fill the shoes of John Gielgud. Sitcom director Jason Winer gives the 2011 version a predictable made-for-TV veneer. Best that you can do . . . is avoid.

Read Best Reviews of Arthur (Movie-Only Edition) (2011) Here

We are huge fans of the original films! Remakes dont usually live up to your expectations but this was a cute film the whole family can enjoy.

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Loved it! You need to have a bit of a dark sense of humor to find this movie hilarious.. I am a huge fan of russel brand so his performance in this movie didn't surprise me one bit. He's a genius in my book. Loved all the characters.. They all tied the movie together brilliantly. It's sort of a chick flick in its own twisted way, so I wouldn't recommend it to guys who don't care for chick flicks. I am very interested in seeing the original version of this movie.

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Repo Man (Criterion Collection) (1984)

Repo Man is completely unclassifiable. Funny, dark, biting, thrilling, confusing, action, adventure, it's all there. Emilio Estevez plays Otto, a "white suburban punk" living in LA's sprawl, with a nowhere job that he loses in the film's second scene. When his hippie parents admit they sent his college fund to a TV preacher (We're sending Bibles to El Salvador!), Otto meets Bud (Harry Dean Stanton), a cocaine-driven Repo Man who needs an extra driver. Otto joins the firm and soon learns the Repo Code; Bud's version (You see, a Repo Man gets himself INTO tense situations), and the other regulars at Helping Hand Auto share their philosophies too. Light finds Bud's view tedious but is willing to handle shoot-outs when he's not reading parodies of Scientology (Diuretix), Miller seems completely neuron-fried (The more you drive, the less intelligent you are), and Oly is along to make a four-pack. (Did you notice the four experienced Repo Men are named after beers?) Let's go get a drink, kid!

Multiple plot strands at first seem unrelated, but bind together closer and tighter as the film moves along. Otto and the other Repo Men are on the lookout for a 1964 Chevy Malibu, with a $25,000 bounty. So are some creepy FBI agents, who stalk and kidnap Otto. And so are Helping Hand's arch-rivals, who careen into the plot whenever things are getting dull. The car's driven by a nuclear physicist in from Los Alamos, who warned a CHP officer not to look in the trunk (with deadly results). Otto's punk friends find the car while breaking into a pharmaceutical factory, but they're too stupid to keep it. (These three are some of the dumbest criminals ever shown in film, including Kevin Kline's Otto in _A Fish Called Wanda_) Otto finds love, after a fashion, but since this is Reaganesque LA, even his girlfriend has her own motives. ("Otto! What about our relationship?" Otto's reply is a brilliant retort to Cary Grant's last line in Gone with the Wind.)

The film abounds with hilarious throw-away lines, signs, and labels. Several scenes take place in food stores, and all the food is generically labeled. Multiple viewings are required to catch them all; be sure to read all the signs in the windows. Even the TV preacher shows up on several television sets. Repo Man takes its structure from Miller's bizarre rant about the cosmic latticework of interconnectedness, because everything is interconnected, and Miller turns out to be right about all of it by the end. "And flying saucers are... You got it. Time Machines."

Top it off with a TERRIFIC sound track by Iggy Pop, Black Flag, The Circle Jerks, and a host of others from the punk scene and this is one of the best movies ever made.

Every decade, there seems to be a movie that defines the angst of the culture and the subculture, the collective feeling that something is wrong with the establishment. To call this zeitgeist is misleading; these films don't reflect the spirit of the times as much as they somehow tap into the opposite they manage to create an all-around sense of unease about the state of the world. In the 1960s, it was The Graduate and the bombshell look at the end. For the 1990s, Fight Club identified many things wrong both with pop culture and those acting in rebellion against it. For the Reagan-saturated 1980s, the distinction falls squarely on Alex Cox's debut film Repo Man. In one of his first roles, Emilio Estevez plays Otto, a street punk who loses his job and college savings in the same day due to misunderstandings and television preachers. At the end of his rope financially and mentally, he agrees to make a quick 20 bucks by helping experienced repo man Bud (Harry Dean Stanton). Realizing the potential to make a good living, and an "intense" life in his new job, Otto signs up with the crew and becomes a repo man. On the way, he meets an unusual woman (Olivia Barash) whom he rapidly falls in lust with. When word comes down the wire that there's an enormous commission out on a 1964 Chevy Malibu, Otto and all the other repo men set out to look for the car with the huge score. What they find in the trunk is so unusual, it will change everything EVERYTHING.

What makes Repo Man so unique is the obvious satirization not only of regular, and in this case conservative Reagean-esque, culture, from the "John Wayne was [gay]" speech to Bud's trashing of Russia, but the send-ups of punk culture (Let's go do some crimes! Yeah, let's get sushi and not pay!) Otto is the everyman in every sense of the word, as he like us realizes that no matter what culture he tries to be a part of, he never fits in, and those strains of culture are so rife with stupidity and hypocrisy that he no longer wants to belong. Like The Graduate and Fight Club, Repo Man also refuses to supply a stock answer, instead making the audience question instead of spoonfeeding them. Plus, it's roll-on-the-floor funny, with some of the best oneliners since Evil Dead 2 or Terminator 2. Alex Cox made Repo Man while still in film school, and he basically admits it's little more than a trumped-up student film. The lack of budget is obvious at times, but the killer screenplay and direction more than make up for that slight fault. As usual, the movie looks excellent on Anchor Bay's DVD; the sound and video are as clear as you can ask for, with a remixed 5.1 audio track to boot. There's a great commentary track with Alex Cox, some castmembers (sadly, no Harry Dean or Emilio), and some crew; it's a lot like a Kevin Smith commentary, with everyone sitting in one room, having a great time talking about a great film. There are no other extras to speak of, unless you buy the collector's tin (which does not look like the normal Repo Man cover it looks like a California license plate, with Repo Man on it). The collector's tin has the soundtrack on CD and a booklet about the movie with a little comic in it. Unless you are a major fan or must have the best of the best of the best edition, there's no need to buy the more expensive version, but if you want it, you'd better get it quick, because at 30,000 copies, it'll be gone before you know it.

I would definitely check this movie out if you can, and would recommend buying it to anyone who asked.

Buy Repo Man (Criterion Collection) (1984) Now

Alex Cox sends up the Reagan era in a black comedy about car reposession. With a stellar soundtrack and lots of quotables, Cox is the precursor to the Coens and Tarantino. Cox sends up everything but the kitchen sink-suburban life, televangelism, nuclear fear, UFO conspiracies, commercialism, self help cults, and more I'm sure I missed here. Straight up lo-budget classic if you have a taste for irony and absurdity.

Read Best Reviews of Repo Man (Criterion Collection) (1984) Here

First off, let me say that I LOVE this movie. There is nothing else out there like it. It is the first movie about Nothing, long before Seinfeld and Napoleon Dynamite came along.

But actually, it's not about Nothing. It's about a quest. A quest to find the Holy Grail of car reposession: A Chevy Malibu.

So why 2 stars? Because this DVD SUCKED, that's why. The widescreen was pretty good, and the audio was okay. But other than that, where were the captions or subtitles? And more importantly, WHERE WERE ALL THE GREAT SCENES I REMEMBERED?

I never saw this in the theater. I grew up watching reruns of it on TBS. I got to hear all the repeats of "flip you" and "melonfarmer" in all their dubbed glory. When Leila swears at Otto at the end, my memory is her saying, "You Nerrrrd!" Not that-other-word.

That's okay. I can deal with more cussing. In fact, I like it. But what makes me want to say "Flip You" to the makers of this DVD is that we are missing all these great scenes:

1. The crazy guy in the car babbles on and on to Kevin about various things, including Lorna Doone cookies. Kevin's response is, "Lorna Doones? I love Lorna Doones!" From this DVD GONE!!!

2. Bud gets pissed at a phone booth for no apparent reason and goes and gets a baseball bat or crowbar or something and beats the thing to smithereens. Otto wants to get in on the action, so he picks up the bat and starts doing some smashing of his own, with some nice maniacal laughter. Bud has to make him quit and leave. This scene GONE!!!

3. Otto goes home again to see his hippy parents. The Good Reverend on TV is going on and on of course. I remember him saying these specific very cool lines, "Suffer the fires of eternal damnation! Now these are the end times..." Otto's parents are covered in spider webs. He walks up to the TV and turns it off. They give him a kind of lost look, and he gives them a disgusted look, and finally he just walks out the door with nothing else said. This Nice Scene GONE!!!

4. Seems like the "Bad Man", Lite did a lot more talking on the movie I remember. Seems like he said some stuff about "break the bone", like in the song. Where did it show that in this DVD? GONE, that's where!!!

5. There was one scene with the crazy guy in the car where he is talking either to Otto or Kevin, and he runs his fingers through his hair. As he runs his fingers through his hair, a handful of hair falls out. This was really gross but crucial to us fully understanding how far his radiation poisoning had progressed. Where is this scene, I ask you? GONE!!!

6. I'M SURE THERE ARE MORE SCENES, BUT WHERE ARE THEY??? GONE! GONE, I TELL YOU!!!

And why? I wouldn't mind this if this was just a regular DVD, but this supposed to be the "Special Edition" DVD! When are you movie execs going to figure out that we consumers don't care about gimmicks like tin-cases shaped like license plates? We want SUBSTANCE, not PACKAGING.

I haven't listened to the commentary track yet, but everybody has good things to say about it so I'll give a star for that at least.

Now, on to the soundtrack. This is a great soundtrack, but it too left me disappointed. I recognized the songs in it, but where was the main Repo Man track? You know which one I mean! I wanted to hear the lonely guitar solo that comes up while Otto walks the streets alone. That awesome track that comes up while the bum is sobbing on the side of the street and Otto just keeps on walking past, ignoring him as just part of the wasteland that is Urban USA. Where was that incredible soul-transcending track by the Plugz? We get a taste of it on the final track, but nothing like the main track. How disappointing.

The bottom line: If you've gotta have Repo Man, it's a good buy. But I'm still holding on to my much-worn VHS recording of the cable version. I suggest you do the same.

Want Repo Man (Criterion Collection) (1984) Discount?

Of all the low-budget films to come out of the Eighties, Repo Man, Alex Cox's dark cult comedy about Eighties urban sprawl and alien paranoia, is one of the better ones. Emilio Estevez stars in one of his earliest roles as Otto Parts, your modern apocalyptic teen up to his armpits in drugs, sex, and parental neglect. He soon finds a way out through Bud (Stanton), an ace repo man, who gives him a job and teaches him the ways of the car repossessing trade. The two wander through the guts of L.A. in search of a '64 Chevy Malibu, priced at 50 thousand dollars, and run into a cast of bizarre street characters: feds, girls in distress, a lobotomized nuclear physicist, and really, really dumb criminals. Estevez gives one of the best performances of his career, honing his acting skills as a punk white boy just in time for his role in Coppola's The Outsiders, released later that year. Cox, who wrote and directed the film, creates a strange but hilarious view of our culture, a brilliant satire on modern society.

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Wild Cherry (2009)

For good or bad, the teenage sex romp comedy is as ingrained in our movie culture as any other genre. There are great ones, disastrous ones, and fairly inconsequential ones as well--just like any other type of movie. From "Porky's" to the "American Pie" saga, there is just no denying that we are ready, willing, and able to laugh at a nation of sex obsessed young adults. In truth, "Wild Cherry" didn't appear very promising from its cover and its cast. And while it certainly isn't laugh out loud uproarious, it is actually better than you might anticipate (given the relative restrictions of the genre). It is told from the female vantage point, which sets it apart in an interesting way. Ostensibly a revenge comedy, it wants to be a romance as well. It aspires to be raunchy AND strives to maintain its sweetness. I think that this dichotomy of tones is what limits the more outrageous moments, but it also allows for better developed characters--some of who you might actually care about.

The movie benefits tremendously with a likable leading actress Tania Raymonde (miles away from her LOST character). Silly when appropriate and surprisingly grounded with necessary, Raymonde might be one to watch. She fares considerably better than her best pals Rumer Willis and Kristin Cavallari. These virginal gals discover that a long held school myth about a notorious book is more than just a story. Every year, to maintain their winning streak, the football team must woo and bed all the pure maidens and check the conquests off in the book. Of course, our three leads are the last hold-outs and when they discover that the book is real--they plot some revenge scenarios. It's all pretty silly, especially as Raymonde is in a long term relationship with someone on the team. Cavallari parries with the team's most obnoxious member (Jesse Moss in a nice, if very broad, comic performance). Super offensive, the movie makes a case that even he deserves to have someone fall in love with him--despite his lack of redeeming characteristics.

One wildly ridiculous bowl of punch provides the film's most ludicrous gross-out moment--but most of the film is surprisingly tame. It's all that sweetness and romance amongst the wacky shenanigans. Perhaps the most fascinating aspect of the movie is that it stars Rob Schneider as Raymonde's father--desperate to hold on to a daughter who is growing up. I can't believe I'm saying it, but he is actually playing a character here (as opposed to playing yet another version of Rob Schneider) and provides, perhaps, the film's most understated role. That I wasn't expecting! Really, "Wild Cherry" is relatively harmless and easy to watch. It is exactly what it is and so you can't hold that against it. It is neither a remarkable example of the teen comedy or a particularly bad one. Chances are, aside from the punch scene--you probably won't have this one lingering in your mind after you watch it. Pleasant, but not very memorable. KGHarris, 6/11.

"Let's teach these guys a lesson, it's pay back time." After a group of girls discover a book that the school football team has that lists the schools virgin girls and the player that is supposed to "check them off" they decide its up to them to stop the tradition. The girls decide not to have sex at all until the season if over, while the boys try everything they can to complete the task. This movie is nothing new at all. The typical high school movie where everyone wants to lose thier virginity, complete with the over protective father (Schneider). If you have kids in high school I would be very leery about watching this one. It seems that everyone (even the virgins) are obsessed with sex and find it very difficult to hold out for the entire 3 months of the football season. The thing that always gets me is that they always seem to cast people that are in their early 20's to play the high school students, and the over the top parties and dances are so unrealistic that some kids are dissapointed when they get to an actual high school. That part aside this type of movie has been done a million times, most funnier then this one so don't expect anything really new. Overall, I have seen worse movies from this genre. A few laughs, but pretty much the same jokes that have been in every movie like this (yes, the kid experimenting with food and the surprise in your drink scenes are in this one too). I give it a C.

Would I watch again? Not this one, but I'm sure that 100 more just like this one will be made.

*Also try American Pie & The Virginity Hit

Buy Wild Cherry (2009) Now

For good or bad, the teenage sex romp comedy is as ingrained in our movie culture as any other genre. There are great ones, disastrous ones, and fairly inconsequential ones as well--just like any other type of movie. From "Porky's" to the "American Pie" saga, there is just no denying that we are ready, willing, and able to laugh at a nation of sex obsessed young adults. In truth, "Wild Cherry" didn't appear very promising from its cover and its cast. And while it certainly isn't laugh out loud uproarious, it is actually better than you might anticipate (given the relative restrictions of the genre). It is told from the female vantage point, which sets it apart in an interesting way. Ostensibly a revenge comedy, it wants to be a romance as well. It aspires to be raunchy AND strives to maintain its sweetness. I think that this dichotomy of tones is what limits the more outrageous moments, but it also allows for better developed characters--some of who you might actually care about.

The movie benefits tremendously with a likable leading actress Tania Raymonde (miles away from her LOST character). Silly when appropriate and surprisingly grounded with necessary, Raymonde might be one to watch. She fares considerably better than her best pals Rumer Willis and Kristin Cavallari. These virginal gals discover that a long held school myth about a notorious book is more than just a story. Every year, to maintain their winning streak, the football team must woo and bed all the pure maidens and check the conquests off in the book. Of course, our three leads are the last hold-outs and when they discover that the book is real--they plot some revenge scenarios. It's all pretty silly, especially as Raymonde is in a long term relationship with someone on the team. Cavallari parries with the team's most obnoxious member (Jesse Moss in a nice, if very broad, comic performance). Super offensive, the movie makes a case that even he deserves to have someone fall in love with him--despite his lack of redeeming characteristics.

One wildly ridiculous bowl of punch provides the film's most ludicrous gross-out moment--but most of the film is surprisingly tame. It's all that sweetness and romance amongst the wacky shenanigans. Perhaps the most fascinating aspect of the movie is that it stars Rob Schneider as Raymonde's father--desperate to hold on to a daughter who is growing up. I can't believe I'm saying it, but he is actually playing a character here (as opposed to playing yet another version of Rob Schneider) and provides, perhaps, the film's most understated role. That I wasn't expecting! Really, "Wild Cherry" is relatively harmless and easy to watch. It is exactly what it is and so you can't hold that against it. It is neither a remarkable example of the teen comedy or a particularly bad one. Chances are, aside from the punch scene--you probably won't have this one lingering in your mind after you watch it. Pleasant, but not very memorable. KGHarris, 6/11.

Read Best Reviews of Wild Cherry (2009) Here

I LOVED Tania Raymonde playing Jodi Arias on the Lifetime movie recently aired so I bought this because she stars in it. It isn't Tania's fault because she again great but the movie doesn't tread water. You have teens constantly relating their first sexual experience which is a total snooze fest. I must admit I did not watch this movie straight to the finish because it was just too boring for me to get to the end. That's rare in a movie; it has to be awfully bad and this one is.

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Some movies are made that you just know will end up going direct to DVD. Sure, some deserve better but, as with WILD CHERRY, some deserve it.

The film opens with teens describing their first sexual experience. It's part of a class documentary being shot by Katlyn Chase (Rumer Willis), one of three best friends the movie focuses on. Helen (Tania Raymonde) and Trish (Kristin Cavallare) round out the trio who seem obsessed with discussing their burgeoning sexual awareness. That makes it sound better than it is. What they really discuss is losing their virginity and the rush to do so. Only Helen is holding out for a touch of romance for her first experience.

Things take a twist when it's discovered that the boys on the football team have a book and a tradition passed down since 1953. The books features a list of girls and hooks up members of the team as they must each take the virginity of one of the girls. Failure to do so will result in a losing team. The things boys will do for team spirit!

When the girls find out they attempt to organize the rest of the females on the campus of Benjamin Dover High (Ben Dover...get it?) to not put out for the males. They're not concerned about the teams scoring average on the field, but they intend to stop their scoring off the field.

Discussions of masturbation, orgasms and attempts to break down the walls erected by these girls follow. Such "hilarious" moments as sperm ice cubes and a punch bowl filled with Viagra just want to make you slap your knee laughing. Okay that was sarcasm, more funny than most of the scenes found here.

I suppose this movie could be considered harmless by some but the truth is if this is where the world of comedy is going we're in trouble here folks! It's as if they've taken the worst that films like PORKY'S or AMERICAN PIE had to offer and thought those were the moments that made those film funny. It wasn't!

The acting here is decent enough and Rob Schneider (whose likeness on the cover is being used to help sell this film) is wasted as the father of Helen. His moments in the film are by far the best and actually show that he's a better actor than most give him credit for.

I can't recommend this film to anyone with the exception of hormonal young teens seeking out something to giggle at. And even those will have a hard time finding anything to laugh at here. It really is that bad.

One last piece of proof. This is supposed to be a trophy winning football team on display here. And yet the stands for their school are the most ancient and unsafe looking around, not to mention barely enough to hold a single class of a high school let alone an entire school and town. Not only that the stands aren't even full. This is low budget at its worst. I mean come on, rent some mannequins if nothing else to make them look full. Then again there are more fans in the seats than perhaps ever entered a theater to watch this movie.

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This Means War (Blu-ray + DVD + Digital Copy) (2012)

I won't go into great details because there is no need to spoil it for you. If you're coming to read these, I am assuming you probably are trying to decide if you want to watch it or not.

The story is beyond predictable, but that doesn't mean it's not worth "date night".

The movie is about two close friends. They are CIA partners, you know that there is a brotherhood that only forms when you put your life in someone else hands. That relationship is put to the test when they both fall for the same woman ... in walks femme fatal, Reese Witherspoon whose character contains that charm which has made Reese a mainstay in cinema.

The plot is a road-map that lists all the main attractions along the way. You know where it's going, everyone's been there before, yet you still have fun. This movies is above all else a romantic comedy. It has just enough action to help guys enjoy the movie with their girls. It throws in a bit of situation and physical comedy to keep it from being sticky sweet.

You'll probably know what's going to happen before it does. That's ok; and it's ok to laugh out-loud even when the jokes are completely obvious. Allow yourself to enjoy this no brainer comedy and you might even find yourself rooting for the inevitable evolution each character has.

Still not sure? Rent before you buy and decide for yourself, after all, no two people are alike.

I hope this was helpful. Enjoy!

If you liked my review and found it helpful, please vote. Thanks. :-)

When two CIA agents find themselves vying for the same woman, their rivalry is epic! Lucky Reese Witherspoon, to be one-third of an eternal triangle with these guys!

Director McG ("Terminator Salvation," and "Chuck") certainly knows how to open a film with a bang and never slow down. Even though this is a romantic comedy, CIA activities and skirmishes are couched in enough reality that we invest a little skin in the game. But the banter and camaraderie between two hunky heroes keep it cartoony and light. Furthermore, the conversations between our heroine and her best friend are hilarious, particularly when they are being overheard by the guys.

* Reese Witherspoon ("Water for Elephants") tests products and facilitates focus groups, but she hasn't quite recovered from her last break-up. Her best friend offers sage advice that positively drips with envy.

* Chris Pine ("Star Trek") is the smooth man about town, a CIA-trained lady killer with blue eyes you could get lost in. Problem is, Reese isn't about to fall. She may be tempted, but she won't fall. ...maybe....oops....

* Tom Hardy ("Inception") is the third side of this triangle, who pretends to be a travel agent, which contributed to the end of his marriage. Now he's competing with Chris Pine for Reese's affections and not doing too badly, either, despite being British...

* Chelsea Handler (lots of TV) is the best friend who keeps offering Reese all that bad, bad advice. She's so funny I'd probably try her suggestions, too! Hey, don't Volkswagens have air bags?

Once again we are confronted with a PG-13 film that is fairly anatomical, but it's so funny I guess I'll forgive them. The clever script is loaded with double entendres that had us laughing out loud ("the agent has entered the premises"). To watch Hollywood's version of the high-tech power the CIA can bring into this testosterone-laden rivalry is really fun! Plus, I've never seen Ms. Witherspoon so relaxed or funny before.

Expect no sweaty bodies, a snippet of profanity, lots of gunfire, some bloody fisticuffs, a bit of exciting vehicular mayhem, and even some blowie uppie stuff. Our happy audience made a LOT of noise as we left the theater. This should do very well, because it's good old-fashioned entertainment, no socially redeeming qualities, just silly fluffy fun. Amazon.com will notify me when the DVD is available.

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If you're in the mood to sit back, laugh, and not have to think too much this is the movie for you! It's the perfect combination of Comedy, Romance, and Action. The cast has good chemistry and are sexy to boot! As with any romantic comedy, you can't over analyze...you just have to sit back and enjoy!

Read Best Reviews of This Means War (Blu-ray + DVD + Digital Copy) (2012) Here

Let me say first that I agree with a lot of what the other reviewers have said both good and bad. The audience was quite happy with this movie, and it made for a nice date. It's a piece of fluff -but it's bad fluff. Now, wait, I was going to give the good parts first. Tom Hardy. Tom Hardy. Some funny bits, like the paintball scene, the way each guy spoils the other's dates. That's about it. I'd add Chelsea Handler for a couple of funny remarks, but I really don't see what she's doing in the movie. Uh, and the cinematography is often very good. That's about it.

The bad parts are really, really bad. For the romcom format, this is a disaster. There is no chemistry between Chris Pine and Reese Witherspoon. I mean, when McG has to mount a kitchen counter to show Pine and Witherspoon how to do foreplay, you know there's a problem. There is no chemistry between Tom Hardy and Reese Witherspoon, either. Uh, I forgot another good thing: the chemistry between Pine and Hardy is great; they play off of each other (think Eames and Arthur in Inception)with genuine comedic talent. Which is surprising given their out of the box casting. I'd read that both men wanted to add some fluff to their resumes but they're wasted here. What they need is a vehicle that has a good script and a good director. Reese Witherspoon did the Oscar-winning June Carter Cash role years ago, and the Legally Blonde thing even longer than that. McG says she wanted to show off her sexy side here. That may have something to do with the zero chemistry thing. Plot problems: the premise is weak. Two incompetent covert-operations agents have been grounded, and so they play around with surf-dating. Would you believe -they both fall for the same woman! Complication: they are closer than brothers, than partners, they "would take a bullet" for each other. However, when the time comes to test this bond, the men become twelve-year-olds and begin a series of gotcha/gotcha-back stunts. The plot has a lot of holes in it. What's Chelsea Handler doing in the movie? She provides nothing to fill out Witherspoon's character or to move the plot forward. She's given some witty impromptu lines. What's the bad-guy thing doing here? It's superfluous and badly done. The action scenes could certainly work with the stunts the two agents pull. And why is Angela Bassett in this movie? OMG The amount of wasted talent is humongous. McG's direction is, is, invisible. There is no direction here. All three of the actors try to build something with Legos, but McG insists on tearing it down. As a director, he shoots good videos.

Now for the worst criminal of all for the movie: the screenwriter(s). Let me start with the story's ending. It's ridiculous. "Don't choose the better man," Handler tells her, "choose the man who will make you better." Is she kidding? Reese does choose one of the men, but lest the audience feel cheated for the fate of the other -kind of ruining the romcom's happy, satisfying ending-he is given something to look forward to without Reese. I'd say he's the guy who really wins the "war." I read an interview where Hardy and Pine suggest writing an ending which would have been far more satisfying, not to say really funny, but McG nixed it. He did say, though, that there would be an alternate ending on the dvd. If the dvd sells for three bucks, I'll buy it for that. (And Tom Hardy. Did I mention him?) Oh, this is supposed to be the bad stuff. The screenwriter(s) must have been on crack. Or were paid two bucks a page. Will Smith and Reese produced this, and you'd think they'd have burned the script after reading it. Witherspoon has mentioned that when she thought one or another of the scenes "wasn't working," she'd change it. I mean, she admitted that. Whoa. The dialogue is not good enough to be called cliched. It's embarrassing. Since its release, both Pine and Hardy have had the charity to damn it with faint praise. Good for them. There is no cohesive story; the plot is choppy and some scenes gratuitous. It's like a string of miscellaneous scenes that someone forgot to edit.

Verdict: So-freaking-so. Have a couple of drinks before seeing this. Suspend all disbelief. Do not expect a good romcom. Do not expect comedic performances. Think back to your high-school days and the people you knew then, the popular girl, the sweet nerd, the jock, in an impossible triangle. Did you like them then? You won't like them now, either. Save your money instead of seeing this on the big screen. Rent the dvd, pop some corn, cuddle up on the sofa, and enjoy the fluff. Just don't expect it to be good fluff. In the meantime, rent a good Hepburn-Tracy movie if you want an intelligent romcom -and a really funny one.

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"Why don't you tickle Ivan's feet until he talks with your teeny tiny itty bitty jazz hands."

One of the best lines in recent movie history delivered with perfect comedic timing.

Even though Reese Witherspoon is the headliner the buddy story is well played by Tom Hardy and Chris Pine. Oscar worthy? No. Entertaining. Yep. Not all movies have to have deep life changing meaning. Some are meant to be silly. This is one!

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Madea's Family Reunion (2006)

Once again, Tyler has put together a grand movie; I went to the first showing of it here in town and the theater was PACKED; not many seats left; yet, it was a great movie; Cicely and Maya giving us lessons; Maya with the wedding poem; The wedding itself;(nothing short of beautiful); the daughters, the men, Joe, Madea; great combination; Like I mentioned on Tyler's site when I commented on the movie; some movies make you think, some leave you with a short feeling, some just leave a lasting impression and make you empowered; this movie did that and more! I higly encourage those to see this movie and be empowered to do wonderful things;

Tyler Perry really did it for me in this movie he shows African American culture at it's finest. He also has some of the best actresses playing in this movie. Add all this with an entertaining funny twist and you will have money well spent. I love the soundtrack as well as the art that is showcased in this movie. My favorite part of the movie is at the family reunion where Cicely Tyson does her thing and SPEAKS to "her family". Well done Tyler keep them coming.WARNING:DO NOT GO TO THIS MOVIE WITHOUT A BOX OF TISSUES BECAUSE YOU WILL BE LAUGHING SO HARD.

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Hats off again to Tyler Perry. This movie was excellent,and definitely a must see!!!

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Pros:

Storyline, cinematography, acting, positive themes, family friendliness

Cons:

Tacky wedding set, sometimes preachy, some content disturbing for kids and victims of abuse

Full Review:

Caution--This opinion reveals major details about the movie's plot.

I first saw this film in the theater in March. I was in the market for a quality show to celebrate Women's History Month and the tail end of "365 Days of African American History." But it was Friday night and I was also in the mood to laugh. So I convinced my date to see "Madea's Family Reunion" rather than the action flick he was lobbying for. We'd both seen the stage version of "Madea's Family Reunion" and all of Tyler Perry's other shows on DVD and knew the film would be fun. But we didn't anticipate the degree to which Mr. Perry and his pistol packin' alter ego, grandma Mabel "Madea" Simmons (one of three characters he plays in the film), would load so many dead-serious and inspirational messages into this scenic gem.

The ethnically diverse audience at the cinema where we saw the film seemed to concur. We all gasped and guffawed, oohed and aahed at the appropriate moments (except one, which I'll address later), and stayed to watch the outtakes and extra treats rolled alongside the credits. Mr. Perry knows his audience...he kept us enraptured, in the palm of his hand, until Madea broke the spell and directed, "You can go home now."

The film's script, music (which writer, producer, actor, director Perry had a hand in), cinematography, casting and wardrobe pleased the senses, with one major exception that profoundly disappointed me. Not everyone seemed to agree; I was surprised (and red faced) to be the only one in the theater to react audibly to the rendering of the "Springtime in Paris" wedding theme pulled together by wedding planner Milay Jenay Lori (played by Jenifer Davis). When I saw it, I couldn't help but blurt out, "That's awful!" Everyone else in the theater was silent. They were probably either wishing I'd pipe down or wondering, as I was, why--given the movie's ample budget, the beauty of some scenes and realistic homeliness of others--the bridal set had to be so goldarn tacky. But that's a minor matter, like a ding in the fender of a top-of-the-line sports car, or the fact that fine-as-wine and manly-but-artistic Frankie (played by Boris Kodjoe) was not as wealthy as the equally fine, "love you to death," Carlos (played by Blair Underwood).

"Madea's Family Reunion" is not just a gem. This blockbuster's also a cash cow. According to Wikipedia, "On opening weekend, February 24, 2006 Mr. Perry's movie version of Madea's Family Reunion opened at number one with $30 million, more than triple the amount it cost to make." Furthermore, as IMDb reports, "After the first week record-breaking release of the first "Madea" film by Perry, Tyler, Lions Gate Home Entertainment acquired a seven-picture deal of the remaining Madea films." In addition to his commercial and critical success, Mr. Perry's website reports that he is currently celebrating being the first playwright of this genre to be sponsored by a major pharmaceutical company, Glaxo Wellcome.

I'm thrilled at Mr. Perry's success. Like single-mother Whoopi and motherless-at-an-early-age Madonna, the N'Awlins native and adult survivor of child abuse has joined the ranks of wildly popular self-made millionaires who have overcome substantial personal tribulations, taken odd jobs to finance their dreams, and even spent time homeless. Mr. Perry began writing stage plays at age 18, and so far has conquered stage and screen. Next on the horizon: his first novel, Don't Make a Black Woman Take Her Earrings Off: Madea's Commentaries on Love and Life. I can't wait to get between those sheets!

Recommended:

Yes

Available Viewing Format:

Theater, DVD,VHS

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I thought that with Tyler Perry would not be able to match "Diary of a Mad Black Woman," but I was wrong!!!! Madea's Family Reunion is actually better. You laugh and you cry: it's a real morality play that's fun to watch.

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Struck by Lightning (2012)

A coming-of-age movie for all ages, Struck by Lightning is filled with dry humor and a message for anyone who watches it. Carson Phillips makes for a dynamic, morally ambiguous main character whose story strikes as realistic, emotional, and ultimately uplifting for a boy caught in a small town with little hope of escape. The supporting characters are just as fascinating, from Rebel Wilson's portrayal of Malerie, the high school student who records everything on tape, to Allison Janney's heartbreaking rendition of a struggling single mother trying to cope with depression and anxiety while raising her son. Heartfelt and filled with intertwining storylines that combine to a greater picture that is far larger than the sum of its parts, Struck by Lightning is the perfect film for anyone who has ever felt a little ostracized, a little hopeless, a little too small for their dreams.

I've been waiting... I don't even know how long anymore to see this movie, and I'm so glad I finally have been able to see it. Chris Colfer did a flawless job, and I highly suggest you watch this movie. Right now. Click rent. You won't regret it, I promise.

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This movie was written by and stars Chris Colfer, best known as Kurt from "Glee." It is an absorbing study of an overachiever and how whether or not you want it to the way we live our life, our choices, our decisions and our drive effect the others around us in both positive and negative ways. The acting in this movie is stellar, filled with both present and future stars (Rebel Wilson for one, filmed a year before she exploded) and the writing keeps you engaged from the first (literally shocking) first minutes until the end of the movie. I highly recommend this movie, for the smiles and for the moments that make you wince and for the way it makes you feel when it is over. Overachievers they rock.

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Chris Colfer from TV's "Glee" is certainly making the most of his fame by expanding his resume as an author and a screenwriter, and I have to admire this tenacity and ambition. As "Glee" winds down, the entire cast should be thinking about future career moves! Colfer has become something of role model in recent years. As an openly homosexual character on a popular television program, he has a platform that reaches millions of kids struggling with identity and/or bullying. With this work, he has twice been nominated for an EMMY and even won a Golden Globe award. "Struck by Lightning" is an adaptation of Colfer's popular teen novel, and its screenplay was penned by Colfer as well. Director Brian Dannelly has assembled an extremely immense and TV friendly cast for this production and it's fun to see just who might pop up next. Some of the notable actors in the ensemble include Allison Janney, Dermot Mulroney, Rebel Wilson, Polly Bergin, Sarah Hyland (Modern Family), Ashley Rickards (Awkward), Angela Kinsey (The Office), Christina Hendricks (Mad Men), Allie Grant (Suburgatory and Weeds), Graham Rogers (Revolution), Brad William Henke, and Ken Marino.

The film tells the story of Carson Phillips (Colfer), who in the opening sequence is quite literally struck by lightning. Through a series of flashbacks and a reflective voice over narration, Phillips recounts the days leading up to this event. While he deals with an unstable mother (Janney) and a father (Mulroney) who seems to be moving on, he throws himself into making a better life for himself through education. As the editor of the school paper, he is plagued by an unsupportive staff and an apathetic administration. His college dreams may be off track unless he can come up with a noticeable project to pad his application. Creating a literary magazine, he and his trusted sidekick (a remarkably restrained and quite good Rebel Wilson) use any means necessary to ensure the cooperation of all of the school's most influential students. Meant to be a comic romp, the movie degenerates into a rather mean spirited adventure that actually seems to support reverse bullying. As long as it isn't done by popular kids, does that make it defensible?

There are plenty of things to like about "Struck by Lightning." First of all, the cast is first rate. And the film has its amusing moments. Ultimately, though, Colfer's character is not someone that you can really root for and admire. He's not a lovable underdog, he's a judgmental bully. He's smarter than everyone else in the movie, quick to condescend and make fun. As such, he never elicited even one moment of sympathy from me. I know that's the point and that there are life lessons to be learned by all. You can make a terrific black comedy that is merciless (Heathers comes to mind), but "Struck by Lightning" seems to want to have it both ways. As Colfer bullies everyone and blackmails them to his own reward, the movie embraces a meanness that is a perfectly acceptable choice. But the movie also wants to have its share of "warm and fuzzies." After terrorizing everyone in his life, we're also supposed to embrace a positive message from the hero? "Struck by Lightning" isn't a bad movie, by any stretch, it just sends a few mixed messages and one of them seems to support bullying as long as it's done by the right people for the right motives. KGHarris, 5/13.

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I've been reading all these reviews on amazon about SBL (bad life choice I know) and so many people are missing the point of the movie. They're trapped in this idea that somehow we're supposed to love Carson and want him to succeed for nothing more than the fact that he's a creation of Chris Colfer and we should want him to get what he wants in life but it's so much more than that they seem to be missing the major underlying message of the movie itself which, to me, is incredibly disappointing.

Struck By Lightning isn't supposed to be some kid-movie where you see the backyard boy succeed and go to the college of his dreams no matter what obstacles he faces. We're not supposed to sit there and adore Carson in spite of the fact that he's kind of a jerk (in fact, most people I know adore him because he's kind of a jerk and doesn't give a crap what people think about him).

It's supposed to be a movie about dreams. Some of the major quotes in the film are centred around this idea: 'A life without meaning, without drive, without focus, without goals or dreals isn't a life worth living', and `In what grade do we stop believing in ourselves'? It's not about giving up everything for your dreams, I don't think, or the essence of blackmail to get what you want.

What Carson realises at the end of the film isn't that he's happy because his dreams are coming true or because he's made an effort. He's happy because he's realised all the amazing things he's done in his short life; he may not have gotten into the college of his dreams or gotten everything he wanted, but he did something amazing. He had lived his life up to that point dwelling on himself, his self-pity and waiting every day for his life to begin. By doing so he had completely ignored all his personal successes, the things he had accomplished and the good, joyful things in his life.

SBL isn't supposed to be some indie comedy about a kid who's dreams all come true. It's a movie about finding your dreams, finding yourself, and realising that, okay, not everything is perfect but you've accomplished something fantastic and amazing in your time on earth, even if, at first, it doesn't seem as fantastic.

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Bernie (2011)

Let me state upfront that I knew literally next to nothing about the movie's plot when I went to see it recently at my indie-movie theatre here in Cincinnati. I had heard good things about it, and that was good enough for me to check it out. Well, I was in for quite a surprise.

"Bernie" (95 min.) brings the story of Bernie Tiede (played by Jack Black) as a funeral director (excuse me, "assistant" funeral director) in Carthage, TX. Bernie is the most likeable guy you'll ever meet. He is involved in the community like no-one else before, and the small town just things the world of him. At one of the funerals, Bernie meets widow Marjorie Nugent (played by Shirley McLaine), and they strike a friendship. Marjorie is viewed by everyone as a b*tch, but the two of them get along just great. Things take a turn for the worse as Marjorie becomes more and more possesive of Bernie, and it all builds up to a confrontation between the two, and Bernie shoots her. I won't tell more of the plot, so that you can experience for yourself what happens after that. Several comments: I didn't realize until the credits rolled that (i) this is based on true mid-90s events in Carthage, and (ii) the movie intersects with interviews from people from Carthage, which it turned out are not actors but the actual folks from Chartage who witnessed the whole thing.

I must mention the excellent work from Jack Black as Bernie (has he ever been better than in this movie?), but even more so the eye-popping performance by Shirley McLaine as Marjorie, which really blew me away. Matthew McConaughey certainly deserves an honorable mention in his role as the local District Attorney, MILES away from his usual stuff. In all, I cannot emphasize enough how pleasantly surprised I was by this movie, it just flashed by in no time, and kept my interest throughout. "Bernie" is HIGHLY RECOMMENDED!

Bernie is the new masterpiece by Richard Linklater. The fact that he could turn such a difficult premise to such a successful black comedy/drama is remarkable. This may be one of the greatest works on small-town America in this decade. Though Bernie may not have the breadth of a work like Fargo, it does magic in how it tells its story.

Really, the most fascinating thing about Bernie is the way the story is told. Rather than give us a linear story, Bernie story is mostly retold by the residents of Carthage, TX who were witnessed to the gruesome events that occurred in this innocent town. This style can backfire gloriously if these characters are too animated, but Linklater strikes the right tone. With a Texan accent and some Southern innocence, these characters all suit the benefits the main story line. He seamlessly alternates between the world of the main characters and residents. This is very competent screenwriting as Linklater only uses his main characters when they are necessary, and allows the residents of Carthage to do the main storytelling. This is a welcome retreat from heavy-set narration of many Hollywood movies, especially some master filmmakers like Woody Allen.

The movie is amazing because it centers on a murder that is hard to condemn like a CSI episode and the intent not dissimilar to Dostoevsky's Crime and Punishment. What makes the crime difficult to assess is that most of what the audience knows from Bernie is from the residents of Carthage, TX. We do not know Bernie as well as they do, and have to assume that their judgments are sound and not simplistic or based on a façade generated by Bernie himself. The film has been the subject of controversy by the way it portrays the murder, but if it were completely accurate to the conditions of the crime, the audience would not have such ambiguous feelings about the crime committed. In that case, Bernie would become another lunatic who murdered an innocent. What Linklater does is much more than that.

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This is a great movie! We (people who know Bernie and or lived in Carthage) thought that there was no way that a movie could be made about a murder and be funny....But with the cast and the bizarre "this can't be true" storyline, it blew me away. I am going to see it in Carthage on Sunday with my mom and her sister, my aunt, who is in the movie. If you are a Jack Black fan...then this is a "must see".

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I wish I'd known nothing about this film when I sat down to watch it. Unfortunately, nearly every review gives away a key detail of the plot -usually in the first sentence -and so although the movie wasn't ruined (hardly), I know that it lacked as much impact as it could have provided. I know this because I watched it with two people from whom I had deliberately withheld the key detail, and their response to the film -although just as deeply pleased as mine -had a far sharper edge of interest. They had been waiting to see what might happen. I was waiting for what I knew would happen.

If this is the only review of the film you read, then read none others, because you should go in fresh. I will tell you this much: the film is a cross between a mockumentary and an homage to the true tale of a personable mortician/funeral director named Bernie. A Methodist with a tender voice and a precise sort of careful charm, Bernie's affable and off-beat ways woo most of the citizens of the town of Carthage, Texas, including its most notable curmudgeon, an older woman named Marjorie Nugent, known as much for her wealth as for her sweet-as-a-porcupine demeanor. The unlikely friendship that blossoms between those two -as well as its ultimate dissolution and effect on the town -provides the heart of this absorbing, beautifully acted crime drama/dark comedy.

The movie's action is interspersed with interviews from citizens of the town, all of whom are so rich in character and colloquialisms that my friends and I could not decide if they were actors or the real deal. It turns out that they are, indeed, real citizens from the town, people who really knew Bernie, and this just adds to the film's sweetly sad charm. Driving the whole thing, however, is the seamlessly stunning performance of Jack Black, who inhabits the titular character with a quietly accomplished gravitas. One part funny, one part dark, and two parts grim philosophical inquiry, this movie resonates on enough levels to belie its own rich veins of humor and pathos. There are a lot of reasons to watch this film, the biggest one being that it's just that good.

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Before Bernie,I have never been a fan of the over the top performances of Jack Black. I would not have gone to see the movie had it not been a true story from my part of the country. I highly suggest you do a little research before you see it. Jack Black should win an Academy Award for his performance. Can't wait to get my dvd and watch it again! Don't miss Bernie!

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How Do You Know (2010)

My wife and I really enjoyed "How Do You Know." The script itself was slightly on the bland side, as others have noted, but the film itself is redeemed by some great performances and excellent direction and editing. For us, it generated consistent laughs and smiles throughout the film, as well as lots of undercurrents and multileveled themes to ponder after we left the theatre.

What really made the film work for me were the performances of the Reese Witherspoon, Owen Wilson and Paul Rudd. The Director / Writer (James L. Brooks) spends lots of screen time doing closeups on the faces of these three performers, allowing us to see the interplay of complex emotions on their faces as they wrestle with the dilemmas they are confronting. This would not have worked unless Mr. Brooks was able to coax finely tuned and believable emotions out of these excellent actors; and he is superb at doing so.

The flip side of this is that it takes time to allow these emotions to play out, so the film seems slower paced than films that are more concerned with situational comedy (and perhaps then less concerned with exploring the emotional depths of relationships).

Combined with this are some really hysterical scenes. Owen Wilson has long been known as a great comedic sidekick, and that well-honed character he always seems to play bumbling, shallow, narcissistic and clueless plays well in this film. Yet, even his character plumbs emotional depths I've never seen from him in other films. Paul Rudd, who I am not as familiar with, also did a great job. Yet, what makes the film shine is Reese Witherspoon's performance. You really connect-with her character. The film ends predictably, and was foreshadowed from the very start. I would have preferred another few minutes to give us insight into the outcomes of Reese's choice at the end of the film.

I saw some interesting themes and visual statements popping up again and again throughout the film, such as the way in which the characters would engage in extended dialog with one of them offscreen, before they'd walk into the shot at the end of the conversation. There is also a great scene where Rudd's and Reese's characters play-out their own feelings for each other by helping an acquaintance with her own marriage proposal. Another interesting contrast, which intentionally sums up the relationships each had with her was the gifts the two male leads both offer to Reese's character just before her "Birthday party" how they were presented, what they meant to the givers, and Reese's reactions to them and their presentation.

Ultimately, the film explores the difference and relationship between external and internal love, between self love and love for other, between sacrificial love and self preservation. It does it well, and it does it in unexpected ways. This is definitely a film I will purchase when it comes out on Blu-Ray and watch several times to really "get" all of the more subtle messages and themes being presented. I think the pacing could have been a bit better, and I was a bit let down by the ending as I said, so will rate it four stars really good, but some room for improvement.

Apparently it's a bad thing that "How Do You Know" takes the time to develop characters who have real wants and needs, who aren't afraid to be uncertain about things, let it's plot unfold naturally, let it's scenes linger and take their time; because "How Do You Know" was hated by critics and audiences a like. This baffles me. This wonderful picture from the great James L. Brooks does, for me at least (and apparently I am alone on this one), everything a great film should do. It engaged me emotionally and intellectually, I related to the characters and their problems, I found it to be human and funny and their struggles were timely. Brooks' film is an ode to those who are just off center of making their lives work and I found it next to irresistible. Reese Witherspoon, Paul Rudd, Owen Wilson and Jack Nicholson are all terrific here, delivering witty, honest and well rounded performances. The film is nicely directed, beautifully shot and attentively written. In a year when films have to be all high concept and surreal images trump character and motivation (yes, I'm looking at you "Inception" and "Black Swan"), "How Do You Know" is a lovely breath of fresh air. I just can't fathom how people can dislike such an honest and moving picture, but apparently, it's very easy.

If you are a fan of James L. Brook's pictures or are someone who likes a good, natural, character study, I really recommend you check out "How Do You Know".

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Now I know I'm out of step with current preferences. The average comedy today seems to consistently feature emotionally immature, narcissistic boy-men, and women who are trying to be tough at work but are insecure and confused about how to have any kind of grown-up relationship. The characters are virtually interchangeable from one movie to another. Since I'm an avid movie-lover, I'm not that hard to please, but am too often left cold or indifferent.

Then along comes this supposedly "bad" movie, which I finally Netflixed since I like the director. It has characters I DID care about, and I wanted to give it 41/2 stars in contrast to what's out there. Life thas thrown Lisa and George some curve balls (pun intended), but they are BOTH striving to be caring and self-responsible people (how retro!) and figure out how to move on with their lives. I loved the performances of Reese and Paul (just watching their faces change was delicious), and I agree with another reviewer that Owen found a deeper layer too. Jack was Jack. I was particularly taken with the attention paid to supporting characters and the unique friendship George had with pregnant and emotional Annie. The hospital scene was moving and funny, worth watching the movie to see. But there were many little treats along the way. e.g. 1) Lisa's attempts to rise above her pain with post-it-note slogans,like she did in baseball. 2) the power of silence at the restaurant (what, not even text messaging?) etc.

I am buying this movie, and hope they don't give up making little gems like this. My scales have already tipped to independent and foreign films, so Hollywood is way behind in the battle for my dollar. And just for the record, I see many movies in theaters and have a collection of THOUSANDS. And my friends pay attention to my opinions. There's a bigger market out there than 20-year-old males. Are you listening, Hollywood?

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How Do You Know opened in late 2010 to atrocious reviews, arguably worse reactions from audiences, and went on to become a box-office bomb coming nowhere near recouping its $120 budget. This budget has been oft-discussed, as $50 million went for star salaries alone and you'd be hard-pressed to find the other $70 million onscreen. This is the sixth film to be written and directed by James L. Brooks, who works almost exclusively in romantic-comedy and writes some of the most charming, intelligent dialogue one would be pressed to find in the genre. Is it one of his best films? No. But a bad romantic-comedy by Brooks is far better than the average, mass-produced rom-com that hits the multiplex on what seems like a weekly basis. I have issues with the film like all viewers do, but the amount of criticism it's received is unfathomable to me; being a romantic-comedy, it really is better than 90% of the dreck that's released in this genre.

Reese Witherspoon is Lisa, a 31-year-old softball player who is adored by her teammates but sees her career coming to a halt because of her age. Trying to start a new phase in her life, she begins dating Matty Reynolds (Owen Wilson), a clueless, womanizing pro-baseball player whose insensitivity she finds oddly charming. George Madison (Paul Rudd) is a young executive who discovers that he's the target of a federal investigation and is informed by his father Charles (Jack Nicholson) that he could be facing a possible indictment. As this is a romantic-comedy, you know that George meets Lisa at this unique crossroad in their lives and falls for her, leaving her torn between Matty and George. Kathryn Hahn co-stars as George's pregnant assistant Annie, who is quite the scene-stealer among these big marquee names.

The quality of this film is all about perception, as there's nothing inarguably good about it. Its quality comes completely from how you respond to the material and how well you think the material is performed. If you look at the negative reviews (and there are many) you will see comments like it's "boring," "too long," "has unlikable characters," etc. I did not feel this way at all, which leaves me firmly in the minority. If the film has one big flaw it is probably the characterization. Brooks is a good writer but his creation of the central characters is heavily flawed here, particularly in the relationship between Lisa and Matty. It's hard to see why Lisa would be attracted to Matty let alone why she would continue to actively pursue a relationship with him, as he remains a static character throughout the film. Despite this, their relationship takes up a significant portion of screen-time. Lisa is a strong, fairly intelligent female protagonist but her intelligence becomes questionable due to her taste in men. It takes a while before she warms up to flawed, but extremely loveable George, yet she likes Matty almost immediately. With that said, I didn't find these characters unlikable as they are played by actors charming enough to off-set any un-likability. Even though his character's relationship with Lisa makes little sense, Wilson carries his role very well and is responsible for some of the film's funniest moments. Even with weak characterization, Brooks' characters seem more developed, multi-dimensional, and intelligent than the usual caricatures that populate these types of films.

Witherspoon is a capable actress, adorable as Lisa and Rudd is an actor of intense likability and immense charm. The two have a very cute, believable chemistry together that likely stems from how likable they are separately and their relationship develops in a somewhat unconventional manner. I'd like to see them work together again, as they are the heart and soul of the film. Of course, you can't not discuss the legend that is Jack Nicholson, an actor of such greatness his mere presence in a movie can bring a smile to your face. Reuniting with Brooks for the fourth time, Nicholson is playing a creep but he's still Jack and it's hard to hate him. His first scene, in which he angrily rants at George to the chagrin of Annie, brought me great pleasure and solidified for me why Jack has reached a level of such legend that people know who you're talking about when you say his first name. Many have complained that Nicholson sleepwalks through the role on the basis that he's Jack Nicholson and doesn't need to deliver a performance; but I found Jack to be one of the highlights of the film. He's not in many scenes, but I found his facial expressions and dialogue some of the most grin-inducing moments. Finally, Hahn is a scene-stealer as the really sweet, down-to-earth Annie who brings an earthy quality to the more high-class, problematic proceedings. It's a joy to watch.

At 117 (without end credits), How Do You Know is longer than the typical romantic-comedy but I never felt it was being drawn out or becoming too long. The first time I saw it, I was aware of its length but untroubled by it. The second time, I remained blissfully unaware of the length. While many have failed to recognize it, Brooks still has a knack for writing wonderfully warm, comedic scenes. The hospital scene is a great piece of writing and execution, with Nicholson's entrance being hilarious in a low-key sort of way. Also, Rudd's "Play-Doh" speech is adorable and another wonderful example of Brooks' writing. Essentially, I found this film just like the actors that inhabit it; charming and likable. It may not be "great," but I enjoyed it much more than I expected to and it left a big, goofy smile on my face.

I don't believe that what I've written will change the opinions of those who have already seen it. I can offer nothing to sway those people to agree with me; but hopefully this shows that there are people out there who actually really like this film and are unable to comprehend the vitriol some people have for it. I can't recommend this film to any particular demographic or promise that you'll feel as I do about it...But I hope you do. If you enjoy this movie as much as I do, you're in for quite a treat.

GRADE: B

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While the critics panned this one, I must say that this movie is well written, the cast is enjoyable and has great chemistry, and it is a kind, warm movie. It came out at the same time as the Tourist, and me and my husband went to see both films. In my opinion, How Do You Know? was much btter than the Tourist in terms of the message it sent across and the after-feel I had when the movie was over. So, if you enjoy romcoms such as Love Actually, Two Weeks Notice, Notting Hill, Penelope, The Family Man, The Proposal, No Strings Attached, etc., you will really enjoy this movie.

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Forgetting Sarah Marshall (Blu-ray + Digital Copy + UltraViolet) (2008)

My wife and I took a chance on this and rented it when we couldn't find anything else. We haven't seen any other Apatow films -they all looked a little too adolescent for our tastes. We had read some good reviews of this, though, so we gave it a shot. It was a real surprise -very clever, well-written, and genuinely funny. Great cast, and all give excellent performances. Lots of real talent went into this. A very enjoyable movie.

"Forgetting Sarah Marshall" is another smashing success brought to you by Judd Apatow and friends. This time it is Jason Segel's turn to shine and he certainly does not dissapoint with a script that is both laugh out loud funny and emotionally honest.

While one has come to expect Jonah Hill, Paul Rudd, and even Segel himself to be on point because of their past turns in other Apatow produced comedies, it is the newcomers that really impress.

Like Christpher Mint-Plaisse as Fogel in "Superbad" it is the ability to find new and original comedic voices that have largely contributed to the success of past Apatow movies like "Superbad", "Knocked up", and even "40 year old virgin".

"Sarah Marshall" introduces the british Comedian Russell Brand to American audiences as Aldous Snow the ultra-ridiculous british rockstar/new boyfriend of Sarah Marshall. Brand has dynamite comic timing and is certainly willing to do anything for a laugh. His interactions with Jonah Hill whose character is obsessed with him are both creepy and laugh out loud funny.

the other real suprise is Mila Kunis. While I enjoyed her as jackie on "That 70's Show", her work here is truly relevatory. While she is essentially playing the requiste "dream girl" she is able to give the part some real depth while giving the movie a real warmth.

The other standout for me was Bill Hader who is funnier everytime I see him. Most will probably recognize him from his work in Superbad as Seth Rogen's partner and in this he plays segel's step-brother who is not afraid to tell Peter exactly how it is.

I also feel I need to mention Kristen Bell who plays Sarah Marshall. While the role is rather thankless she is quite funny and gives the character real bite. She also nails perhaps the most honest scene I have ever seen in a romantic comedy when she finally tells Peter why it didnt work between them. Both actors shine in the scene, but her work is both honest and heartbreaking and gives her character a depth that I certainly was not expecting.

This one is highly recommended

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Partway through this movie I was tempted to stop it, but I'm glad I didn't. This is a movie that starts good, has a wandering middle section, but a strong, satisfying finish. The story is one most people can relate to a guy gets dumped, tries to forget his ex but can't get away from her, and manages to find someone else. The part where I almost gave up on it was around where Jason Segel's character was breaking down in scenes which were intended to be funny, but at times just felt sad. I enjoy comedies which include their share of drama, but these scenes felt too forced. It seemed like some of those scenes stretched on for too long or borderline-funny gags were repeated too much. The movie does still have its share of funny scenes, like most of Apatow's films.

The scenes with the Dracula puppet musical were quite funny and the ending was rather touching. I will also give the movie credit for being one of the few daring enough to include male frontal nudity. Movies have no problem with having all the violence in the world but shy away from any nudity except graphic sex scenes. Here's an example of where nudity can be used in a story without being gratuitous.

Read Best Reviews of Forgetting Sarah Marshall (Blu-ray + Digital Copy + UltraViolet) (2008) Here

The story line of "Forgetting Sarah Marshall" is nothing completely new or all that complex. The movie starts off with Peter Bretter, played by Jason Segel, who ends up getting broken up by Sarah Marshall, played by Kristen Bell, his celebrity girlfriend of 5 years. I thought that I was going to see a movie that has been done a million times and will laugh at a few dirty jokes. Surprisingly enough, Jason Segel knows his way around writing and acting. For a man who has never played a lead character or written his own screenplay he was very impressive.

One thing that not everyone realizes is that the full frontal nudity scene was not in the movie just for laughs. We have him nude in the beginning because Sarah has completely stripped him of everything and she couldn't accept who he really is, his true nakedness. And if you watch the movie (I don't want to spoil it too much) you will see this motif happen again later in the film. Yes, it is very funny to see Peter standing naked while he is getting dumped, but it also served a purpose.

Throughout the film we get witty and fresh characters that continue to make us laugh. The bar tender from South Central always stirs up laughs and the Christian couple on their honeymoon will have you grabbing your sides. Not to mention the incredible character of Aldous Snow played by Russel Brand. I know many people are not a fan of Brand, but my friends and I just can't get enough of him. His amazing improv throughout the film and ridiculous attitude is all part of his humor.

If some of you are asking how it stands up to the other comedies of the year, I must say FSM trumps all. Tropic Thunder is a close second for me, but the closeness that this will have with people that have gone through difficult breakups will have them laughing a bit more.

Last thing I want to say is the three disc collectors edition is well worth every penny. All the special features are hilarious and definitely worth the view. They share stories of Russel Brand's first audition to how Jason felt watching his nude scenes with his mom and little sister. We also get some insight from Nick Stoller and how he felt directing his first film and being part of the Apatow gang. The best part about this DVD, and should be true about all other Unrated editions, is that you can choose to watch either the unrated or theatrical version. Personally I prefer the theatrical version because it flows better, but give the unrated a view for their extra jokes. "Forgetting Sarah Marshall" is a film that will not soon be forgotten.

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When you hear the phrase "date movie", most people usually think "chick flick", a movie that's pleasing to the female on the date yet only passable at best for the guy. Something like The Wedding Planner, 27 Dresses or the most recent chick-centric movie to be dubbed "the perfect date movie", Made of Honor.

Forgetting Sarah Marshall blows all those flicks right out of the water. This movie is a rare occurrence. It's a movie that has the right amount of romance for the ladies and an abundance of raunchy jokes for the guys. Kristen Bell is especially good in her role as the title character. She's come a long way since Veronica Mars. She proves that comedy is her real forte.

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Lonesome (The Criterion Collection) (1928)

Even though I have been a silent film enthusiast for 50 years now (I started very young) and have read a number of books on the subject as well as having amassed a rather large collection of silent movies on DVD, I can't remember ever having run across the name of Hungarian born director Paul Fejos. I'm sure there must have been something but I simply can't recall it. After watching this Criterion release, it seems unbelievable that his Hollywood films could have been lost for as long as they were. Two of the three films are welcome additions to the silent film catalog while one is a curious early sound offering. All 3 films on this disc were made for Universal so it's only fitting that they reappear in time for the company's 100th anniversary.

The true prize of the collection is LONESOME, a 1929 film that recalls both SUNRISE and 7th HEAVEN in its storyline and in its cinematic expression of that story. Glenn Tryon (who I knew from some Hal Roach comedy shorts) and Barbara Kent (the sister in FLESH & THE DEVIL) play a pair of lonely blue collar workers who discover each other during a visit to Coney Island. They meet, fall in love, and then are separated by a massive rainstorm without knowing their last names. A simple enough story but it's what Fejos does with the material that makes LONESOME so remarkable. Technically this film goes far beyond SUNRISE in its camerawork and editing resulting in an eye opening cinematic experience that the director called a "Coney Island of the mind".

The other two films on an additional DVD make for an interesting evening. THE LAST PERFORMANCE stars Conrad Veidt as a jealous stage magician whose love for his young assistant (Mary Philbin in her best performance) leads to tragedy. Imagine one of the Tod Browning Lon Chaney films as if it had been directed by F. W. Murnau and that will give you some idea of what it's like. The print used here was found in Denmark and still has Danish title cards. While that proves the universality of silent movies, it would have been nice if new title cards could have been made. The film has also not been restored and is occasionally contrasty and shows some print damage. It's not ideal but is quite serviceable and Conrad Veidt is amazing.

BROADWAY was one of Universal's early sound extravaganzas. It not only features dialogue and musical numbers but it also has an early Technicolor finale. Unless you are really into early sound musicals, BROADWAY is more of historical interest. There are some truly remarkable camera shots courtesy of the "BROADWAY crane" which revolutionized camera movement. The influence on later musicals and Busby Berkeley is obvious. Unfortunately the dialog is incredibly stiff ("Where-is-Steve? He's-in-the-next-room.) and slows down the action. Glenn Tryon is on hand once again as the male lead and it's always great to see Evelyn Brent in anything. This is what THE ARTIST would have been like had it been made in 1929. While this release is an absolute must for silent movie fans others will find it to be of limited interest.

Silent film enthusiasts ought to be thrilled with Criterion's release of LONESOME, a 1928 Universal feature from director Paul Fejos, a unique Hungarian who also, in addition to filmmaker, counted doctor and anthropologist among his many lifelong pursuits.

The film's subject matter isn't anything out of the ordinary for the genre "Lonesome" tells the story of a lonely man (Glenn Tryon) and equally single woman (Barbara Kent) living in the urban chaos of New York City, who find one another while on an outing to Coney Island but then become separated when a fire breaks out on one of the rollercoasters. What makes "Lonesome" fascinating are the real locations matched with Fejos' ahead-of-its-time direction, which employs a moving, "inquisitive" camera, plus color-tinted sequences, unconventional editing and even several sound sequences that were added after the fact to appeal to Hollywood's transition out of the silent era.

Those dialogue sequences may be limp, but the film itself otherwise is one of the more unusual silent films I've ever seen: instead of being static and stilted, the picture has an energy that's a testament to Fejos' style, in addition to an interesting, overriding theme of individuals being lost in the day-to-day world of contemporary life -something that gives the film a timelessness that holds true today.

A film festival favorite, "Lonesome" makes its home video debut with Criterion's Blu-Ray release (also on DVD). The 1080p B&W/color tinted 1.33 transfer is quite good given the extensive restoration performed on the picture, with a fascinating commentary from historian Richard Koszarski; a reconstructed sound version of Fejos' 1929 musical "Broadway," with its all-color finale intact; Fejos' 1929 silent "The Last Performance" with Conrad Veidt; a 1963 visual essay on Fejos' life from Paul Falkenberg; an interview with Hal Mohr about the "Broadway" camera crane; and extensive booklet notes all included on the supplemental side.

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Fantastic film on Criterion blu-ray.... Great disc with 3 films by Fejos including The Last Performance and Broadway.... The main feature is the best of the the lot and well worth the price all by itself.... The only problem is that during the few dialogue scenes the main characters make it clear why they never became stars after the silent era....those scenes look like they were taken out of a high school play....nevertheless, this is a great film.... Great city scenes with fantasy elements thrown in here and there....hand-tinted color.... There is also original sound throughout the whole film, as it came out in 1928 when sound was available....it's just that part of the film was made as a silent, so there are title cards to cover the dialogue, but there is a soundtrack and some effects...Good stuff....plus an interesting short doc on the special crane made just for Fejos for some of his innovative camera work.... get it....

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It is known that over 90% of silent films created between the 1900′s through the 1920′s are lost.

From nitrate damage, decomposition and many being burned in fires caused by neglect, the fact is that back then, a lot of films were made and never preserved. But a few were, especially those that were blockbuster hits starring Chaplin, Keaton, Lloyd, Arbuckle, Fairbanks, Pickford, Bow, Talmadge, Barrymore, Laurel & Hardy and also films by directed by Griffith, Murnau, Borzage, Fox, Ford, Capra, Lubitch, Lang, DeMille, to name a few.

And while many of these films have made it onto home video, there have been titles that have been restored but yet have only been seen during screenings. And some that are looked at as rare gems that have yet to be released to the public after all these years.

One of those titles is "Lonesome", a 1928 film which is mostly silent but also a hybrid film with a few scenes with dialogue (an early experimentation of talkie utilization) by filmmaker Paul Fejos.

Fejos may not be a name as easily recognized like Murnau, Griffith or DeMille but that is because Fejos was a jack of all trades. Born in Hungary, while he has directed films and may documentaries in the United States and other countries, he has held many jobs and is best known for his highly respected work as an anthropologist. Teaching at Stanford, Yale and Columbia University.

But for a long time, many have wondered if "Lonesome" or Fejos's other films would be released on video. Problem at the time was that the only surviving print that many people saw back in the '90s was the surviving print from Cinematheque francaise with no English titles, although the dialogue that was seen was in English.

But after years of restoration, "Lonesome" finally receives its release on Blu-ray and DVD in August 2012 courtesy of the Criterion Collection. And in addition to "Lonesome", also included are the two films "The Last Performance" and "Broadway".

"Lonesome" is a 1928 film hybrid film that is primarily silent but with a few scenes with English dialogue. Possibly the most famous of Fejos's work in his entire oeuvre, the film takes place in New York and we are introduced to two people. Mary (portrayed by Barbara Kent) is a woman who works as a telephone operator. After a long day of work, all her female friends are going on dates with their boyfriends, while she has no one to love and is quite lonely.

We are then introduced to Jim (portrayed by Glenn Tryon), a man who works at a factory and after a hard day's work, his guy friends have dates with women and are having fun. He has no one to love and is quite lonely.

These two individuals live at home alone and realize their life is quite boring and both see an advertisement promoting fun at the beach. And sure enough, we see both of these individuals deciding to travel to the beach and from that moment, Jim is captivated by Mary. While Mary flirts a little and plays a little hard to get, the two eventually hang out the beach and talk about their work and lives of being lonely.

But as they spend time with each other, they realize how much they love being together and the two have fun throughout the day at the beach and later at the various attractions, games and rides.

Knowing each other by their first name and realizing that they are probably destined to be each other, both are separated during a rollercoaster ride. When Jim watches Mary from afar, he notices that her coaster ride's wheels start burning up and begin to catch on fire. Through the melee, she faints and as he tries to get close to her, he is arrested by police for getting in a way of officers. Jim tries to explain that he is there for Mary but the police will not listen. Meanwhile, Mary awakes but Jim is nowhere to be found.

Now Jim and Mary are desperate to find each other. Will these two lonesome individuals who have discovered their love for each other...lose it all that same day?

In the 1929 silent film, "The Last Performance", featuring the last American silent starring Conrad Veidt, the version presented is the silent version with music by Donald Sosin.

VIDEO:

"Lonesome" is presented in 1080p High Definition (1:19:1 aspect ratio) and presented in black and white and color. It's important to note that "Lonesome" does exhibit scratches but no major nitrate damage. It's also important to note that as a silent film fan, when it comes to complete film releases of silent films, you're not going to get pristine copies of films that were made over 80-years-ago. Some may look impressive on Blu-ray through extensive restoration but for many silent films, you can only hope for a good print source and be hopeful for its restoration. With "Lonesome", the film looks very good considering its age and the fact that it's being release in HD is a major plus because it has been unavailable for along time and only a privileged few who have seen this film were fortunate to watch it at a screening.

A lot of work went to this restoration. According to Dan Wagner, Head of Preservation at the George Eastman House, "The restoration of "Lonesome" was made possible through a single nitrate print initially conserved by the Cinematheque francaise in Paris. Henry Langlois, the mythic head of the Cinematheque, gave this surviving print to the also legendary James Card at George Eastman House, in Rochester, New York in the mid-1960′s. Shortly after arriving there, "Lonesome" went through its first preservation, with the gorgeous tinted and hand-colored film being transferred to black and white. "

Wagner continued, "The titles also received a dramatic facelift. Extensive research was done on Universal titles of the period. And a bit of good fortune came with a single frame of an English intertitle left behind when the translation to French was done in the late twenties. Thus, the Silentina Film Font was chosen for the intertitles. The main titles are a combination of the fonts Broadway and Ultramodern Classic."

"The restoration lab Cinetech, in Valencia, California, brought together image, audio and intertitles, producing a new 35 mm preservation negative and prints and a definitive restoration of Lonesome."

According to the Criterion Collection, "the new digital transfer was created in 2K resolution on a Spirit 4K Datacine from the 35 mm restoration black-and-white and color duplicate negatives, which were assembled digitally. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS and Pixel Farm's PFClean, while Image Systems' Phoenix was used for small, dirt, grain and noise reduction."

AUDIO & SUBTITLES:

"Lonesome", "Broadway" and "The Last Performance" is presented in monaural (LPCM 2.0). As much work that has been put to restore the video, a lot of work went into cleaning up the audio for its restoration.

According to Dan Wagner, Head of Preservation at the George Eastman House, "In 2008, with the 1994 print long past its best days and the original nitrate print beginning to decompose, an effort was undertaken to finally complete the restoration of "Lonesome". The problem with the soundtrack had always been that modern playback equipment rendered it with brutal honesty. The hiss, pops, and crackles accrued over a long life blared with stunning clarity over these amplifiers and speakers. George Eastman House worked with the technicians at Chace Audio by Deluxe, in Burbank, California, to remove this white-noise wear and tear, while taking care to retain the quality of Hollywood's earliest experiment in sound. Now, instead of being ad in of often indistinguishable noise, the music and sound effects support the film with a cacophony of the clang and clatter of Coney Island's midway and dance halls."

The original monaural soundtrack was remastered at 24-bit from an optical track print. Clicks, thumps, hiss, and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

SPECIAL FEATURES:

"Lonesome The Criterion Collection #623" comes with the following special features:

Audio Commentary Audio commentary by Richard Koszarski (Professor of English Film Studies at Rugers University) is included.

Fejos Memorial (19:35) A 1963 visual essay produced by Paul Falkenberg in collaboration with Fejos's wife, Lita Binns Fejos, featuring the filmmaker narrating the story of his life and career

The Last Performance (59:32) Director Paul Fejos's 1929 silent starring Conrad Veidt, with a new score by composer Donald Sosin. This is the Danish version of the film.

Broadway (1:44:27) Reconstructed sound version of Broadway, Fejos's 1929 musical

Hal Mohr on Broadway (6:52) Excerpt about the Broadway camera crane from a 1973 audio interview with film historian and cinematographer Hal Mohr.

EXTRAS:

"Lonesome The Criterion Collection #623" comes with a 34-page booklet with the following essays: "Great City, Great Solitude" by Phillip Lopate, "The Travels of Paul Fejos" by Graham Petrie" and an excerpt of John T. Mason Jr.'s interview with Paul Fejos from 1962 as part of Columbia University's Oral History Research Program.

JUDGMENT CALL:

For many years, silent film fans have hoped to watch Paul Fejos's "Lonesome". Most have heard comparisons of Fejos's film to F.W. Murnau's "Sunrise: A Song of Two Humans" and Fritz Lang's "Metropolis", but the fact was that for many years, "Lonesome" was a rare film to see at a silent film screening.

Due to the fact that the only surviving print was a the French version at the time, that is what many people saw. Regardless, despite no English intertitles, the film is simple and easy to follow. The storyline is about two lonely individuals who meet at the beach and discover love for each other, but due to circumstances, among the huge crowd in what I presume is Coney Island, they are separated from each other and both fear they have lost each other.

And as a romance film, the storyline is touching and entertaining. But what makes "Lonesome" so magnificent is its presentation for its time. Using an experimental style, the cinematography not only captures the fun of these two individuals spending time together, but there are cool transitions, good and not clumsy use of double and triple exposures, tight and efficient editing and the fact that it is a hybrid film that is primarily silent but has moments where the cast is talking and dialogue can be heard, there are noticeable influences.

For one, we see the use of Fritz Lang style structures. German Expressionism used in showcasing big structures and the feeling of a heavy storm in the city as dark thunder clouds move in and similar to F.W. Murnau's "Sunrise: A Song of Two Humans" where a huge storm starts to disrupt the large attendance at Coney Island. Heavy showers hitting everyone and air of despair strikes our two main characters.

While "Metropolis" and "Sunrise: A Song of Two Humans" are much deeper films and with large production value, the fact is that filmmaker Paul Fejos was able to transform what could have been a banal film, to a film with an amazing visual style for its time.

Granted, early talkies were known for its cheesiness and some utilized sound well earlier on, other's didn't. While the acting was not the best during the dialogue portions, this was typical for films that utilized sound during that time. Possibly the only scene that felt unusual is hearing the long pause as Jim tries to tell a police officer off. Corny in a Poverty Row type of way (for those familiar with those type of films) but as a person interested in early film and how technology or early sound was used in cinema, I found if fascinating and fun.

But both Glenn Tryon and Barbara Kent did a great job in their roles and making the audience feel these two are in love with each other, they belong with each other and you end up pulling for them to be together! It's what I love about this early romantic film.

And with this Blu-ray release, while "Lonesome" is only 69-minutes long, the Criterion Collection demonstrates why fans love this company. And they deliver by adding two more of Paul Fejos's films, "The Last Performance" and "Broadway" to this Blu-ray release.

"The Last Performance" is a film about jealousy, while "Broadway" is an early talkie and gangster film. While not great films, "The Last Performance" will interested silent film fans who enjoy the work of actor Conrad Veidt, as the film was his final silent film before returning to Germany. And the film also starred actress Mary Philbin ("The Phantom of the Opera" and "The Man Who Laughs"). It's a good "Who done it?" type of film but just not great.

"Broadway" was interesting in the fact that it was Universal's first foray into Technicolor and also was the first film to utilize Tungsten lamps. While the film was OK, filmwise, I was more interested in Hal Mohr's cinematography and his use of the crane. There is a special feature included with this Blu-ray release in which Mohr goes into detail of how complex it was to utilize the crane for the film.

As for the Blu-ray release, video quality is subjective. As mentioned, when it comes to silent films, I am not going to criticize a silent film for its picture quality knowing that a lot of films I have watched have scratches, nitrate decomposition or major damage. Personally, whenever we are able to be given a complete silent film that is viewable and still looks good with no damage but scratches and occasional flickering, for me, that is a plus! "Lonesome" is a wonderful film that has been out of public release for so long but now people get to experience it on Blu-ray thanks to the hard work that came to its restoration.

You're not going to get pristine quality, nor are many companies able to afford the kind of restoration that went to Fritz Lang's "Metropolis" or even Buster Keaton's "The General", let alone finding negative sources that are not damaged, so people should not be too picky of silent films for its picture quality.

"Lonesome" looks very good, no major damage and is complete. That's the best that we can hope for and very appreciative that the Criterion Collection released this wonderful romantic film, along with two other Paul Fejos films.

You also get special features which include audio commentary and a virtual essay featuring Paul Fejos produced by Paul Falkenberg and Fejos's wife Lita Binns Fejos and learn more about Paul Fejos's life and career.

Overall, "Lonesome" is a fantastic Blu-ray release. If you are passionate about silent films, this Blu-ray release contains three rare films that were not accessible to many silent film fans for so long and now here we are with a Blu-ray and DVD release getting the Criterion Collection treatment.

Silent film and early Talkie fans are definitely in for a treat as "Lonesome" from the Criterion Collection is simply a must have and must own Blu-ray release!

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This set was a pleasent surprise: "Lonesome" is an absolute masterpiece (despite what anyone says, is an example of cinematic creativity and the influence in it for those who see Murnau, Vertov, Eisenstein, possibly Leni or whoever that, this is very, very little and much, much better than The Crowd by Vidor); for me, one of the greatest films from the silent era (and one of the more affecting); also we have a very good silent: "The Last Performance" (with a great Conrad Veidt, good Mary Philbin and very good Leslie Fenton), with missing parts but complete in its narrative, and a very good talkie musical drama "Broadway"(despite some inconsistencies in the argument and some scenes some slow but better than other talkie "classics")with dazzling travellings and very good visual and sound editing and really good performances along the cast. Great reconstruction for the films by the another rediscovered Master of Cinema Paul Fejos. Buy it! It is a must-see. (Remember : He directed as a movie director the Two-color technicolor "The king of Jazz" (1930) without credit; He deserved it but trouble with Carl Laemmle Jr and producers not allowed it).

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