Showing posts with label list of new comedy movies. Show all posts
Showing posts with label list of new comedy movies. Show all posts

Come Blow Your Horn (1963)

Come Blow Your HornThis is Fun!! Frankie is a bit old for the part at 48 tryin to be 35!! but always great to watch Frankie!! Lee J.Cobb as Dad is just Hysterical!! Cobb was

a briliant Dramatic Actor but watch him handle Comedy!! Molly Picon is fabulous!! A Great Cast and most enjoyable!!!

The story is very cute, although a bit dated. The production values are excellent, but the color in the DVD version is very bland and faded. Having seen the movie when it was first shown in movie theaters, there is no comparison with color quality.

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Two Girls and a Guy (1997)

Two Girls and a GuyIn case you got confused by all the controversial reviews...and can't decide to spend 84 minutes of your time on this film, here are some suggestions. DON'T WATCH IT IF: 1. you tend to pick movies with stylish cinematography that enhances dramatic or spectacular scenes; 2. you prefer movies with twists and turns woven into an elaborate screenplay; 3. you expect some sizzling scenes from the title or the NR-17 rating; 4. you are currently savoring your first love or consider yourself a hopelessly romantic person. But DON'T MISS IT IF: 1. you really enjoy dark comedy whether it's an indie or some Hollywood rare bird; 2. you love witty, sassy, sarcastic dialogue, and don't have a problem with profanities; 3. you readily accept any ludicrous circumstance as a natural facet of life; 4. you realize that it's common for couples to talk only on the surface about issues they're afraid to cope with, until a certain point where they must spill the beans to save the relationship or get it over with... Well, did I miss something? Oh yeah, 3 of my 4 stars go to Robert Downey Jr., simply because I believe any other actresses can carry the roles of Heather Graham and Natasha G. Wagner but nobody can do RDJr 's. He's really one of a kind.

Wow, I just looked up this film on a lark as I'd seen it a number of years ago... given the mixed/neg reviews, I figured I should put in a couple cents here, give this film its due 5 stars.

It would be a terrific exercise/experiment/experience to know enough of each person to contextualize why they did or did not like this film. I actually typically find I like films that sprawl across cities and countries, epic of backdrop. But what was so fantastic about this film is that it was epic of performance, of communication, of a different landscape of love than one normally encounters in films.

I suppose, cinematographically (sp), it unfolds like a expanded play or a focused Mamet film. I remember exclaiming, during a particularly heated argument-communication, "that's how it IS!" -there were just so many incredibly authentic relationship-communication details in a movie largely about deceits (self and other) and truths.

I believe I saw the film "Jules et Jim" after this (although it is much older) but was terrifically excited to see the fim poster for "Jules et Jim" hanging on a wall in Downey's apt. Ok, point. The POINT is that this film is ultimately an exploration of the complexities and vagaries of love and sexuality. Not that this film was a successful (or intentional) treatment of polyamory of open/liberated love, it did touch upon this possibility in a way I appreciated.

Ok, ok, so I haven't seen it in awhile but, at the time, I saw it probably 4 or 5 times. If you're really interested in relationship dynamics; if you're interested in seeing communication and conversations that have an air of reality and authenticity (better than reality shows, imho, because there is still an intentionality to the direction...like distilled reality gems); if you're intrigued by the full range and manifestation relationships can take; if you love Robert Downey Jr. and want to see an intimate performance; if you have crushes on Heather Graham or Natasha Gregson Wagner (I do! although I'm not sure I can spell her name)...then this movie is for you.

When we look at a film of relationships and say "that's not how it is," it is possibly because we're comparing it to the limited depictions of relationships we've so far seen on screen. The reality of relationships is that they are crazier than we can dream of, I daresay. Right? People loving people is really, in ways, a forefront of human evolution... the lengths we're willing to go to, the energy, the rises, the falls...we push ourselves in ways we would not have thought, watching ourselves, we ever would.

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First of all I'm surprised this went to Blu. I remember seeing this in the theater when it first came out and instantly liked it. Going in though, you have to be aware that this is a 100% dialogue driven film. There's no action really, there's only three actors in the movie (well five, if you count the two in the very beginning for about two minutes). If you go into this expecting anything but essentially a theatrical play, then you may be disappointed.

Personally I think this is one of Robert Downey Jr's best roles to date, along with Less than Zero. I think roles like this, in which he shines so well as the perennial f*** up, doomed by his own inabilities to accept the fact that there are people who will not just abandon him at the slightest whim, hits too close to home for many people. They can't separate the fact that he's acting, from his real life struggles with drug addiction and other things.

And as such, when he puts on a great performance, people toss it aside and say "it's just him playing himself". Which is a great disservice, I think.

Heather Graham is very good in this, as is Natasha Gregson-Wagner (daughter of Robert Wagner and Natalie Wood), although Wagner can be EXTREMELY grating after awhile. She comes off as simultaneously cute & sexy, and irritating. Eventually you're waiting for someone to just yell at her to shut up.

But all three actors do a very good job with this, and from what I've read there was virtually no script. It was all improv, and I think that speaks volumes to how good these actors are.

I've read reviews of this which say that it's a movie where people just talk about nothing. And that's not true at all. It couldn't be farther from the truth. This film, while not a perfect film, is a great film as it pertains to relationships. I think many people watching can relate to this predicament that Downey Jr. finds himself in.

Perhaps not the exact situation, but we've all lied to significant others. We've all been involved with people and perhaps you don't feel exactly the same as they do, but you lie and say you do. If only to make them feel better. But that ends up hurting them anyway when they find out.

Here we have Downey Jr. who's dating two women simultaneously, all the while telling them that he loves them, and only them. Neither have any clue that he's doing this with someone else other than just them, thinking he's a one woman man.

Very good film, and one definitely not to be missed by fans of Downey Jr. Just know what you're getting into with this. It's not a big budget fancy special effects flick, and it's not an erotic threeway Cinemax flick, despite the provocative title.

Read Best Reviews of Two Girls and a Guy (1997) Here

The first time I watched "Two Girls and Guy", I had no idea what to expect. What I got was a movie that was fast paced, riveting and hilarious. RDJ is excellent as the self-absorbed womanizer who is caught having an affair with two different women at the same time. Heather Graham and Natasha Gregson-Wagner play the two girlfriends to perfection. What amazed me about this movie was RDJ's ability to take what appeared to be a one-dimensional character who you want to hate for being such a jerk, and turn him into a three dimensional character who you feel sympathy for, like it or not. My only complaint is that the movie is way too short at approximately 90 minutes. See this one!

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This movie made me, an actor, not only look at myself, but look at others and wonder about lies and thier control of thier life. Downey Jr. Does an excellent job making you feel sorry for someone who doesn't deserve it. Heather Graham, shows just how easily we can become in need of someone. The whole cast portrays human conversation exceptionally well. I caught myself wondering about the script, if any of the movie was improvised. Good choice for a mature young adult.

Love Is All You Need (2013)

Love Is All You NeedChick Flick Alert! "Den skaldede frisør" (English captions) is a Danish film about a hairdresser who has been fighting breast cancer. After a partial mastectomy and chemo, she gets the all-clear, but comes home only to discover her husband having a fling with a co-worker. Problem is, next week they are flying from Denmark to Italy for their daughter's wedding. Of course Dean Martin's "That's Amore" underscores the opening credits.

Writer Suzanne Bier ("After the Wedding" terrific by the way!) directed this award-winning romance that features:

* Trine Dyrholm ("The Royal Affair") is Ida, the bald hairdresser (nice wig though) who has to confront one serious upset after another. She's the mother of the bride.

* Pierce Brosnan ("The Ghost Writer") is Philip, a highly successful international trader of fresh fruits and vegetables. It's his Italian villa where the wedding party convenes. He's the widowed father of the groom.

* Sebastian Jessen ("Almost Perfect") is Patrick, the groom...but he's starting to wonder....

* Molly Blixt Egelind ("Rebounce") is Astrid, the bride. The groom's wondering is making her start to wonder...

* Paprika Steen ("Keep the Lights On") is Benedikte, the worst sister-in-law EVER!

Things get off to a bad start when the mother of the bride backs her car into the father of the groom's car at the airport in Copenhagen. Then they are on the same flight but HER luggage gets lost. Finally, her wandering husband brings along his new sweetheart to Italy because she missed her flight back to Denmark. (She introduces herself as his "fiancée.")

I'll bet you have it all figured out, don't you? Well, you don't. I love it when things become unpredictable, and they do! Expect no sweaty bodies, gunshots, vehicular mayhem or blowie uppie stuff. In fact the biggest villain is that philandering husband.

BTW, Brosnan just gets more appealing as the years go by. He's far better now than when he was 'Bond'ing with the world. Yum! Amazon will notify me when the DVD is available.

and it's a 3/12 star charmer. Won't repeat details, thanks to the Jay B Lane review. Just want to add that the scenery (Sorrento, Italy) is gorgeous! Saw it on a cold, gloomy day in June, and it was a day brightener. The mix of Danish and English languages seemed very natural to me. The actors stirred the pot of emotions nicely, and oh, that sister-in-law! The movie had lots of little "moments," and the kinds of relationship messes that humans tend to create for themselves. Glad I went to Sorrento with Pierce and the gang.

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I saw this movie at a screening and was able to speak with Pierce and Trine. It is a delightful story with one of the bravest performances I have ever witnessed from Trine Dyrholm. Yes, it's quiet and simple but it's ever so honest and beautiful. I have deep affection for both Denmark and Italy so this was a love letter for me, personally.

FYI: Trine shaved her head for this so the scenes of her hair regrowth would be real. There is an even braver choice she made in this film. Trine is truly wonderful and I will be looking for any work that she does in the future. The rest of the cast was spot on and that adds up to brilliant direction by Susanne Bier.

I am so thrilled to have found the DVD for sale.

Read Best Reviews of Love Is All You Need (2013) Here

How odd that this film is only available with Italian subtitles this summer-- even in Denmark (Susanne Bier's film)?? We have seen it at festivals with English subtitles and it was released months ago in Canada and Europe--why will it not be available until fall except with Italian subtitles????

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This Italian-issued DVD is useless for English-speaking viewers. Much of the film is in Danish and Italian, and there are no English subtitles for these sequences. The only subtitles there are in Italian, and they are forced (unremovable), so the entire film is visually marred. A very unpleasant, disappointing experience--why don't sellers inform us up front about these shortcomings?

Funny Farm (1988) / Spies Like Us (1985) (Double Feature) (2010)

Funny Farm / Spies Like UsUpdate on 11/12/11: There is a comment posted to this review that explains that this Disc is actually the correct version of the movie. Please read it if this issue concerns you.

'Spies Like Us' is a great movie. I bought this version thinking that it would have a wider view than my already purchased dvd which I could only find in full frame. I just compared it to my dvd. For this blu ray, all they did was chop some off from the top and bottom to give it the widescreen look. I thought people might to like to know.

While not classic comedies, "Funny Farm" and "Spies Like Us" have their funny moments. Both are very enjoyable Chevy Chase movies with his usual relaxed style, a combination of straight man and funny guy. He's teamed with equally funny Dan Aykroyd in the John Landis directed "Spies" which is sprinkled with some very funny cameos. The very good news about this new BD release is that both movies are presented in widescreen for the first time on home video.

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These movies were originally filmed in and correctly framed for 4:3. A 16:9 pan & scan crop was shown in the theaters and is what you get in this bluray release. For me the 16:9 looks overly chopped and not polished at times. Movies the were originally filmed in a wide screen format normally have better framing. Also this release still only has stereo audio. Both the DVD 4:3 and the bluray 16:9 will get the job done but I prefer the un-cropped version.

Read Best Reviews of Funny Farm (1988) / Spies Like Us (1985) (Double Feature) (2010) Here

Taken together, I almost have to give this a 3 "Funny Farm" is funny in its own way, but it will never measure up to "Spies Like Us," the movie that is caught between "us" and "them." My parents laugh out loud at "Funny Farm," and I can laugh at it, but they will never laugh so hard as I do at "Spies Like Us." It's so awesome. It's what 80s spy comedies were meant to be. If my parents don't get that, then that's because they grew up in the generation right between the two movies. I like them both, but "Spies Like Us" will always hold a special place in my heart. "Doctor, doctor, doctor, doctor..."

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Well, I haven't watched Funny Farm yet, I purchased this BD for Spies like US...a comedy classic as far as I'm concerned. :) So, in a way I feel like it deserves a BD of it's own, so that was kind of a bummer.. It was nice getting an extra ~i guess~ but feel like SLU would be nice with even a simple "making of" or behind the scenes featurette instead of just throwing in an extra movie that somehow makde it feel like it's status was lowered.

Anyway, SLU....great characters, great funny lines and a lot of subtle humor throughout. It's just a original story with great twists, great locations and some beautiful women.

As far as quality goes, it's a big jump over the DVD i had. So if you have a DVD of SLU and and wondering if it's worth purchasing the BD... it's a no brainer...wider (original) format, better image quality..all you'd expect with HD.

~HOWEVER~ once again (like packing this great film with Funny Farm) i feel they didn't do SLU justice because it could have used some color grading and correction) i seems like they just pushed the "auto correct" button. For example, the scene right after they cheated on the test and they're in the office being reprimanded/promoted...visually that was pretty dark with "squashed"...the blacks were too heavy with too much contrast. Outdoor scenes seem to be OK however. I remember the DVD being overall a bit lighter with less heavy handed contrast.

Oh well, guess I'll just have to wait for the 4K version to come out :) by that time (very soon i hope :) ) SLU will have received it's true status of cult comedy classic and they will decide to make a featurette and spent some time on adjusting the colors/contrast. Fingers crossed~!

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The Last Kiss

The Last KissThis is a dramatic piece originally written and directed by Gabriele Muccino under the title "The Last Kiss" (2001). A blockbuster in Italy and a much more intense and revealing experience than this Hollywood counterpart by Tony Goldwyn, who seems to have a penchant for appropriating scripts (million dollar baby and Crash) and legitimizing the depth that is therein displayed. Needless to say in this adaptation however direct transliteral carbon-copy may be a more accurate description something is lost. The cultural translation works only within a limited dress, disguising inability to commit with what may be "existential angst" in full swing. The Italian version adds intensity where the DreamWorks production carries a blunt tenderness, neither convincing nor endearing, but always aptly dramatized. The casting is excellent as we've come to expect of all of Tricia Wood's engagements, with Zach Braff and Jacinta Barrett and Rachel Bilson in leading roles supported with a surplus of talent in minor agents of definite weight.

This movie is well-constructed and racy in an intellectual and sensual sense. What happened to the screams into the void, the cries for more and the desperation for meaning that afflicted the characters in "L'Ultimo Bacio" and seems to be an afterthought in a redrafted tale about the fragility of the psyche and the crass expectations we feel obliged to meet and rejoice within.

Something is lost in the translation, but the undercurrents are aflowing with enough force to warrant watching and perhaps even comparing. If you are verging on 30 and thinking about getting married you'll end up getting stuck in a nostalgic disoriented displaced mood. If you are a woman you'll wonder why the male presence overarches the female roles, with the answer being a cultural one. In Italy this is a "Guy-flick". In other words: a night out with the guys so as to vent, let go and recharge, similar to the much maligned chick-flick category, but more of a phenomena with depth of extra human proportions. Not possible in the US (I apologize for the generalizing vein I force here).

To make it simple for the simple "if you liked Garden State you'll love The Last Kiss." If you are not afraid of pinching the reflective chords within so as to stir the inevitable emotional instability we must confront on occasions lest we just follow the crowd and get lost in the shuffle, then watch it and enjoy, or better yet buy the original version (on sale on Amazon too) and challenge your intellectual sensibilities in an honest commercial effort, satisfactory and satisfying.

Any male between 23-30 whos considering or in a commited relationship can attest to the (brutal) honesty of this movie. It portray's men's grass is greener feelings toward other women (when locked in a relationship) with perfection. The portrayal of Chris' character and having a child is absolutely spot on also, raising a child can push you to your edge just like you see his wife. And consequently make you consider leaving the relationship. The grass is greener feelings toward bachlors, etc, the movie is just plain accurate and I'm sure many have found it profound how the film nailed their own personal feelings.

A paragraph for the character of Jenna (played by Jacinda Barrett). Wow, the portrayal is just so amazing and real, my wife and I were both affected very much by it (my wife was in tears in the first Chris/Jenna confrontation and then of course the Michael/Jenna immediately after). The acting was the most honest I've ever seen a female actor allow themselves to go to. I saw some comments about the physicality of Jenna's character, personally it was spot on, my wife would certainly push/smack/slap me if I'd behaved even close to the Michael character. This could be direction as well as Jacinda of course. If so, very nice Tony.

Great movie overall, excellent casting and I was very surprised by how much I enjoyed it. I did not find it depressing at all, which is a word I've heard associated with the movie often. The movie may be depressing for those under 20ish, but that is only because they've yet to experience just how factual and honest the movie actually is. It's not depressing, it's real life.

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Relationships are evaluated, endured, cursed and celebrated in this fast paced saga about friendship, love and commitment. I originally thought it was going to be a light hearted movie but was pleassntly surprised to find it a movie of real subtance. The characters are realistic and the emotion portrayed is believable. Although intense at times the characters demonstrate the angst and joy of life and love with another person. I found one of the lines especailly profound and have never heard anything expressed so honestly before. "Everbody says they love someone but what they feel really only matters to them. It's what they DO to the people they say they love is what really counts." Case point. End of story. I recommend this movie to those who are not afraid of real emotion. It is moving and they kind of movie that can effect your life in a positive way and stay with you a long time.

Read Best Reviews of The Last Kiss Here

I saw the orignal Italian version of this movie and I hated it. Everything just seemed to fall flat. I never hated characters so much. I decided to give the remake a chance because I am so enthrawled with Zach Braff. I think when you hear 'Zach Braff' you automatically think 'funny' so people were disappointed with the overall tone of the movie. It isn't a romantic comedy. It is about the complexities of love and realizing that you are no longer a kid. Zach Braff proves he is so versatile and talented in every role. Jacinda Barrett was okay. I think they could have found someone better for this role. It was just easier to sympathize with Braff's character instead. (I heard that Rachel McAdams was considered for this role and I think she would have been amazing.)Anyway this is a great movie but don't expect big laughs. The soundtrack is really good too!

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I have to say that this film ranks among other romantic dramas that are realistic, that, instead of trying for the angst of courtship and happiness of ever after, depicts fallible human beings who make mistakes, who prosper and fail, who try and give up. It's definitely in the same vein as Garden State. By showing relationships in different stages, this movie points out the difficulties one faces when in a pair and the sacrificies one must make for either a partner or child. Much like Garden State, it provides an almost philosophy in the film, gives great quote after great quote, and, though it wraps up the storylines, doesn't necessarily give that swelling of orchestra happy ending that most romantic comedies do.

***Spoilers***

However, what I wanted to say here and in particular in response to a previous review by Forrester, the portrayal of women in this film does certainly fall in line with the traditional "female" role but not necessarily real women. While I may be the commitmentphobe and therefore empathized with Braff until his indiscretion, let it be stated that not all women are ditzy college girls desperately running after taken men or baby seeking marriage craving women.

Furthermore, one can empathize with Affleck's wife in the film. While both certainly need marriage counseling, her behavior is not so crazy given the possibility for post partem and the very real experience of no longer being a person but instead being a mother. Staying at home with the kids is not the bon bon eating, soap opera watching experience some would paint it is. While Affleck certainly did not deserve to be constantly castigated and should have been given a chance to be a father, let's not denigrate the role of women as mothers or generalize all new mothers to be "insane" or "unreasonable."

Thus, despite my quibbles with the female portrayal, I take the film as an adequate and realistic portrayal of issues many deal with in their twenties as that big 3-0 approaches, whether it's babymaking and ring swapping or simply dealing with the notion of "forever" and mortality.

GREAT MOVIE!!!

A New Leaf (1971)

A New LeafThis comedy performance by Walter Matthou ranks with his best work, such as in The Odd Couple, Sunshine Boys etc. Unfortunately, not as many people have seen it, as this movie is a little-known gem.

I saw it as a second feature and almost missed it as I had never heard or read anything about it. We stayed, and laughed so hard I looked for it for years and told people about this odd film no one knows about.

Thank God cable aired it and it became available on VHS so I could recommend it to friends. The movie is simply hilarious.

Matthau is an arrogant, cultured, vain, selfish and rich snob suddenly finding himself penniless. His only salvation is to marry a rich woman and he finds the perfect target in the introverted and socially inept heiress/botanist played by Elaine May.

Matthau, dreading this intrusion into his perfectly ordered bachelor existence, decides murder of this ditz-of-all-time is the answer to all his problems. But, that is just the beginning to a very funny and ultimately touching story.

There are some of the best written and performed comedy bits in this film that I've ever seen. Starting with William Redfield as an accountant trying to explain to a willfully uncomprehending Matthau that he's broke; James Coco as Matthau's detested uncle extorting him over breakfast; Jack Weston as May's conniving and crooked lawyer/boyfriend; Matthau proposing to May while kneeling on broken glass; the wedding with May being given away by a blubbering Weston; the Honeymoon and the toga nightgown; May's disasterous household of thieving servants; and so on.

Special mention must go to George Rose who plays Matthau's valet and all-purpose manservant. He is superb in his dry, clipped delivery while conveying the man's undelying wisdom and empathy.

Okay, the ending may seem tacked on or otherwise not perfect but you can say that about The Producers, Blazing Saddles, and quite a few other classic comedies. I won't take so much as 1/2 star off for that. This is a Classic American comedy and should be seen by everyone. Don't miss it. And please, someone, preserve it forever by putting it on DVD!

I'm very pleased to see a flurry of 'new'/er reviews of this film. I only hope the DVD gods take notice!!

10 out of 10 people found the following comment useful :-

WHY is this film NOT on DVD!!!???, 16 May 2005

9/10

Author: jim6263 from So.California, USA

I'll not recount the story, as others have. The lack of response and proper public recognition for this film my be due to Elaine May's very dry wit and wry sense of humor, which, I think, simply sailed over the heads of many viewers. And it's truly most unfortunate, as this is a VERY funny film (for those who are perceptive and appreciate the subtler and darker shades of humor and life)! To the dude who rated it a "1" (on IMDb): "A New Leaf" was nominated for 2 Golden Globes (Comedy -Best Picture and Best Actress) and for the WGA's (the industry's official Writer's Guild -i.e., her peers, other screenwriters) writing award for best comedy (from another medium) that year. No offense, but I value my own (and their) sensibilities a bit more than yours! And it's impeccably acted, as others have mentioned, filled with flawless comedic timing and wry, wry wit. Simply wonderful.

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This wonderful, laugh-out-loud comedy stars Walter Matthau as Henry, a witheringly sarcastic playboy who suddenly finds he has spent his entire fortune. In order to maintain his current lifestyle, he decides to marry someone-anyone-who is wealthy, which is a problem, as he basically hates women. Henrietta (Elaine May), his chosen target, is a very rich, but socially awkward-in-the-extreme botanist, whose life's dream is to discover a new form of fern. Henry woos and wins her, then decides to dispatch her on their honeymoon.

This largely overlooked comedy is a coup for writer/director/star Elaine May. The script is fast-paced, witty, and (most important for a comedy) truly funny and the characters, while outrageous, still ring true. Matthau's acid-tongued Henry is so pompous and snooty, you can't wait to hear what he's going to say next. May's performance as the innocent heiress is touching as well as hysterical. The twist at the end will leave you very satisfied with this gem of a movie.

Kona

Read Best Reviews of A New Leaf (1971) Here

That Elaine May has directed herself in a film only once bids fair to become one of the mythic disappointments of film history, like the hostile neglect visited upon so much of Orson Welles' work, like the fact that "Night of the Hunter" was Charles Laughton's only film as a director, like Oliver Stone having access to film-making equipment.

The version here is not the film that May made. She attempted to no avail to have her name removed from it when the studio hijacked her 3-hour edit and decided that the cut we now have is the one that's good for us. Heresy though it may be to say so, if this version is butchery, the original must have been...the best movie ever made.

Henry Graham (Walter Matthau) is a suddenly penniless bon vivant who realizes he can perpetuate his extravagant lifestyle only by marrying, then killing, a rich woman. He sets his sights on Henrietta Lowell (Elaine May), a shy, painfully awkward, stupendously naive heiress and botanist who appears never to have enjoyed the romantic attentions of a man. This seeming pushover will prove to be, in a manner of speaking, an immovable object.

Henrietta Lowell is a comic character with no awareness that she is a comic character. From the moment she first appears onscreen (at which point Henry makes brilliantly cynical use of her klutziness to demonstrate what a terribly gallant fellow he is, instantly cementing poor Henrietta's devotion) until the final frames, she thinks she's living in a love story, a fairy tale, not a black comedy. Her innocence, which seems so to endanger her, will actually be her salvation. And Henry's too.

May's remarkably well-polished script builds from the ground up a world, its denizens, and the humor inherent in both. For instance: The improbably frequent, seemingly endless repetition of the phrase "Carbon on the valves" is just plain funny but also sketches, first, Henry's chronic negligence and then, when the lament is repeated by a fellow playboy, a whole subculture of "Henrys". Or: Henry's snobbish reference to Mouton Rothschild (the '55 is CLEARLY superior to the '53) prompts Henrietta to offer, ever so helpfully, that with Mogen David "every year is good". Very funny, but also nuanced; the exchange speaks volumes about each. Dodi Heinrich, the odd little flower girl at the wedding, is pure visual one-liner, but to Henry is a terrifying doppelganger of Henrietta come to torment the hysterical groom.

At the end, the viewer is just as startled as Henry to hear a contrite Henrietta say, "Henry...I know...that this isn't exactly what you planned...But would you mind doing it...very much?"

Maybe... just maybe... (writer Elaine May finally, teasingly suggests), Henrietta isn't as myopic as she seems. Having suddenly excavated this curious notion, May just as quickly buries it.

Want A New Leaf (1971) Discount?

And what would this new life be for this small plastic encased fern of comic genius A Restored Director's Cut DVD!

Otherwise what else can be said that has not already been voiced by all who have reviewed this absolute "True Classic" of cinematic satirical comedy. Walter Mathau is brilliant and I agree with all who feel that it is probably his greatest comedic performance. It is unfortunate that it was and still seems to be a sleeper in the film world. The fact that it is not in the top 100 of the funniest comedies of all time confirms this oversight.

But a greater oversight would be to continue to ignore this bit of celluoid genius by not preserving it in a beautiful DVD restoration of Elaine Mays original Director's cut.

Perhaps if enough "film buffs in the know" spoke out this would happen.....if only!

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Plain Clothes (1988)

Plain ClothesI discovered this movie on cable quite by accident about 25 years ago and fell in love with it. The quirky screenplay by Scott Frank ('Get Shorty', 'Little Man Tate') under the skilled and well-thought-out direction of Martha Coolidge ('Real Genius', 'Valley Girl') made for a tight, yet low-key and funny-as-all-get-out movie that stands head and shoulders above a lot of the other films of its day that seemed somehow to garner more unwarranted attention.

The cast, ranging from relative unknowns Arliss Howard and Suzy Amis to screen legend Robert Stack, do an astounding turn in this movie, neither taking themselves too seriously, nor poking fun at the source material. As Martha Coolidge says about the film in her commentary, 'it's a good, fun romp!' It's sad that this got lost in the shuffle during its theatrical release, but fortunately, it's now on Blu-Ray and DVD.

The transfer is very good (full-screen, unfortunately, but a very good one), the sound and picture are rich and full, and the only other things I would've liked for this disc to have would be either the 'director's cut' or at least some deleted scenes (which Ms Coolidge talks about in great detail), and an isolated soundtrack to hear the songs performed by The Knack. Beggars cannot be choosers, especially ones as lucky to have a little-known film get not only a digital release, but also an insightful director's commentary, so please don't take that as a complaint. This release could've had ~no~ bonus features and I would still own it on Blu-Ray.

Do yourself a favour and take a trip back to a better time. It's well worth it.

This was a simple but funny movie that we had on VHS tape recorded off TV. We have been looking for it for years and were pleased to find it on Amazon.

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The Blind Swordsman: Zatoichi

The Blind Swordsman: ZatoichiKitano's remake of the popular 1960's "Zatoichi-the Blind Swordsman" series (there were probably over two dozen of the original series) takes big risks but largely succeeds. Kitano is a darker, more sinister Zatoichi, and the action is a lot more Tarantino-esque. The sword action is first class but extremely violent, unlike the original series which, like the vintage Westerns, were mostly bloodless affairs. Blood squirts everywhere on the scale of "Kill Bill."

This is not the 1960s Zatoichi, who was a more light-hearted character who often avoided conflict and was even prepared to play a buffoon to avoid violence. Not so here Kitano stalks his prey relentlessly, like the former Yakusa he was. There is a very adult story spliced in here about the two gisha runaways (one is not who s(he) appears to be) so forget about pre-teens watching this one. Unlike many Samurai period pieces, there is a plot here which is serious and sad.

The unexpected bonus to this movie is the excellent musical soundtrack consisting of Taiko drumming and dancing, well worth cranking up on a home theater system. Peasants threshing rice beat out a syncopated background to a scene, and there is a big Taiko musical send up (not too different from some of the 1960s Zatochi musical numbers) at the end.

OK, let me get this straight: the disc comes with a documentary where the director of photography EXPLICITLY details how and why the director agreed to go with a desaturated color palette for this film. Unfortunately for him, the American version of this disc simply chose to ignore their wishes, saturating the color to make the film look "normal" for American audiences (since we are a bunch of neophytes who could not understand that the color was desaturated on purpose). Joe six-pack apparently also wants films that have been oversharpened, distorting the original film look. This, and not providing us with a high quality version of the original Japanese soundtrack (naturally that is reserved for the dubbed English version, since, again, American audiences cannot bother to read subtitles or care about hearing the original language of the film) make this version of the film on Blu-Ray a slap to the face of any discerning film lover.

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Blending period drama, Shogun Assassin-style ultra-violence, comedy and Stomp-esque musical interludes, Takeshi Kitano's "Zatoichi" is probably the most audacious film to have come out of Japan so far this decade. Kitano a former comedian who divides his time between gameshow appearances and producing violent gangster flicks plays the eponymous hero, a blind but deadly samurai who gets off on gambling, chopping wood and putting wrongs to right. It's a masterful turn, and one that Kitano clearly relishes, twitching and chuckling to himself before dispatching enemies with a blink-and-you'll-miss-it flash of his blade.

The plot centres around Zatoichi's battle against the local yakuza and their formidable samurai-for-hire (Ichi the Killer's Tadonabu Asano). There are showdowns aplenty and, when they do come, they're nothing if not spectacular. Digitally-enhanced, cartoony and extremely violent (think: severed limbs and gallons of blood aplenty), the fights are likely to polarise audiences almost as much as the film's climactic, er, tapdance sequence.

In between, we get a revenge drama involving a cross-dressing geisha, a wannabe samurai who charges around wearing little but armour and what looks like a nappy, slapstick galore and numerous musical interludes. In a similar vein to Lars von Trier's Dancer in the Dark, Kitano draws his soundtrack from ambient noises as Zatoichi wanders, sightless, through the fields, the sounds of workers' hoes builds up into a natural rhythm. It's a cute effect, and one that's deftly employed here, compounding the sense that Zatoichi though blind is catching something that everyone around him misses.

What impresses most is how Kitano manages to draw such unlikely elements together and, moreover, make them work so well. I can think of few directors capable of flitting from slapstick to bloodbath, or domestic tragedy to musical setpiece, as convincingly or effortlessly. Even the aforementioned tapdance number, and a lengthy flashback/musical piece midway through, make a curious kind of sense on a second viewing.

Being a Japanese-language film, this one will inevitably get only a limited audience. Those who do make the effort, however, are in for a treat. It wouldn't be overstating the case to say that you've never seen anything quite like this before.

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ok, to be honest, i have not yet watched Zatoichi. i'm not here to review that. judging by the reviews of the others on here, you can see that you either love it or hate it. i'm here to recommend SONATINE.

people seem to overlook Sonatine. to be honest, that was the reason i bought this DVD. Sonatine was previously not available on DVD, and you could only get it in a full screen VHS. now it's here in all it's glory. don't expect a crazy action movie like Zatoichi, Sonatine is more akin to Hana-Bi (aka Fireworks). very slow paced, but still very good. this double feature is worth it just for Sonatine.

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This is the type of Beat Takeshi film I have been yearning to see for a decade. It is a Japanese period film stylistically similiar to Kurosawa's Yojimbo and Sanjuro. Takeshi however has modernized the genre with the utmost taste and care. The music, the acting, the swordfights, the tap dances, the camerawork, the plot, the computerwork... all utterly amazing. Takeshi set out to make a "Big Screen" work to entertain the masses and he has far surpassed any expectations.

I cannot believe this hasn't exploded onto the big screen in America. This movie can be enjoyed on a number of different levels by an extremely wide audience.

If you haven't seen this movie go out and rent it, you will not be disappointed.

Godon Sensei would be Proud!

Killers (2010)

KillersFrom my wife Sarah: An unsuspecting, nerdy and innocent but beautiful character played by Katherine Heigl and a government hit man played by Ashton Kutcher fall in love. Kutcher's character gives up the spy life to marry a woman he can trust, choosing a normal but blissful suburbian life. That is until Kutcher's handler tries to reactivate him three years later. Chaos insues in this fun and charming movie.

There are enough holes in the story to strain spagetti. If you try to think about it logically for even a moment you'll feel morally bound to hate this movie. Yet it was very entertaining. There was definitely some magic between Heigl and Kutcher, and though much of this movie was unbelievable, their relationship wasn't. Add to that some really good humor, action, a desperate situation, and the charisma, magnetism and attractiveness of the stars, and you've got a fun comedy/love story.

Catherine O'Hara can pretty much do no wrong in my book, and she was hilarious as Heigl's lush of a mom. Tom Selleck was great as her dad.

We were entertained all the way through, and found watching this movie to be a great way to relax and pass some time. I would certainly recommend this movie if that's something you're looking for.

I watched it last night..twice. Lets just get the basic BAD's over with.

Catherine O'Hara playing the drunk mom...yet again...Just like she did in Orange County. BUT..She pulls it off and is funny doing it. So it's not so bad.

Yes, it can be said it is similar to Mr and Mrs Smith. But in this story, only HE is the ex-hitman and she actually ends up doing pretty well (bumbling the whole way) but still keeps up with him, staying alive.

That's about all that I felt was bad.

Who is upset that they got to see Katherine Heigl in lingerie? Or girls, you got to see Ashton not only in swimwear, doing action scenes and he played a guy that no matter what, he just kept trying to do the right thing for his wife? His character is a GOOD guy.

Cameo's by supporting cast/comedians was a nice change of pace.

Deleted scenes, Extended scenes, Alternate scenes, Behind the scenes and a Gag reel Are not bad. There was enough there to feel I spent my $$ ok and wasn't shorted much like many other Bluray films these days.

I feel the 3 star reviews and lower are just not fair.

4 stars in my review.

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If you keep in mind that this film is just a lighthearted romance spiced with a few cheap kills, you'll be fine with it. I noticed that someone compared it to North by Northwest. This film is actually more screwball comedy than a spy thriller. So, if you're seeking gritty espionage, stick with Jason Bourne. If you just want a few laughs without having to think too hard, you might just like Killers. It's a spy spoof -have some fun with it. My biggest disappointment was that in the last ten minutes of the film, the heroine had to throw out the F word. Catherine O'Hara and Tom Selleck were fun, and Ashton Kutcher and Katherine Heigl were cute. I enjoyed it.

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If you've been married even for just a few years, get this movie. I've always liked the gal from Grey's Anatomy and never liked the guy from that 70's show. I have to tell you, he was fantastic, imo, in this movie. I didn't know he had it in him. The banter is so real between them. Sure I figured out the ending, but I do that a lot and the movie was so much fun, I didn't care. One poster said don't have a lot of expectations. I warned my wife and then we watched it. We've been married for over 31 years and I'm telling you, it was like watching ourselves years ago. We laughed and laughed at this movie. Very entertaining. The action is just right. The plot was just right. For once the trailers don't give it away and you can thoroughly sit back and enjoy! One that will be fun to watch again.

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This is a cute movie. My husband and I are so tired of the trash they call movies. These two are so cute. I realize he is a hit man gone good, then back again. But they do it so tastefully we both loved it. the only cursing is in the last scene, and tollerable.

I hope they make more movies together!!

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Do the Right Thing (Blu-ray + DVD) (1989)

Do the Right ThingIn only his third film, Spike Lee created a classic that is both socially relevant and artistically accomplished. By focusing the actions at one location in one day, this film reminds us that race relation cannot be improved if we don't improve the way each one of us interacts with everyone else. The film's finale is notable for its echos of real events that occurred not long before the film was made, and its prescience of events to follow. It is an unforgettable movie scene that shows how intolerance can victimize everyone. Nevertheless, the apocalyptic vision of the final scene did not sit well with some critics. Is it a call to end violence or to start violence, they asked. In the film Lee seems to say there are no easy answers.

Somewhat overlooked is the fact that the film also makes keen observations of lives of American black underclass, especially in the portrayals of the "cornermen". Their exchanges are as amusing as they are trenchant in commenting the state of affairs of lower-class blacks. And through them, Lee takes the uncompromising position that sometimes the underprivileged can also be victims of their own mentalities.

Also, Lee subtlely shows the many faces of racial intolerance. While Sal's son Pino overtly hates blacks, and Buggin' Out is overtly intolerant of whites, but is the attitude of Sal himself really conducive towards racial harmony? Does he have a desire to get to know his neighbors, or does he simply want to "have no trouble with these people", as he puts it? By leaving this aspect ambiguous, Lee makes us think just what IS the right thing to do...

Despite all the criticisms against him, I believe Lee tackled the difficult subject as intelligently as any director could have done.

The Criterion DVD contains most of the supplements in the Criterion laserdisc released in 1995 -audio commentaries, cast meetings and screen tests, 'Making Of' documentary. New supplements include Lee's press conference at the '89 Cannes festival, video interview with editor Barry Brown, "Fight the Power" music video, and a video segment showing the filmmakers re-visiting the Bed-Stuy neighborhood.

The DVD's video quality is characterized by deep, rich, saturated colors which cinamatographer Ernst Dickerson so brilliantly captured in order to create a feeling of overwhelming heat (literally and figuratively). There is a Dolby Digital 2.0 audio track (Prologic-decodable to surround), and a PCM stereo track that actually sounds brighter and crisper than the DD track.

Spike Lee's 1989 film Do The Right Thing is among a handful of films that rise above the level of actual entertainment. It is thought-provoking, educational study of race relations. The film takes place during one extremely hot day in the Bedford-Stuyvesant section of Brooklyn. The neighborhood is predominately black, but the film centers around a pizzeria owned by Sal (Danny Aiello) who is white. All of Sal's customers are the black, but on his wall he has pictures of white film and music stars. This is a source of irritation to some customers, especially the radically minded Buggin' Out (Giancarlo Esposito). But Sal refuses to change and he goes about his business. Sal's two sons, Pino (John Turturro) and Vito (Richard Edson) also work at the pizzeria as does Mookie (Mr. Lee) who is Sal's delivery boy. Pino is highly bigoted and isn't afraid to let his opinions be know, while Vito is more sensitive and adverse to confrontation. Real life husband and wife Ossie Davis & Ruby Dee appear as the neighborhood elders, Da Mayor & Mother Sister who are constantly trading humorous barbs at one another while dispensing advice to the locals. Other interesting characters such as Radio Raheem, Sweet Dick Willie & DJ Mister Senor Love Daddy are featured throughout the film. Mr. Lee does a brilliant job of conveying the extreme heat that has overtaken the neighborhood. You can almost feel the heat while watching the film. Tensions also slowly rise through the film until the climatic riot scene where Sal's pizzeria is burned down, started by Mookie throwing a garbage can through the window. This is particularly devastating to Sal as he genuinely cared for Mookie and can't believe Mookie would do this to him. Mr. Lee's message in the film is that one doesn't know exactly what the right thing is. He illustrates this by the messages of Martin Luther King, Jr. and Malcolm X. Dr. King was for a peaceful solution to racism while Malcolm X said to fight for equality by any means necessary. Is passively sitting back right or is violence right? Mr. Lee never answers the question, which is exactly his point. Do The Right Thing was shunned at the 1989 Academy Awards garnering only a nomination for Mr. Aiello (which was richly deserved) in the Best Supporting Actor category. Ironically the film that won Best Picture was Driving Miss Daisy which was the stereotypical Hollywood portrayal of blacks as subservient workers and the type of film that Mr. Lee's pictures were the antithesis of. All in all, Do The Right Thing is a brilliant movie and one that deserves all the accolades that it received.

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I remember a female friend of mine telling me she watched this film, and at the end stood up crying and yelling, "stop fighting! " This movie provokes you in that way. That Spike Lee managed to get these severe reactions from his actors even the ones opposed to him onscreen is brilliant. I doubt anybody in the cast completely agreed with his final product, but that is what makes this movie so moving. I wish other directors/producers would have the guts to tackle any subject as faithfully as Lee has here. I have followed John Turturro's career since "Do the Right Thing", and I'm barely able after all this time to forgive him for some of the things he says in this movie. Yes, it's only a movie. And Spike Lee is only a genius. To my friend who shouted in the theater, I can only say I wish this movie didn't have to be made.

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In all likelihood Spike Lee's most important achievement as director, writer and actor (though to my taste Mo' Better Blues is just as good a picture) and one of the strongest films you'll see about race relations, `Do The Right Thing' looks dated at times, but it lost none of its impact and relevance. The movie takes place in a particularly hot day in a primarily African-American neighborhood in Brooklyn, and follows the various personalities who live there throughout the day; the center of the story is Sal's Famous Pizzeria its owners, some of the few white people living in the neighborhood: Sal (Oscar nominated performance for Danny Aiello) and his two sons (John Torturro and Richard Edson), and Mookie (Spike Lee himself), the black delivery boy. What starts out as a light, entertaining movie with some amusing characters and light humor, gradually builds up tension to the point of being unbearable, up to the dramatic and tragic climax. Spike doesn't put as much emphasis on the characters themselves as he does on the relationships and the tension between them; and in this image of a very specific and small frame in time and place, makes a strong and important message about racism and race relations in general.

The film is populated with many different characters, all of them very memorable and each one a representative of a certain belief, mode of behavior or state of mind on both sides of the conflict. From the uninhibited anger of Buggin Out (Giancarlo Esposito) and Radio Raheem (Bill Nunn) on one side and Pino (John Torturro) on the other side, to Jade (Joie Lee, Spike's sister in the film and in real life) and Vito (Richard Edson), who are trying to connect and live at peace with the other side, to Da Mayor (Ossie Davis), in his isolated but peaceful state of mind, living in complete peace with the world around him, and Smiley (Roger Smith), living in his own isolated existence. Then there's Mookie, who is stuck in the middle, torn between his commitment and responsibilities to both sides. Finally we have Mister Senor Love Daddy played gorgeously by the one and only Samuel L. Jackson, in one of his finest performances half active character and half all-knowing narrator who represents the voice of reason in the conflict, the reason which is bound, ultimately, to collapse. Each and every character plays an important part in the climatic and dramatic conflict to which the movie builds up, and though it's the radical ones Buggin Out and Radio Raheem who trigger the events that cause the tragedy, they are not necessarily the ones who finish it. It is Mookie and Sal, in fact, who ultimately play the main part.

Do The Right Thing is not an easy watch; it's a mesmerizing, tense, difficult film that breaks many taboos and slaughters many holy cows. But in the end of it hopefully you'll be wiser than you were in the beginning, and that's what Lee have always tried to achieve in all his films. Watch it to get a real view on racism that doesn't duck the difficult issues and isn't afraid to tackle the real problem, and to see a master director at work. It's one of the best films of its time.

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The first time I've seen Spike Lee's "Do the Right Thing" was at the theater and the movie refused to leave my mind for about several weeks. It just kept replaying itself constantly in my mind of the events and the turn a bouts of the story. The writing is so sharp and the movie is hilarious as well as the only movie to make Roger Ebert cry.

Deceptively open and simple in its presentation, this is one of the most complex and layered movies about human relationships that I have ever seen during that time. This movie is every bit as compound as its subject matter. I disagree with those who characterize the film as "preachy." Quite to the contrary, I think the genius of the film is precisely in the fact that Spike does not tell the viewer what to think he just compels you to think.

Spike spends most of the movie setting up his characters and their situations, some are comedic, some are dramatic, and some are both. The acting is naturally great, with John Turturro, Danny Aiello, and Spike himself standing out as the best played and most interesting characters. The movie looks very much "of the 80's" as far as fashion and things like that go but that doesn't take any power away from the movie. But the biggest question people seem to have after they have watched this movie is about doing the right thing and whether or not Mookie did it. Spike always only says that he's never been asked that question by a person of color. However my feeling on the matter is this: Did Mookie do the right thing? No. Did Sal do the right thing? No. From the time that Radio Raheem comes into Sal's at the end, not one person does the right thing. Not Mookie, Sal, Radio, Buggin Out, the cops, or whoever. Everything horrible that happens could have been avoided if one person had done the right thing, and yet nobody does.

I think that's why the movie stuck with me. Most movies would show everyone (or just the "hero") doing the right thing and everything turning out happily, but that's not what usually happens in reality. Too often people give in to their worst instincts. In here we have New York explodes over a seemingly little incident because racial tensions are always just below the surface. This film is truly a work of art and out all Of the Spike Lee movies I've seen this is one of his finest. "Do the Right Thing" is one of the signatures of an American classic.

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Fast Times at Ridgemont High (Blu-ray + DVD) (1982)

Fast Times at Ridgemont High"Fast Times at Ridgemont High" Is a strong contender for the best teen movie from the eighties.

The case for the movie is easy to make: It is written by Cameron Crowe, who wrote Jerry Maguire, Say Anything, and Almost Famous. It is beautifully filmed and directed. (Director is Amy Heckerling, who apart from being awefully cute has made such wonderful movies as Clueless.) It is funny and real. And it has a magnificent cast of young actors who where unknowns then.

The surfer/stoner is famously played by Sean Penn in one of his first roles, and he is awesome. Jennifer Jason Leigh is perfect as the young innocent fifteen-year-old. (Amazingly she was about 20 when she played it, but you'd never know it.)

And Phoebe Cates... As Amy Heckerling says in a featurette: The boys just loves Phoebe... the rental cassettes always track a lot around the place where she takes off her top, they've been freeze-framed so much..." Which is as good a reason as any to get the DVD version, they slow-mo and freeze-frame a lot better... But seriously, Phoebe is a wonderful actress who has been woefully underused by Hollywood. And she is also just stunningly cute to boot. Even if this film had nothing else going for it, get it for her. (She is also excellent in the later film Princess Caraboo, and she is buck nude in the light "Paradise", which I hope they will put on DVD soon.)

Eolake

I can't believe the director of this movie keeps standing for the out and out censorship of this! It's (at least) the third release of it on DVD, and this latest (Nov. 2004) try is still a dud. The big problem remains the scenes which they only include in the cable TV versions of this, but keep cutting from the DVD. Why the heck do they?

One of the missing scenes is a very cool safe sex/birth control scene in the mall, for instance. Fast Times sticks out as one of the very rare films that this odd censorship has been performed on. In fact, out of thousands of releases since DVDs started in 1995, this is almost the only one this has ever happened to!

So again we can only ask why? WHY?

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One of the classic high school movies, Fast Times spawned a slew of teenage talent on the big screen, but no one was more memorable in this movie than Sean Penn as Spicoli. Amy Heckerling cuts out a slice of Southern Californian life from a San Bernardino high school that shows both honor students and misfits alike. While the signature moments belonged to Spicoli, there were many other great scenes such as the ongoing burger war in which Judge Reinhold finds himself on the short end of the spatula. Meanwhile his little sis, a seemingly innocent Jennifer Jason Leigh, experiments with dating and sex with an amusing pair of misfits, Brian Backer and Robert Romanus. Phoebe Cates tries to set her young prodigy straight but to no avail. Forest Whitaker even has a significant moment in this movie as the bruising defensive lineman who takes out the destruction of his prized car on the opposing team. Little did he know that Spicoli had a hand in it. But, it is the hilarious relationship between Spicoli and Mr. Hand (Ray Walston) that steals the show. Fast Times may appear a bit dated, but it hasn't lost any of its humor.

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Fast Times At Ridgemont High is Cameron Crowe's first foray into the movie industry. He started out (as chronicled in Almost Famous) as a teenage reporter for Rolling Stone. After he left the magazine, he posed as a high schooler in a Southern California high school. The result was a book that was turned into this movie. Mr. Crowe wrote the screenplay and Amy Heckerling directed. The movie follows several different students and is one of the funniest movies ever made. Sean Penn stars as the stoner surfer Jeff Spicoli who only goal in life is to find some tasty waves and keep a cool buzz. His history professor, Mr. Hand (played with menacing glee by the late Ray Walston), provides an adversary for Spicoli to go up against. Judge Reinhold & Jennifer Jason-Leigh play brother & sister, Brad & Stacy. Brad is a senior who seems to have it all, cool car, good job at a burger joint and a perfect girlfriend. All of this collapses on him as his girlfriend breaks up with him, he's fired from his job and is forced to work a couple of embarrassing jobs. Stacy is a freshman and works at a pizza place in the mall (which is the center of alot of activity in the film) with the world wise Linda (played by Phoebe Cates). Linda is constantly giving advice to the naive Stacy. She meets an older guy and in one of the more poignant moments in the film, loses her virginity to him in a baseball dugout. Mark Ratner works at the movie theater in the mall and has a crush on Stacy. His friend, Mike Damone (played by Robert Romanus) is a hustler who scalps tickets to concerts and he, like Linda to Stacy, gives advice to "Rat". Stacy and Rat eventual go out, but Damone ends up sleeping with Stacy. A whole mess ensues, but in the end, every one makes up. The movie was a springboard to the careers of Mr. Penn, Ms. Cates, Ms. Leigh and Mr. Reinhold and is riff with future stars in small roles including Nicholas Cage, Anthony Edwards, Eric Stoltz & Forrest Whitaker. The movie has a great soundtrack and is a perfect snapshot of the fashions, trends and lives of teenagers in the early 80's. But throw away the different hairstyles, clothes, slang and music, the situations that the kids get into are the same for any generation and we can all relate.

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While the film itself is a bona fide classic, and the transfer is crisp and clear, this DVD production is sorely lacking. The extras are slim, and the bonus soundtrack featuring commentary from directory Amy Heckerling and writer Cameron Crowe is unenlightening. The original trailer (showing how the studio sold the film to audiences), and the documentary (including contemporary interviews with several of the players) are nice bonuses.

Like other seminal teen films (e.g., American Grafitti), so many imitations sprouted in their wake, it's hard to remember the ground that was broken with the original releases. But this was a truly groundbreaking film in its attitude and perspective on high school life. Crowe's undercover study yielded a dead-on portrait, and Heckerling's direction makes the most of it.

As a DVD production, though, the enhancements are disappointing. The additional soundtrack, featuring the director and writer in conversation is incredibly insipid, repetitive and sycophantic. 90% of it is taken up with Heckerling complimenting Crowe, Crowe complimenting Heckerling, and Heckerling and Crowe drooling over Sean Pean. Very little of it concerns the actual filmmaking, and, surprisingly, given the lucidity with which Heckerling and Crowe are able to commit their thoughts to film, they shed very little light on the film itself.

Even more maddening is that Heckerling and Crowe often speak of alternate takes and extra footage included in the TV version of the film, yet none of it is included on the DVD.

Move: 5 stars. DVD production: 2 stars.

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Wimbledon

WimbledonA bunch of people have said that Wimbledon was 'too predictable.' Well, it's a romantic comedy. Of course it's predictable: boy meets girl, they fall in love, trouble pursues, they get together in the end.

The point of seeing a love story is to see HOW all this happens. Wimbledon does a great job coming up with an original plot (love and tennis) while presenting the story in a way that draws in the audience. You really care about the characters. Kirsten Dunst, especially, creates a wonderful portrayal of Lizzie Bradbury. Lizzie is a very bold, driven, somewhat selfish character, but Dunst makes her lovable. And Bettany (Peter) plays off Dunst's performance incredibly well.

I love this movie. It's incredibly sweet, and funny without the groaning and eye-rolling junk. It is an amazingly well-directed, well-casted, and all around well-done movie that immediately made it to the top of my favorites list.

Peter Colt is a moderately successful tennis star facing the end of his career although he's only 32 years old. All he has to look forward to in life is a job giving tennis lessons to flirtatious middle aged women and fights between his argumentative parents who he still lives with. Then he stumbles into the life of young Lizzie Bradbury, a rising American star on the tennis scene. Lizzie gives him the motivation to shoot for the top, but the only trouble is that she finds any romantic involvement detracts from her own ability to play the game.

This is essentially a romantic comedy, but it is also a story about a meeting between an aging, slightly cynical British man and a motivated, optimistic young woman. It's unique to see a confident woman taking a leadership role in a film of this genre, where traditionally the male lead strong arms the woman into realizing that they are made for each other. Kirsten Dunst plays the role with great vigour even though she has admitted in interviews that she naturally has a shier disposition than that of her character. It's an amusing coincidence that Dunst is routing for a character named Peter again following on from the triumphantly successful Spiderman films. And doubly coincidental that Peter's primary opponent is a character named Jake after the actress' recent sad break up with actor Jake Gyllenhaal. This film's soundtrack features two beautiful songs "Caught in a Moment" and "Sometimes" by the fantastically talented Sugababes. It's to the film's credit that by the end most people in the audience felt sufficient emotional involvement to care who won the big tennis match. Wimbledon is an enjoyable movie that only occasionally goes over the top.

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This movie combines all my favorite film features: sports, romantic comedy, and beautiful filmography. The tennis action is sensational, with brilliant camera angles (e.g., viewing a volley from the ball's perspective). The romance is sweet and touching. The English ambience is eternally appealing. And the movie is just plain funny.

I watched it once, and wanted to walk right back in to watch it again. It was quite enjoyable.

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For me, there's nothing like a good romantic comedy, and when the story is set in the sports world, my interest level can be counted on to double. This one has a tennis theme, so naturally I checked it out as soon as it became available on DVD.

British journeyman pro Peter Colt, played in a bit of stellar casting by Brit actor Paul Bettany, has never quite made it to the top, and is now resigned to the end of a long career. He's got a wild card for Wimbledon, and plans to announce his retirement after the prestigious tournament ends. When a mistaken room assignment brings him to the suite of American star Lizzie Bradbury (Kirsten Dunst) romantic sparks fly as the repartee flows she behind the frosted shower glass, he bags in hand in the hall. It's all great fun, and we know right away this one's gonna be good.

When in a surprise, Peter wins his first match on court 17, things begin to look up for him. The romance is right on track too, as the two discuss the merits of fooling around on the night before a big match over fish and chips, no less.

For Peter, fooling around seems to have hurt his game. His second round match is a budding disaster. He's headed for defeat until who should show up but Lizzie to cheer him on. In a stunning turn of events, he plays for her and wins. A streak that continues when in round 3 Peter dispatches his best friend and practice partner Nikolaj (Dieter Prohl) despite the increasingly evident disapproval of Lizzie's driven father and coach, Dennis (Sam Neill), and the re-appearance of Peter's long absent agent Ron (Jon Favreau).

Meanwhile, Peter's dysfunctional family add really great touches of color. His feuding mother and father (Bernard Hill and Eleanor Bron)have reached the point where his father has moved to the treehouse in the back yard of the mansion, and his younger brother Carl (James McAvoy) provides comic relief as to the disgust of the bookies at the betting shop he bets against his brother("He's been on such a good losing streak.").

All told, Wimbledon is a light-hearted love story with a strong sports angle filled with great one-liners and several nice little plot threads that add up to an outstanding whole. I really loved it. I think it's the best sports-theme film to come along since "For Love of the Game."

Art Tirrell is the author of "The Secret Ever Keeps."

"Simply put...the best underwater scenes I've ever read." reviewer Meg Westley

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Being a fan of British love comedies such as NOTTING HILL and LOVE ACTUALLY, when I saw the trailer for a romantic comedy set at one of my favorite places and tournaments, Wimbledon, I knew I had to see it. I really didn't know what to expect.

From the beginning of the movie, where you are given a great introduction to the tennis aspect, with heads that turn from side to side watching the game to the final match in the movie, I was captivated. As you are introduced to the unlikely Colt who is ranked 119 in the world and to Lizzy Bradbury who is seeded 2 (I think) at Wimbledon, and how they find a love for one another, you are captivated in a combination of a classic love story, and the excitement of the sport of tennis.

Being a tennis player myself, I especially enjoyed the matches in the movie. They were very well filmed, and presented the tournament well. They way they filmed the points that the players played was very well done because it helped you to get more into the matches.

Although sometimes predictable, this movie is a must see, especially for tennis players. Some friends have told me that it is hard to keep track of the score if you don't play tennis, but I think its pretty obvious who is winning when. Overall, this is a movie that I definetly recommend to everyone! Go see it!

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French Kiss (1995)

French KissSometimes a romantic comedy comes along that pulls at so many strings and is appealing on so many levels that you have to watch it at least once or twice a year...this movie happens to be one of those special treats.

Paris becomes her own character in this beautiful comedy filled with the romance of a great city all under the watch of the sparkling Eiffel. This movie is directed by Lawrence Kasdan and he works the film around beautiful scenic French views leaving viewer's that love Paris breathless and begging for more. The storyline is humorous and the actors perfectly cast in roles that they seem natural at playing. The film is effortless to watch and that must be why it draws me in year after year.

Meg Ryan plays a woman engaged to Timothy Hutton in a boring and predictable little relationship. Things change drastically when Hutton goes to Paris on business and leaves Ryan at home because she is afraid to fly. But there is nothing like an old jealous heart to overcome such a silly phobia and Ryan finds herself on a plane to Paris to save her man from the arms of a beautiful young Parisian. Aboard the plane she meets Kevin Kline, who represents all things stereotypically French! Ryan is always perfect as the girl next door who stumbles about trying to stay in love. She is cute and perky as usual. Hutton is staid and serious until he is seduced by a vibrant and passionate French woman and begins his mid-life crisis falling for the belief that this seductress wants him and not his salary. Kline is convincingly French, with his wild haired and open minded talk, his always present dismissing pout and his passion for life. The fun begins as the plane lands in Paris and it never ends.

If you love France this film will romance you many times over. The cast is great together and the romantic comedy great for the heart. From the most romantic city in the world Kasdan gives us a new reason to dance and a desire to kiss as the French do!

I have loved this movie for some time, and just saw it again. It's entertaining, sweet, and plain old fun.

It maybe isn't the most realistic, but for romantic escapism, it's tops. Kevin Klein is great here, as usual, and believable as a Frenchman thief who finds his heart stolen by a whimsical, befuddled woman (Meg Ryan).

I'm not a big Meg Ryan fan, but she's wonderful in this piece, and makes a remarkable transformation on screen from horrified, squeaky girl to remarkable and capable woman. Klein undergoes a similar softening transformation. It's a subtle and gradual change for both, and the effectiveness and tightness of the screenplay and dialog contribute to a wonderfully-entertaining overall product that I can watch over and over again.

The pacing is great and the supporting characters (particularly the concierge at the hotel) are wonderful and help contribute to the fun.

I had a copy, but a friend "borrowed" it indefinitely. Now that's a sincere endorsement.

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Romantic comedies need that perfect couple. Once you've got Meg Ryan, you're more than halfway there. Kevin Kline steps up to the plate here, with enchanting results.

Kline's stereotypical Frenchman (Luc) is as convincing (that accent!) as he is funny. His uber-casual, morally lax attitude is well complemented by Ryan's uptight, loquacious American/wannabe-Canadian (Kate). The movie rolls along at a merry pace from Canada to Paris to Nice and Provence, all with distinctive, eclectic music. The locations are beautiful and serve nicely as foils for the wacky partnership of Luc and Kate, as do the songs (in French and English). Check out the end credits when Kevin Kline sings "La Mer."

The chemistry between Luc and Kate works like it does in screwball comedies a lot of bickering sexual tension but somehow the best and most revealing scenes are the ones where there is no dialogue (Luc and his vine, lost in Paris, train to Nice, Luc's family, dancing). The script is a little lacking, but Ryan and Kline are charming during these quiet moments.

As you can imagine, with all this dualism of French and English, there is a lot of national humor but I think the best summary of the movie is when Kate, who has lost everything (money, love, passport), wisely realizes, "I am without country." Of course, she means this literally, but that wistfulness conveys more. The differences between nationalities become irrelevant when it's really about fulfillment and dreams, which aren't bound by country lines.

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We've seen it before (When Harry Met Sally, Sleepless In Seattle) and since (You Have Mail), but Meg Ryan is indisputably The Right One for this cutesy-yet-not-too-slushy romantic comedy lark.

Aviophobic bride-to-be Kate (Ryan) is enthusiastically preparing for the lavish wedding when her fiancé flies off to Paris on a medical conference ... only to 'phone-in a few days later with the startling announcement that Kate should cease wedding arrangements forthwith as ... he has fallen in love with a Frenchwoman. Disbelievingly, Kate faces her mortal fear of flying to get to Paris and shake him out of his infatuation. On the aeroplane she sits next to petty thief Luc Teyssier (Kevin Kline Gérard Dépardieu declined the rôle). Exchanging stereotypical national dislikes, it is hate at first sight.

Or is it ...? Ryan is ever-cuddly and ever-so-slightly-ditzy, whilst Kline is perfectly-accented and stubbled, oozing a pretty darn convincing Gallic charm. Kate's rebuttals by the Georges Cinq's stoic Concièrge she puts down 100 Francs as a bribe; he simply takes it are a treat. And so is her animated air-fighting following the theft of her luggage "Oh man ... ma stuff, man ..." Almost as a fil rouge, Kate's wanderings through the City of Light include constantly not seeing the Eiffel Tower ... until she is on a train leaving Paris. Kate's earlier opinion of loser Luc turns via promiscuous rascal to grudging respect upon discovering that he is, in fact, a Man With A Plan, from a background in fine wine; that moment is quite poignant ... Hovering in the background is avuncular detective-sergeant Jean (Léon) Réno who is aware of Luc's family history as well as his current jewellery-smuggling, but who owes Luc a never-fully-explained life debt. It is he who actually rescues the mis-matched couple ...

Anybody who says "They don't make 'em like they used to ..." should swallow those ill-chosen words as the 1990s have produced endearing romantic comedies to counter the numerous over-the-top petroleum-jelly & mayhem Action Blockbusters. French Kiss may be a trifle formulaic, but its superbly-nostalgic soundtrack Charles Trenet's rendition of Verlaine's 'Blesse Mon Coeur' is wonderfully evocative of an autumn stroll in Paris and the fine interaction between Ryan and Kline help make this one of the more memorable and heartwarming feel-good films of the decade.

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Despite the badmouthing this film receives from various "professional" critics, one would do well to ask a Meg Ryan or a Kevin Kline fan what THEY thought of the movie. As a fan of both actors, let me say this is one of my favorite films (as in I've watched it over 20 times). I liked the comedy, the development of characters, the story, Meg's facial expressions, Kevin's French accent... You name it, I thought it all added up to an enjoyable movie!

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Bridget Jones's Diary

Bridget Jones's DiaryDissatisfied at age 32 with the direction her life is taking, a young woman vows to make some changes, and to keep herself on track she decides to start a daily journal, hoping it will make her toe the line, in "Bridget Jones's Diary," directed by Sharon Maguire and starring Renee Zellweger. Bridget (Zellweger) begins with some New Year's resolutions that include no more drinking or smoking, not being paranoid about her weight, and developing poise. And-last, but not least-to avoid any romantic attachments to alcoholics, workaholics, peeping Toms or perverts. Of course she promptly falls for the one man she knows who embodies all of those characteristics: Her boss, Daniel Cleaver (Hugh Grant). In the meantime, her mother, Pam (Gemma Jones), continues to play matchmaker for her daughter. At a holiday gathering of friends and family, Pam nudges her in the direction of an old childhood chum, Mark Darcy (Colin Firth), now a respectable attorney, and recently divorced. Their initial meeting, however, proves to be a less than monumental event, further complicated by the fact that Cleaver was Darcy's Best Man at his wedding, and has some tales-out-of-school to tell about the subsequently ill fated marriage that puts Darcy in a rather bad light. But Bridget could care less; she thinks Darcy is rude and a bore, and anyway, Daniel is her guy. Work is good, her life is going well and-as she is about to wake up and realize-she hasn't kept a single one of her resolutions. And, oh! she should have.

First time director Maguire proves with this auspicious debut that she certainly knows her territory and how to negotiate it. She has the touch and the eye for detail of a seasoned professional, and her sense of timing is impeccable. She successfully avoids a major pitfall that do in many rookie directors right out of the chute, by never fishing for the cheap, forced, disdainfully pretentious or concocted laugh. Everything in this film, especially the humor, flows freely and naturally from the circumstances of the characters and the story, which makes it all real and believable and allows it to be readily embraced by the audience. This is a funny, often hilarious movie, but it's also very warm and at times poignant, and for handling it so sensibly, and with such sensitivity, Maguire deserves to be granted even more kudos. It's quite simply an exceptionally well made film, presented with a style and grace that reflects that of the director herself.

Of course, having a superlative leading lady was certainly not disadvantageous to Maguire's efforts, either, and Renee Zellweger has never been better than she is here as Bridget. With her quirky good looks, personality and charisma, she is endearing, and she invades Meryl Streep territory by affecting a perfect British accent. Whether she's lip-syncing to a Celine Dion song, doing karaoke at an office party after having a bit too much to drink, or battling with a blender, it's easy to believe that someone would like her just the way she is. Even with her hair mussed, or in a somewhat disheveled state, she's alluring, and it all has to do with who she is deep down inside; Zellweger makes it clear that this is a woman of substance, and it's easy to like her. There's a down-to-earth honesty and accessibility about her that makes her appealing, and she's someone to whom many in the audience are easily going to be able to relate. For her portrayal of Betty in "Nurse Betty," Zellweger received a Golden Globe; "Bridget" should land her smack in the middle of Oscar territory.

As Bridget's smarmy boss, Daniel, Hugh Grant turns in a noteworthy performance, putting a rather tarnished sheen on his natural charm that works so well for this character. It's a nice departure from his usual bumbling, reserved Mr. Nice Guy routine he perfected in such films as "Notting Hill," and "Four Weddings and A Funeral." With this role he challenges Greg Kinnear's part in "Someone Like You" for the top spot in the Boss-You-Should-Never-Date category. And Firth does a memorable turn as Darcy, fairly reprising his role of the same name in the PBS miniseries, "Pride and Prejudice," from which this story is loosely derived. Initially appearing a bit sullen, he gets the chance to develop his character as the story unfolds, and he does it quite nicely, ultimately revealing Darcy's true nature.

In a supporting role, Gemma Jones gives a performance that deserves mention, doing a good job of fleshing out Bridget's mother in the brief time she is allotted. Rounding out the supporting cast are Crispin Bonham-Carter (Greg), Jim Broadbent (Colin Jones), James Callis (Tom), Sally Phillips (Shazzer), Honor Blackman (Penny), Embeth Davidtz (Natasha), Shirley Henderson (Jude) and Celia Imrie (Una). A warmly humorous, uplifting film, "Bridget Jones's Diary" is a delightful and satisfying experience with more than a touch of magic in it. Not only is it an entertaining showcase for Zellweger's many talents, but heralds the arrival of a director from whom we can expect great things in the future, Sharon Maguire. A well crafted, reality based comedy/drama that is enjoyable and refreshingly devoid of inane nonsense or gross jokes is a rare find these days, and this is one of the best to hit the screen in a long, long time. It's a film to be heartily embraced, and one I guarantee you'll want to see more than once.

Renee Zellweger does a fabulous job of portraying Bridget Jones. You would never guess that this great accent came from a Texan. At the age of 32, she is unhappy with her unmarried status, and everyone constantly throws it in her face. She is interested in her boss Daniel Cleaver, but knows he is not the type of man that she should see. When she meets Mark Darcy (a set up by her mother), they dislike each other immediately, and the fact he hates Daniel is just a bonus. The comedy that follows is just hilarious.

This is a very entertaining movie. Hugh Grant sheds his normal good guy persona to be the guy you love to hate. He is very effective in the role switch. Colin Firth is just plain loveable. This is a movie to pull out and watch again and again.

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I saw this movie, kicking and screaming, when my younger sister foisted it upon me. Thinking that it was going to be another Gen X piece of claptrap, I gritted my teeth and prepared myself for what I erroneously thought would be a waste of time. Was I ever wrong! It turned out to be a sublime cinematic experience.

Renee Zellweger is definitely the star of this film. She positively twinkles! She is absolutely marvelous in the role of Bridget Jones, our single, thirty something, English Holly-Go-Lightly. Employed as a somewhat graceless publicist, the plump and perky Bridget enters into an affair with her caddish, handsome, sexy boss, winningly played by the ever charming and debonair Hugh Grant.

Meanwhile, her mother has introduced her to an attorney, the stiff-necked Mr. Darcy, played to taciturn perfection by Colin Firth. Even though they were once childhood playmates, he and Bridget do not initially click, and it is not love at first sight, as Bridget's mother had so hoped. Bridget goes on her merry way with her boss, unaware that he is two-timing her. When she discovers his perfidy, it is too late, as she already fancies herself in love with him.

Mr. Darcy, however, re-enters the picture, and what happens is a thing of beauty to watch. The film is very funny. Rene Zellweger as a Brit is totally believable. She is so good that she would even fool the Queen into believing her to be one of the Queen's own subjects. Without a doubt, this is one of Ms. Zellweger's best roles to date, and she is positively delightful. Moreover, Sharon Maguire's directorial debut is certainly noteworthy, as she shows signs of a deft comedic touch in her direction. This is simply a terrific film. Bravo!

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I cannot rave enough about 'Bridget Jones' Diary'! It is so marvelous that finally there is a woman conveyed on film who's got a real body and has problems she's trying to control, and she can still get the man of her dreams.

Renee Zellweger does excellent as a thirty-two year old singleton who is having problems with cigarettes, alcohol, and men. Her mother is constantly trying to set her up and the latest is Mark Darcy, who has recently gotten a divorce. But Bridget has other ideas and is soon flirting with her boss (not to mention making a total fool of herself, but that's why we love Bridget!)

Nonetheless, the story is very sweet and enduring. And it is HILARIOUS! I haven't laughed this much at a movie since 'Meet the Parents'. I just loved the fact that this movie had a smart heroine who wasn't afraid to mess up and to just be herself. And it's nice to finally see Hugh Grant as a real bad guy instead of his usual roles. And I loved Colin Firth. This movie is definately a must-see! Bridget rocks!

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American Renee Zellweger did it. She made a convincing Brit. She also looked fabulous, even though she had to gain weight for the role. I loved this movie. The script was a well-done adaptation and it is very fun to watch.

I was very surprised by the performance of Hugh Grant. He typically gets cast in the romantic lead role, playing some sort of charming, bumbling idiot that you can't help but fall in love with. This movie, he actually tries something different. He still plays an idiot, but this time he's the sort of idiot you love to hate. It's a nice change. And, if there are any of you out there who hate Hugh Grant, this is the movie for you--there is a particular scene that you'll love (but I don't want to ruin it for you).

Colin Firth also does a marvelous job. His character is probably one of the most interesting in the movie (aside from Bridget herself). He progresses in a way that you don't really expect from the beginning, and it's rather nice. I love Colin Firth.

If you're in a bad mood, this is a great movie to see. It fits the romantic comedy mold, but it's good to watch even if you're not a fan of that genre. It's great fun.

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