Superhero Movie (Extended Edition) (2008)

SUPERHERO MOVIE bombed at the box office, but as a lifelong fan of the genre and movies like AIRPLANE, TOP SECRET, and NAKED GUN, I felt almost compelled to watch it. I doubt there will ever be another breakthrough spoof movie due to the fact that now there are so many of them. During the eighties and nineties, spoof movies came out every other year or so, now they come out every other month (Scary, Date, Epic, Disaster, etc). SUPERHERO MOVIE is not a great movie within the spoof genre, but it provides many good laughs and returns to the roots of what made the movies like Airplane and Naked Gun so great.

The DVD has a feature called "Anatomy of a Spoof" that among other things, gives director Craig Mazin's (a Zucker protégé and fan) philosophy of spoof movies. First, the actors need to play it straight, and second, the movie needs to have characters you care about and create an actual story within the genre you are trying to spoof. It this movie, all the actors play it straight. Drake Bell is Rick Ryker, the Peter Parker clone who gets bit by a Dragonfly and gets superpowers. Sara Paxton plays the love interest. Christopher McDonald is the evil Hourglass. Leslie Neilsen is the wise uncle. The plot follows the basic structure of Spiderman, and throws in Fantastic Four and X-men spoofs as well. The movie avoids trying to create comedy by recreating scenes from famous super hero movies. Director and writer Mazin really tries to make a story the viewers will care about, and many of the jokes are found in the dialogue.

Mazin knew what he was doing. He crafted an entertaining spoof full of witty dialogue. A few things brought the movie down. First, the glut of spoof movies took away any chance for this film to be original. Second, it seemed a limited budget took away from some of the special effects that could have been utilized. Third, Mazin just isn't as talented as the Zucker brothers. Still, this movie had some good stuff, including my favorite, Steven Hawking. This is a must see for fans of the genre. It's not perfect, but SUPERHERO MOVIE is definitely trying to follow in the footsteps of AIRPLANE, and that's more than can be said for all the Date and Epic movie spoofs.

This flick which is a average entry into the spoof genre, one that has direct roots to the classic movie "Airplane". In many ways they are all similiar from "Scary movie" to 'Hot shots" they spoof a current trend or movie. In this one they mainly spoof 'spiderman"; but in spite of the extended gay and fart jokes it's still entertaining. The main villian 'hourglass" is actually a good supervillian that could fit well into any comic book or film based on a comic books. In fact most movies are storyboarded just like a comic book before shooting. So anyone who looks down at comics should forget about movies as well. This isn't a stand out performer in it's genre but it's what you expect and that's some laughs and lots of silliness. Since 'airplane' there has been a alot of these over the top spoofs and they all have their moments and a basic similiar structure based on a outlandish gags. The blu ray print is as good as it gets and this is the only way to watch this movie if possible.

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Is there any good way to start a review for yet another mindless spoof? With the release of "Meet the Spartans" back in January, it did seem as if the parody genre was on the rise again. Since we now have "Superhero Movie" added to the mix, I'm really not sure anymore; it isn't as funny as "Meet the Spartans," but it's certainly a lot better than the droning jokiness of films like "Scary Movie 3," "Scary Movie 4," "Date Movie," and "Epic Movie." Most of these films were nothing more than comedic vignettes, having no real plot other than a back-to-back series of gags. This new film actually does make an attempt at a plot ... and by "plot," I mean that it takes all the best elements from the first "Spider-Man" and forces them to be goofy, at times too much so. "Superhero Movie" is by no means a comedic masterpiece--the sense of humor is juvenile, the jokes are blatantly obvious, and the dialogue is just plain dopey.

But since "Meet the Spartans" was all that and more, how can I be kinder to it than to "Superhero Movie"? Partly, it's because the former parodies "300," a movie with violence so excessive and action so stylized that it was practically begging to be made fun of. But it mainly has to do with the fact that "Meet the Spartans" was unashamedly aware of itself, letting the audience know that it was, in fact, watching a spoof of a great film. I found that level of self-awareness funny. "Superhero Movie" is certainly aware of itself, but not at a satisfying level; the opening credits show close-ups of the hero's suit while a light passes over it; we eventually see that the light emanates from a flashlight the hero is holding. Could nothing more come from this gag than a flashlight? Could no one think of something even funnier than that?

"Superhero Movie" tells the story of a high school kid named Rick Riker (Drake Bell), a story he claims "is not for the faint of heart." While on a field trip to the local laboratory, Riker is bitten by a genetically altered dragonfly; he soon realizes that he's developing super powers, not the least of which is his ability to break-dance vertically on the wall of a building. He also has lightening fast reflexes, as seen when he catches a nail fired from a nail gun. Disguised in a green and black suit and going by the name Dragonfly, Riker uses his abilities to fight crime all over the city, which doesn't seem to be a problem for his aunt and uncle (Marion Ross and Leslie Nielsen). By the way, he lives with them because, nine years ago, his parents were horribly murdered after leaving a movie theater.

His archenemy is Lou Landers, a.k.a. Hourglass (Christopher McDonald), a terminally ill scientist who, through a technological accident, has the ability to suck the life energy out of people. If he can find a specific number of victims, he will be able to live forever, despite his illness. Riker is supposed to save the day, but he lacks confidence since he's a dragonfly that can't actually fly. Whatever. Maybe the girl he's secretly in love with--Jill Johnson (Sara Paxton)--can inspire him towards greatness. At the very least, she can inspire him to attempt a naughty version of the upside down kiss from "Spider-Man."

If this doesn't seem all that funny, that's probably because the plots for parody films are anything but; it's all about the jokes and how many can be crammed into a single film. Indeed, "Superhero Movie" practically bursts at the seams with the mass of its humor. Does all of it work? No, but there are a few select moments I laughed at: there's a moment when Leslie Nielsen's character reads to Riker from a puberty book, only to realize it covers changes in the female body; Riker recalls what his uncle says later in the film, when it seems least appropriate. There are some moments when a parody of Professor Stephen Hawking (Robert Joy) cusses in his distinct computer-generated voice. Some may find this offensive, but keep in mind that the real Stephen Hawking once provided his voice to an episode of "The Simpsons."

But for every funny moment, there are two or three that aren't all that funny. Example: Riker accidentally sprays himself with animal pheromones and attracts everything from dogs to rabbits to skunks (and you don't want to know what happens when a snail shows up). There's a cameo appearance from Pamela Anderson as Invisible Girl; she's been having an affair with the handicapped and bald Professor Xavier (Tracy Morgan), and that puts him at odds with his equally handicapped and bald wife (Regina Hall). There's also a moment when Riker's aunt is asleep on the couch, and she does nothing but pass gas in front of Riker and Jill as they try to share a tender moment with one another. You may not believe this, but that does get old after a while.

While this movie is nowhere near as bad as it could have been, it still isn't good enough to recommend, so those of you upset by my positive review of "Meet the Spartans" can rest easy. "Superhero Movie" is amusing but hardly hilarious, which--believe it or not--is more than I can say for many of our more recent parody films. I'm sure teenagers will love this film, which I guess is fine since there certainly are worse movies. Some people will get a kick out of Brent "Data" Spiner, who plays a scientist that screams like a woman at a certain point. Yes, "Superhero Movie" is juvenile, but it's also harmless, so in the end, it's really no better and no worse than you expect it to be.

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Having `basically' gotten a free copy of this, I decided to go ahead and check it out. I had seriously doubted I would laugh at all in this movie since these movies have been going from good to really bad as quick as a snowball down a snowy hill. I like Scary Movie 1 and 2. But 3 and 4 were bad. Meet the Spartans was bad. I didn't even watch Epic Movie or Date Movie. But Superhero Movie... well... it just might surprise you.

The movie basically spoofs Spidey with tidbits of other movies like Batman and X-Men thrown in. Don't let the box art fool you guys. Everyone on the front of the box is in the movie for maybe 5 30 seconds with the exception of the Dragonfly. Wolverine's whole part was him shaving his legs with his claws while smoking a cigar... lame. Prof X was in the movie for a few scenes, but it really was just thrown in to get laughs in my opinion. Pam Anderson was in there for maybe a good 30 seconds. Ah well. The movie revolves around Rick Riker (or you could say Peter Parker) who becomes bitten by a radioactive dragonfly. And instead of Green Goblin being his arch-nemesis we have Hourglass played really well by Christopher Donald (I always like that guy for some reason). And, in my opinion, Hourglass is a lot cooler, movie wise at least, than the Green Goblin. Hourglass sucks the life force out of people so he can stay alive. The bodies on screen actually look like all the juices and matter were sucked from their insides until there just a prune of what they once were. So basically if you've seen Spidey then you know what's going on here. Good vs. Evil.

The thing about this movie though is they throw in some little twists to the story. Some to make you laugh (or try to) and some just to make the story a little different. The story itself isn't really that bad. If it wasn't for the goofiness and the forced humor, and of course the carbon copy script of Spider Man, then this movie might have been able to stand on its own.

Now for the funny parts. I don't see how the writers can go from one extreme to the other like they do and expect laughs. Some scenes seem like they were written for 8 year olds to laugh at while some scenes would have you dive bombing your child with `ear muffs'. In my opinion, I have a pretty good range of humor. I laugh at Kevin Smith stuff, Will Ferrell stuff, and then even stuff that's in Wes Anderson movies such as Royal Tenabaums and Rushmore. I'm everywhere. So saying that, I did laugh more than I expected in this movie. Leslie Nielson had 2 of the best parts in my opinion that involve a nail gun and then a punch. It was back to back and I just didn't expect it and it made me laugh pretty good. But, like most of the recent stuff these writers and directors have done, most of the comedy is too forced and just incredibly dumb. For instance, they have Johnny Storm freak out cause he's on fire. Seriously? He says, "Watch what I can do" then says "FLAME ON!" Then looks at his body and says, "OH MY GOD I'M ON FIRE! HELP ME!" and stops and drops and probably rolls. I'm not sure since I was rolling my eyes. That's the kind of stuff that took this movie from being decent to `eh'.

In the end I would say, if there is nothing else to rent, give this a try. Or if you're just a big fan of the Superhero movies, like I am, then just say to heck with it and rent it. It almost feels like a big "WHAT IF?" comic. Almost.

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Rick (Drake Bell) is your baisc high school nerd who was bitten by a genetically enchanced dragonfly and has the abilities and powers of a dragonfly. He becomes an avenging superhero nicknamed Dragonfly and must protects the good citizens of Empire City from criminals, Rick also wants to win the heart of beautiful girl Jill Johnson (Sara Paxton) and must do battle against the evil Hourglass or Lou Landers (Christopher Mcdonald).

Co-starring Leslie Nielsen, Pamela Anderson, Brent Spiner, Jeffery Tambor, Keith David and Tracy Morgan, this is an outrageous and nicely done parody of superhero movies from "Spider-Man 1 & 2", "Superman", "Batman Begins", "Fantastic Four" and "X-Men". This movie is produced by the great parody maker David Zucker who made "Naked Gun" and this movie works better then the Jason Friedberg and Aaron Seltzer duds as it successfully uses some decent laughs, some nifty spoofs on celebrities like Stephen Hawking, and not too much overdosing on Pop culture references like the Friedberg and Seltzer movies. Sara Paxton is simply gorgeous in this movie as the hero's love interest and Tracy Morgan is hilarious as Professor Xevier, it's worth a look for those that were fed up with Friedberg and Seltzer's trash.

This DVD contains never before seen footage that was cut out of the theatrical release and has some good extras like audio commentary, alternate ending, deleted scenes, and two featurettes with trailer.

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The Private Eyes (2010)

Buy this flick. You probably saw it on cable 20 years ago, or maybe some goof at the office told you about it. Here's why it's worth owning.

Somewhere along the way Hollywood decided films like 'The Private Eyes' weren't suitable for production. Not being a student of film or pop culture, I'm not really sure why. It probably cost next-to-nothing to make, is thoroughly enjoyable, and is suited for virtually any audience -one could watch this with grandma or their drinking buddies.

Regardless, the world has changed, so thankfully we have little gems like this to remind us of how things ought to be. So while my buddies can rave about crap like the 'Matrix Returns,' I'll settle down and watch Conway and Knotts bungle their way through 90 minutes of side-splitting joy. Call me corny, but gags like the time pistol, which goes off every hour, or the never-ending supply of homing pigeons (gone awry) are priceless.

Sure, guys like Chris Tucker are funny, but I just can't see them pulling off any bit that doesn't involve dope, profanity, and/or both. That's not a knock on today's comedy, but anyone who's a fan of the art will get a kick out of 'the Private Eyes.'

First the DVD review: This DVD was/is put out by "Hens Tooth" video. (Hens Tooth?) Features the original theatrical trailer, which in itself is a gem; a wonderful stills gallery featuring behind the scenes making of the movie...priceless! And an awesome commentary by Tim Conway and the Director Lang Elliot who offer tons of little know facts and insight to this classic! This DVD is crisp and clear and so is the sound! The only thing this DVD lacks are the deleted and alternate scenes and alternate angles they showed on TV back in 1984. (see below for details) But, I'm happy to take what they give!

I know this is going to sound odd, but this is my favorite comedy of all time! No question! I have always been a big fan of Tim Conway and Don Knotts! (Who isn't?) Both men are absolute geniuses and have been underused since this movie came out back in 1981. This movie left a huge impression on me when I was a kid! I have always wanted a house just like the one in this movie! Who wouldn't want a 252 room estate! You could almost sleep in a different room for a full year! I was equally impressed when I found out the house in this movie is a real house! It's the Biltmore House and gardens. The real house is in Asheville North Carolina. Although the Biltmore House doesn't have 252 rooms (darn!) it is an absolutely gorgeouse manor! I highly recommend you check out their website! They will even send you a free brochure which pulls out into a mini poster! I have one on my wall right now! Very cool!

Anyways, back to the review...This is one movie that can be shared with the whole family! When this movie came out I was 10 years old and was so impressed by the look of it, the hysterical comedy, the cast, and the mystery storyline! You had to be there, but everytime and I mean EVERYTIME I saw this movie the theater was packed and sold out! Movies back then would run for 3-6 months at a time! (this is before even video and vcr's) I would clip every article or advertisement for this movie and I still have them today in a scrapbook! Yes, I am a fan!

Tim and Don play two ameturish private detectives who are called in to investigate the murder of Lord and Lady Morley, the owners of the estate. Don plays the straight guy to a T! Tim plays a wacky, paranoidish, inventor/detective. One of Tims inventions is called a time gun, which goes off every hour! He is also afraid of a legendary creature called the "Wookalar"! A half pig half human creature that will "suck your brains right out your nose!" Very funny stuff! You have to see it for yourself! The two detectives run into a myriad of funny characters along the way in the Manors staff and housekeeprs/caretakers! Just when they think they know who the killer is..that suspect ends up dead! Hilarious!

Now, here is something to note: I was extactic when this movie first aired on TV back in 1984 and happily taped it! Lucky for anyone else who taped it (and still has the tape like me!) because they showed scenes and alternate takes/angles that are NOT IN THIS DVD! They show a scene with Trisha Noble and Tim Conway eating dinner at a loooong dinner table that is just hilarious! Tim dresses up as Don's character, in hopes of "fooling" the killer, as a decoy. Trishas character just beats the crud out of Tim as she gets upset when people try to "trick" her! Hilarious!

The next scene they showed was an extra scene of Tim trying to send off a Homing pigeon, with an update of their investigation to Scotland Yard. Tim has a whole crate of homing pigeons and every time he trys to send a message something happens to the bird! So, in the deleted scene Tim paints a pigeon black, so no one can see it at night thus nothing should happen to it, and when he throws it out the window of his room...the pigeon goes but the wings stay in his hands! Cruel? Yes, by todays standards, but still funny!

Next, there is an alternate scene when the maid is preparing tea for Tim and Don and the killer slips poison in their cups. And there are a couple of alternate angle shots throughout the TV version.

This is an absolute classic comedy! Buy it before it goes out of print!

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I loved this film as a kid, and if you want something to watch with the family you don't have to go any further. Great family entertainment. BUT this DVD sucks. It's a bad pan & scan, mediocre video, okay audio, and no extras. It's very expensive for such a shoddy DVD. I'd skip it for now because the rights should revert and a new version out in a year or so.

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If you loved Tim Conway on The Carol Burnett Show and if Barney Fife always made you smile, then this movie is a must-see. The Private Eyes is a campy, contrived, and wonderfully silly movie. But you'll laugh as these old-school comedians bumble their way through a spooky old mansion in search of a killer, a la the board game Clue. You'll find all the expected players and a plot that has a comfortable--and predictable--familiarity. It's the interplay between the Conway and Knotts that makes this movie a winner.

If you don't take yourself or your laughs too seriously (and if you don't mind watching comedians who get their laughs at THEIR OWN expense without the profanity and vulgarity that so often passes for comedy), you'll love this. Tim Conway has some of his finest moments as the dim-witted yet good-intentioned Dr. Tart.

I have loved this movie since I first saw it on HBO as a young teen. It was an elusive find on VHS, so I'm thrilled to find it now on DVD.

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That's one of Tim Conway's lines, which starts a bunch of gross notions that will make you giggle, big time. His silly sense of humor is all over this movie (he cowrote it).

All I can say is, when you bring Tim Conway and Don Knotts together, you are sure to have fun.

They are two of the funniest people ever.

This was one of those flicks that, back in the 80's, came on tv on a Saturday afternoon and you'd watch it and laugh. My favorite running gags are the pigeons and the "alarm gun".

This movie is right up my alley, along with stuff from Monty Python, Mel Brooks, Danny Kaye, Martin Short, Carol Burnett, Steve Martin, and also Woody Allen's early films.

And the fact that it's a broad homage to whodunits is gravy. It's a great companion to Murder By Death, and Clue.

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City Slickers (1991)

Billy Crystal, Bruno Kirby, Daniel Stern, and Jack Palance shine in this very funny movie about 3 "City Slickers" who are disillusioned with their lives and decide to participate in a cattle drive from New Mexico to Colorado in order to "find themselves." There aren't many comedies which are relevant to real life, and "City Slickers" is one of them. There aren't many comedies which emphasise the importance of life, love, friendship, humour, and acceptance but again, "City Slickers" is one of them. This is one of those rare diamonds of a film which will make us laugh, make us think, and make us take stock of our own lives. You would be extraordinarily hard to please if you didn't find this movie enjoyable.

This new release of City Slickers will have a bunch of new special features:

-audio commentary from director Ron Underwood and stars Billy Crystal and Daniel Stern (Bruno Kirby and Jack Palance are no longer living)

-4 featurettes

. . . "Back in the Saddle: City Slickers Revisited"

. . . "Bringing in the Script: Writing City Slickers"

. . . "A Star is Born: An Ode to Norman" (Norman being the calf Mitch adopts)

. . . "The Real City Slickers"

-2 deleted scenes: "Releasing the Herd" and "A New Job"

City Slickers, like most of the comedies I like best, works both as a vehicle for some pretty good humor and as a drama with heart, with something real at stake. Mitch (Billy Crystal) and his two best friends (Daniel Stern and Bruno Kirby) are each having midlife crises in their own ways. In an effort to find themselves they join a two-week dude cattle drive adventure where they do indeed surpass their former boundaries and find more about who they really are. Jack Palance plays Curly, the imposing, tough-as-cowhide, scene-stealing trail boss. The setting allows for endless jokes about cowboys and related matters, as well as some wry comments on human nature. All the principle actors are in top form.

I've always enjoyed this movie and look forward to the new features, especially the commentary. Looks like it will be a worthy special edition. I'd give the movie four or maybe four-and-a-half stars, but I'll round up for the special features.

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These three guys well, these three city slickers decide that a 2-week cattle drive is just what each needs to come to terms with their own individual crises and they get the boss-man from hell, Jack Palance (who won an Oscar for this role). Slapstick in the beginning, it becomes more serious in the middle, then a sentimental wind-down toward a bittersweet ending.

Excellent!

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This is one of those great comedies that also speaks to the great truths of life. I have watched this film over and over again and am always left with a wonderful feeling after having watched it. It lifts my spirits when I am low and helps to remind me what is truly important in life.

Mitch Robbins (Billy Crystal), Phil Berquist (Daniel Stern) and Ed Furillo (Bruno Kirby) are three friends approaching mid-life at break neck speed. Each year they go on increasingly more dangerous adventures which Mitch's wife (Patricia Wettig) describes as desperate and juvenile attempts to hold on to their youth. When Ed suggests mushing along the trail of Admiral Byrd as a way to top running from bulls in Spain, Mitch is ready to quit the adventure trips and settle into senior life at the ripe old age of 39. After a demotion at his job and a surprise at his birthday party where Phil and his icy wife Arlene (Karla Tamburelli) have a blow out after she learns of his infidelities, Mitch's depression gets the better of his wife who sends him on one more adventure to find his smile.

And so it is that the trio finds themselves on a cattle drive in the American west with five other lost souls and Curly (Jack Palance) as the cattle boss. Palance is wonderful as the gruff old cowboy who intimidates everyone around him (Mitch:"Kill anyone today, Curly?" Curly: "Day ain't over yet."). Yet he knows the secret to life and relates the cryptic answer to Mitch during the ride. As they drive the cattle and overcome obstacles like stampedes, drunken escapades by the trail hands and their own personal struggles, Mitch comes to realize what Curly's answer means and that it is the only answer he needs to bring the pieces of his life back together.

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Many movies end up being less than they try to be this one ended up being more. It's described as "the rowdiest western jokefest since Blazing Saddles" which is a terrible injustice. "Saddles" is maybe pretty funny but ultimately it is a meaningless simple comedy. "City Slickers" starts out pretending to be a mindless comedy (the opening credits are played in cartoon format) but ends up being surprisingly serious and even moving in parts. Billy Crystal plays a man experiencing your standard midlife crisis losing faith in his job, his future, and ultimately in himself. When a vacation at a "Dude Ranch" goes wrong, it causes him to re-think the priorities in his life. This is also the rare movie that explores male friendship realistically in the relationship between the characters played by Crystal, Bruno Kirby, and Daniel Stern. No sloppy "tearful-hugging" crap just three guys who've been buddies since childhood. Plus the added bonus is, this really is one funny movie the birthday party, the incident with the coffee bean grinder, the time Crystal's character tries to help Stern's character with his "inadequacy" (although now rather dated), etc, etc. This movie was seriously underrated probably because of the way it was marketed (Blazing Saddles? This is NOT a Blazing Saddlesstyle movie). Overall a very fine movie.

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National Lampoon's Vacation (2010)

The picture may be only a bit better than the previous DVD releases...the sound is ridiculous and the 43 second intro from 2003...weak. I do agree that the cover art also sucks but I certainly don't care if the disc delivers the goods...this doesn't. Don't bother to upgrade from your normal DVD..its not!

Hands down, one of the best comedies of the 80's. Chevy was at his best and director Harold Ramis was on a role. (Caddyshack and Stripes.)

Many cuts and versions are out there but the truest I've seen, so far, is the anniversary edition. It's in widescreen (I've heard matted/cropped,not sure, but??), nice 5.1 mix, some decent special features but where are all those deleted scenes and the alternate ending?

Plus, a big [..] I have. "I'm so exited" was the song played when Christie Brinkley pulls along side Chevy(Clark Griswald) in the original. Why, still is "Little boy sweet" a song also by the Pointer Sisters used instead?? Both songs were used in the movie. The latter in the truckstop sceen where Chevy eats the pissed on sandwhich.

Is the copyright on that song that expensive to get it??

Dunno. Great movie. Lotta fun.

Best DVD of it yet. Agreed??

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After all these years of waiting, I was very happy to see that Warner was finally going to give "National Lampoon's Vacation" the Special Edition DVD treatment I always felt it deserved. Now that it's finally here, I'm sorry to say that it isn't as "special" as I'd always hoped it would be.

Although this time the film IS presented in widescreen, it is the type of 1.85:1 ratio that actually crops off some of the picture from top and bottom that the old standard VHS version had. That is always annoying to be sure, but since the DVD shows the movie the way it truly appeared in theaters we can't really complain about that. You have to look at it this way: VHS was just showing MORE than was seen in the theater.

The special features leave much to be desired. The group commentary track with Director Harold Ramis, Producer Matty Simmons, Chevy Chase, Anthony Michael Hall, Dana Barron and Randy Quaid was ok, but I've heard much better commentary on other films. With few exceptions, they really didn't say much that was very interesting or insightful, and there were several gaps during the film where no one seemed to say anything! And where was Beverly D'Angelo? I can't believe that she wouldn't have wanted to take part, especially since she appeared a few years ago on the TBS "Dinner & A Movie" with Paul and Annabelle to talk about the movie during commercial breaks with them!

The "Interactive Truckster Gallery" was pretty much a bore, with the exception of the section where stunt co-ordinator Dick Ziker talked about his jump in the desert for the crash scene. Dana Barron also offered an explanation why she only appeared in the first film in the gallery as well. The rest of it was not anything really noteworthy.

The new introduction to the film by Simmons, Chase and Quaid was just a short, silly little piece of nothing. The trailer is here, but I think the original DVD had it too so that isn't anything special. The other languages for audio are a nice touch. Try playing the scene where Clark had a temper tantrum in the car in French, Spanish or Portuguese for a laugh or two.

My big complaint is about the special features that were NOT present, such as deleted scenes. In the shooting script, there are several scenes that could have been presented here, including an alternate ending. The fact that Aunt Edna didn't really die, the Kamp Komfort clerk dressing up as a moose for the "wildlife fun" (see the photo during the end credits of him in the moose outfit), Clark fearing the police are chasing him after he "robbed the hotel" and stopped for gas (where he got the sandwiches he mentioned shortly before discovering Aunt Edna's "death") and the alternate ending would have been good to see, but no dice. No true "special edition" should be without a deleted scenes gallery!

My final complaint is the fact that the original soundtrack was not restored. Unlike the theater and original VHS versions, The Pointer Sisters' "I'm So Excited" was not present during the highway Ferrari scenes. Similar to the version now shown on cable and the first DVD, "Little Boy Sweet" replaces it. What makes that even more annoying is the fact that the end credits were NEVER changed. "I'm So Excited" is still listed as appearing in ALL cable and home video releases. That is almost like adding insult to injury. Why not restore the original soundtrack for the 20th anniversary?

In summary, I give this DVD 3 stars, just middle ground. It's an improvement over the first one, but definitely not all that it could be. Die-hard fans of the movie might want to pick it up, since there might not be any better releases for the 25th or any other anniversary. If your opinion is that you can take it or leave it, I would advise you to just pay a couple of bucks to rent it and save the rest of your money for something better.

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NATIONAL LAMPOON'S VACATION still stands up as one of the funniest road movies ever made. With a canny script and dead-on performances from the superb ensemble cast, it serves as a cautionary tale for families everywhere how NOT to have the family vacation from hell.

Clark and Ellen Griswold (Chevy Chase and Beverly D'Angelo) and their two children (Dana Barron and Anthony Michael Hall) embark on a huge, life-consuming odyssey, otherwise known as the cross-country trip to Walley World in California.

Along the way, they have to contend with a trip to their hillbilly cousins Eddie and Catherine (Randy Quaid and Miriam Flynn) and end up dragging crochety old Aunt Edna (Imogene Coca) along for the ride through Phoenix. Adding insult to injury is the shapely blonde in the red Ferrari (Christie Brinkley) who is following Clark "all the way"...

Hilarious all the way. It is indeed painful to watch the hapless Clark fumble his way (Basil Fawlty-style) through the series of disasters that befall him on his vacation.

The DVD transfer is wonderful after years of...fuzzed-out video transfers.

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Great movie that still holds up today. Chevy Chase and Anthony Michael Hall make the film with superb performances. As far as the DVD, don't buy this thinking you are 'upgrading' your collection to DVD because the quality is just not there. The disc picture quality is NO better than the VHS and is still pan-n-scan. I did a side by side and I think I almost prefer the VHS picture over the DVD, seems to be clearer. The sound is in MONO, which really takes away from the viewing enjoyment. The only reason to upgrade to DVD on thid one would be for the theatrical trailer or convience of chapter search. There also are a few cast bios but nothing more. I'm almost positive that Criterion or someone will re-release this as a special edition SOMEDAY, as this is a really disgraceful handling of an American Treasure.

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The Gun in Betty Lou's Handbag (1992)

This is one of those screwball comedies that you find yourself watching in reruns every time you catch it on TV. The premise of the movie centers on Betty Lou, a rather mousey, small town librarian who is married to a cop. One day, while in the park, Betty Lou discovers the gun that was used in a recent murder. She takes it to the police, but no one will pay any attention to her. In frustration, she fires the gun and winds up confessing to the crime!She wants to prove that she isn't as mousey and predictable as everyone seems to think she is especially her husband!While in jail she is given a transformation into a sexy bombshell by several of the other women inmates. When she appears for her arraignment no one (least of all her husband), can believe it's her.

Once out on bail, however, Betty Lou realizes that she must discover who the real killer is before it is too late. What follows is an adventure that only a once mousey librarian can have -an adventure that reveals not only Betty Lou's hidden beauty, but her smarts and cunning and style.

Granted, this isn't the funniest movie to come around the pike, but that isn't it's allure. No, what makes this so appealing is Betty Lou's transformation. She stands in for every woman who has ever been underestimated,taken for granted, pigeon-holed, and ignored. She decides to take charge of her life in a very dramatic way and in the process she saves her marriage, she saves the day, and, more importantly, she saves herself.

Watching Betty Lou rise to the occasion is reason enough to watch this movie. Seeing her take charge of her life is reason enough to enjoy it.

This flick suprised me as I was not expecting much. And I did not get much, but what I got was light, fun, well acted, and well-written with likeable, attractive and believable characters. It is good for an evening in with popcorn. Laughs in several places and some suspense.

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"The Gun in Betty Lou's Handbag" falls under the same category as other beloved late 80's/early-90's films put out by Touchstone Pictures such as "Adventures in Babysitting" or "Don't Tell Mom the Babysitter's Dead." Certainly not enduring works of cinematic brilliance to be studied by film students forever, but charming little films that hold a ton of entertainment value nonetheless. Not to mention these films also serve as windows into what life was like in the late 80's and early 90's, a much more innocent and light-hearted time in American pop culture. Penelope Ann Miller is delightful in the title role. And the supporting cast is brilliant as well. Eric Thal plays her less-than-appreciative cop husband who will mend his ways by the end of the film. Ray McKinnon is the cop sidekick who reassures Betty Lou's husband that Betty Lou will definitely learn plenty from a night behind bars and that his own wife Joan could use the same. Julianne Moore plays Betty Lou's kooky sister. Cathy Moriarty is brilliant as the hooker Betty Lou meets in prison. And Alfre Woodard delivers a delightfully comic turn as Betty Lou's novice attorney. The violent scenes are a little heavy-handed, but I think it serves the plot well as it shows just how much trouble Betty Lou stirs up for herself and the people she cares about. Overall, just a great, feel-good, early 90's comedy that definitely rewards repeated viewings.

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Penelope Ann Miller. She has played lots of parts and made lots of movies. A movies. Carlito's Way. B movies. Relic. And even a couple of C movies. That dumb movie about the bottle of wine. I've been following her career ever since dinosaurs roamed the earth and she has never given a bad performance. This film is one of her early efforts. It didn't get much attention or make a lot of money. But she is so charming and so engaging. It must be difficult to be an actress with big talent and small boobs as opposed to one with little talent and big boobs since you know who seems to get all the best parts these days. Nevertheless, Penelope Ann is consistently good in every role she plays, and this film is no exception. While she may not be Meryl Streep, Miller definitely has Streepiness. Trust me. All the guys in my cell block were cheering at the end. I don't think it was just because a guard got stabbed.

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Although it has its good points, this film is generally of the quality of a made-for-TV film--not something I'd recommend buying or renting.

Betty Lou is a librarian who's not getting the attention she wants and arguably deserves from her police officer husband. He's more interested in his work than her.

There's a murder in their town involving a travelling man who's having an affair with a local married woman.

Betty Lou (with her dog) happens to discover the murder weapon. To gain attention she proclaims herself the murderess. Betty Lou, of red hair, is a sympathetic character and it's fun to see her snub all the interrogating male cops (including her husband) who take her for granted. She also befriends a local prostitute while in jail and otherwise asserts herself as she hasn't before.

It's not all fun, however, for there are some southern Mafia characters about led by a particularly evil man named Bodine (how original). There are a few scenes of gratuitous violence that were a big turn off.

The climax is somewhat improbable but something you might expect in a TV movie.

Also, there's a scene in a country bar where the singers (names unknown) recreate faithfully the great Gram Parsons/Emmylou Harris duet of "Love Hurts."

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Lay the Favorite (2012)

The girl playing the lead gets on your nerves, since she seems like she's on hyperspeed all of the time. Did Catherine Zeta Jones get a major face lift? And of course Vince Vaugn is in it, he's very funny. I liked seeing him and Bruce, they were great. But I expected more, in general. It was like watching squirrels run around in those little wheels things....I should have waited until it was ALOT cheaper, like in Prime....buyer beware--

Beth(Rebecca Hall) is a woman who aspires to be a cocktail waitress in Vegas. She has both brains and looks. She ends up working for Dirk, a bookie (Bruce Willis) who she develops feelings. Dirk has a jealous wife Tulip (Catherine Zeta-Jones) and a bad side when he loses, which causes Beth to get a job elsewhere. Beth eventually gets into trouble and needs help.

The film is based on a true story, so you didn't know where it is headed. The downfall of the film is that it has a narrow appeal. It is basically a modified chick flick. But it is for chicks who know something about book making. The phrase "lay the favorite" means betting against the favorite, i.e. you always take the points and the underdog, you never give points. Bookies make their money by having a balanced book. They need the same amount of money bet on a team as they do against it. They make their money from taking "the juice" which is a percentage of the winnings. If the juice is 10% and you bet $50 even money, you will net $40 in return. In order to balance their books, they will have to move money around and make bets with other books or alter the point spread. The point spread has more to do balancing the books then it does the ability of the teams involved which is why it sometimes changes from the beginning of the week to the end of the week. This allows a smart better to straddle his bet. The key to book making is to do the math and bet with your head, not your heart.

It is not an inside look at the gambling industry per se, but it gives you enough of a glimpse that you feel you need to know what is going on in order to enjoy the movie. The most unbelievable aspect of the film is that with all the money Dirk and his wife had, she drank Beefeaters Gin. I enjoyed Bruce Willis in this role. Rebecca Hall was refreshing. A light chick flick for people who know something about gambling.

Parental Guide: F-bomb, nudity (Jo Newman, Laura Prepon Donna from "That 70's Show")

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Such an established cast and yet failed on every level. Really disappointed that I spent ten dollars to watch this dud.

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Dull movie. No wonder it went to video. Zeta-Jones was hot to look at but they don't use her on camera much. She played a great character as a gamblers pampered wife, but the rest stunk.

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It wasn't exactly easy to make it to the end of the tone deaf comedy "Lay The Favorite." When I got there, though, I was in for a huge shock. The credits rolled and I realized that Stephen Frears was responsible for directing this! In case you haven't heard of him, the Oscar nominee has orchestrated some truly great films including The Queen, The Grifters, and Dangerous Liaisons. Well nothing could be further from these excellent films than this flight of fancy. Based on a true story, an expose on the world of gambling by Beth Raymer, the plot had the potential to be absolutely fascinating. In fact, I'd love to read Raymer's memoir. I think it would be very enlightening. But instead of a hard hitting drama, Frears has removed any sense of reality from the picture. I don't care that he wanted to make something light and comedic, but this isn't serious enough for a drama, funny enough for a comedy, informative enough for gambling enthusiasts, or rich enough in character so that anyone might actually care about what happens. In short, the movie has no idea what it wants to be and that is very apparent.

Rebecca Hall plays the central character as a chirpy stripper who is simultaneously brilliant and clueless. She dreams of the big time, she wants to be a waitress in Las Vegas! She gets involved, instead, with an odds-maker played by Bruce Willis. She's a natural at the game and soon becomes invaluable to the operation. Willis's wife (Catherine Zeta-Jones) doesn't like the closeness between the two and this causes much friction. As Hall sets out on her own, she gets into some trouble from which she may not be able to extricate herself. Hint: It involves Vince Vaughn. It just might require a little help from her friends and a caper is afoot. And boy, there's no stopping this crew when they are joined!

One of my biggest issues with "Lay The Favorite" is that it is all over the map in tone. And none of it really works, nothing is developed in enough depth to get you involved. Even the gambling aspect of the picture is lackluster and pedestrian. I never cared about anything that happened. Willis seems to be sleepwalking, Hall is positively grating, and everyone else is pretty much wasted. Hall has a love affair with Joshua Jackson, but we never know the first thing about him. The character development is so sketchy as to be virtually non-existent. A few of the smaller roles scored and Zeta-Jones has presence. The experience, for me, had no real laughs, no real danger, no real romance. I've certainly been a fan of Frears, Willis and Zeta-Jones in other projects. Here, though, I'm hard pressed to tell you anything that I like about this misguided effort. About 1 1/2 stars, I'm not sure why I'm rounding up. KGHarris, 3/13.

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Greenberg (2010)

Whereas someone like Steven Spielberg has achieved success because his films can be enjoyed by virtually anyone, Noah Baumbach is a director who has polarized audiences with each of his films, and this one is no exception.

The film follows Roger Greenberg (Ben Stiller), a 40-year-old man who has recently suffered a nervous breakdown and is now struggling to just "do nothing." He returns to L.A., where he had grown up and had a semi-successful rock band, and housesits for his brother, Phillip (Chris Messina), while he and his family are away on an extended vacation. Greenberg meets his brother's assistant, Florence (Greta Gerwig), and begins a halting, awkward romance with her. He reconnects with his old band mates -including Ivan (Rhys Ifans) -who are still bitter about a record deal that Roger ruined 15 years ago. Roger also attempts to date Beth (Jennifer Jason Leigh), an old girlfriend, but she rejects him.

The film is unconventional. I do disagree, however, that everyone in this film is unlikable. Greta Gerwig is excellent as Greenberg's love interest, as is Jennifer Jason Leigh, Noah Baumbach's wife. The film is out of the mainstream, but when looking at all of the junk coming out of Hollywood these days, that is a good thing.

If you liked films like "The Squid and the Whale" or some of Wes Anderson's work, and you are willing to go in with an open mind, I recommend this film.

This is a Noah Baumbach movie. People looking for a wacky, slapstick 'Night at the Museum' type kiddie movie should not go anywhere near this hard and piercing character film. Anyone who complains that this film "isn't funny enough" completely misses the point of both the film and the character. This is a film by adults, for adults.

Writer/Director Noah Baumbach's previous films are Kicking & Screaming Criterion Collection, The Squid and the Whale (Special Edition) and Margot at the Wedding. The tone and harsh reality of those films should give you a good idea of what to expect here. The film has a number of uncomfortable scenes but they aren't played in a broad and obvious way as many other films might have done. Greenberg seems very, very real. The laughs earned by the film come from a very perceptive observation of a character who seems lost wherever he goes.

What Ben Stiller does with this role is a revelation -he makes an audience sympathetic to a very unsympathetic character. If a character like Greenberg has even the slight possibility of finding love and happiness then there is truly hope for us all.

Ben Stiller hasn't shown acting chops like this in years and it's very refreshing to see him take on an adult role for a change.

'Greenberg' is easily one of the best films of 2010 and will find a place on many Top Ten lists. Do yourself a favor and check it out.

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A "romantic comedy/drama" featuring depressed and unlikable people is a tough sell. That GREENBERG works to the degree it does is a testament to the good writing and outstanding acting...but it cannot completely overcome the essential problem embedded in its premise. That doesn't mean a movie about unlikable people is a bad idea, but expecting such a film to receive a warm, loving embrace by the audience is a bit of a stretch.

Roger Greenberg (Ben Stiller) a New York based carpenter who once had a shot at rock star glory, is recently out of a mental institution for severe depression. He's now in Hollywood, house-sitting for his brother and family, who are on extended vacation. House-sitting pretty much involves taking care of Mahler, the family German shepherd. And Roger is assisted in this minimal task by Florence (Greta Gerwig), the personal assistant of Roger's brother...she brings him groceries and essentially handles any small tasks Roger might have.

Thus, Roger is allowed to wallow in his self pity. He "engages" himself in the idea of constructing a doghouse for Mahler...and constantly insists that he's doing a great and noble and generous thing by building it. Yet, over the course of what feels like a few weeks, he only gets about halfway done. He is stuck in a malaise of self-hatred...which hatred he shares generously with those around him by being scornful and dismissive. Everyone is a fake or a phony. Everyone is worthy of derision. But when simply arising in the morning is a monumental task, I imagine it would be hard to care much for your fellow man.

Florence, a clearly intelligent young woman who is also adrift in a life going nowhere, would normally be the most depressing character in any other movie, but in comparison to Roger, she is practically sunshine and light. She also suffers from low self-esteem, which has her engaging in a series of one-night stands that leave her clearly unfulfilled and feeling even worse about herself. She and Roger drift into a "sort of" relationship. They come together briefly for a "date," then Roger says or does something awful and the bounce apart. Her friends tell her to leave him alone. His inner-voice makes him wonder why he treats her so badly. He clearly likes something about her (perhaps her openness to feeling, rather than his cutting-off of feeling), but then he acts as though he can't abide her. He's like the kid in elementary school who punches the girl he really likes, to show how immune to liking a girl he is.

Stiller also reaches out to his old bandmates, particularly Ivan (Rhys Ifans)...these men were once his friends, but years ago, with a record contract on the table, Greenberg apparently scuttled the whole deal and the band fell apart. This has bred enormous resentments between the men. Ivan, a good man struggling to hold his family together, seems genuinely interested in befriending Greenberg. He seems to feel responsible for providing some companionship, however strained, to this lost soul. But Greenberg can't stop picking away at the man, mocking his choice of a marriage partner and generally belittling him.

What is convincing about GREENBERG is that no one has a sudden flash of redemption. The script hews closely to what "real life" would be like...if these characters DO make any progress, it will be tentative and painfully slow. Most of the time, it's one step forward, two steps back. The best we can hope for is to see the dynamic shift to two steps forward and one step back.

This makes it very hard to warm up to the characters. They are fascinating and involving, but throughout viewing this, I was constantly telling myself, "These are awful people. I could care less what happens to them." This was particularly true for Greenberg. I felt sorry but frustrated for Florence...but Roger Greenberg needed a good smack upside the head.

That the movie is enjoyable at all is due to some sharp writing, including the use of the dog Mahler as the vehicle through which Roger and Florence can tentatively bond. Their concern for the dog gives them excuses to come together, even when angry at each other. Further, the excellent work from Stiller and Gerwig elevates the film. These two interesting actors give themselves completely over to their work, and it's very effective. Gerwig is not someone I've noticed before, but she is vulnerable and assured in her work. I'd like to see her now tackle a less trouble character; I suspect there's an effervescent personality there. And Stiller has always had a dark side, even in his most "family friendly" characters; but here he just gives himself over completely to that darkness. I hope like heck he isn't really like this...but he sure plays it convincingly. And Rhys Ifans gives another outstanding performance. He's quiet and contained, so that when his inevitable outpouring of feeling comes, the impact is all the greater.

I encourage adult movie-goers who enjoy tight writing and good acting to check out GREENBERG. If you're looking for a "happy" time at the movies, though...look elsewhere.

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Many people who watch Noah Baumbach's latest film Greenberg feel that the title character is so unlikable, that the film fails due to its protagonist's personality. In fact, Baumbach presents us with a challenge, much like he did with 2007's Margot at the Wedding. Greenberg is not likable. He is narcissistic, misanthropic, brutally honest, and cynical and unaware of anyone's feelings outside of his own, which are more important than yours by the way. He also hates on L.A culture to the point where I think he is drawn to it for the verbal ammunition it gives him.However, Baumbach manages to balance these traits with a humanization that is painfully acute and accurate, by showing us what it is like to be Greenberg. Many people are not going to want to know what it's like to be Greenberg. That's fine; because Baumbach did not make this film for everyone.

Something very interesting and smart that the director does is starting the film from Florence's (Greta Gerwig) perspective. Florence is Roger Greenberg's (Ben Stiller) brother's assistant. His brother and family are going away on vacation to Vietnam and Greenberg comes to his brother's house in L.A to stay after living in New York City and coming off of a recent stint in a mental hospital. While Greenberg is the main character, the film starts with Florence and we are shown in a brief period of time what her life is like. She has a best friend named Gina, she is a good and hard working assistant and she goes to a bar where she eventually has a one night stand which is clearly irregular and dissatisfying for her. She is awkward; certainly not someone who asserts herself around others. She is not meek though; she is just not quite sure of herself as an individual yet. By aligning us with Florence, an easily relatable character right from the beginning, Baumbach is able to balance her with Greenberg's own inadequacies and allows Florence to be more than just the "girl". She becomes a character in her own right, just as important to the story through Baumbach's use of her in the film's first scenes.

Once we are introduced to Greenberg, Florence only recieves a few more scenes to herself because after all, this is a story about Roger Greenberg first and foremost. However, the focus on her perspective is never lost, keeping the examination of her character in check throughout the film. Greenberg is a carpenter now, not what he planned for his life but he does the job. While in L.A though, he has decided to experimentally do nothing. He attempts to reconnect with his best friend Ivan (Rhys Ifans) who is going through a trial separation. Ivan's character parallels Greenberg in the many ways in which they differ. We learn that he and Ivan used to have a band called The Magic Marker with a couple of others, that they were offered a record deal and that Roger turned down without consulting the rest of the group drastically altering the lives of the other group members involuntarily. He did not want to sign with a major label because he felt they would become corporate slaves. The problem is that this was the only offer the band received leading to the band's brake up prompting Greenberg's move to New York shortly after. He and Ivan have never discussed any of this and while Ivan genuinely enjoys seeing Greenberg again, he also has a difficult time with it which we see through his increasing reluctance towards Greenberg every time they see each other. These scenes between the two of them are show so much about the passage of time (a major theme in the film) and display Greenberg's inability to look outside of his own world. Ivan wants a friend to talk to but all Roger can say is that he is happy that Ivan is splitting from his wife as he never liked them together in the first place. He cannot understand why Ivan is so upset about the speration even though Ivan is clearly distraught over the effect this will have on his son Victor.

One of the more fascinating things about Greenberg is the grudge he has about his own generation for not being the current generation and the absolute disdain he has for the current generation for simply existing. All he sees are kids that rely too much on technology and have lost a grip on the world. He sees kids who are lost and are incapable of asserting themselves as a culturally relevant and thoughtful crowd. Not to mention that his references go over their heads. One review of the film remarks on the climactic party scene in which he takes coke and rants about his disgust for the present youth. The review notes that the scene does not give the kids a chance, making them voiceless and stupid citing unfairness and offense that the youth of today are portrayed as such a hopeless bunch. This reviewer misses the point entirely. This film is not about presenting us with fair portrayals of youth culture. It is about getting into Greenberg's head and seeing people as he sees them. These kids are not meant to represent youth culture; they are meant to represent how Greenberg sees youth culture. The scene is a brilliant one, rife with tension in a situation that would not normally carry it.

Greenberg's relationship with Florence could be the most frustrating aspect of the film for some but also the most rewarding. Mainly because of the way he treats her. While his mind bounces back and forth as to whether or not he wants to be with this person even casually, he drags Florence through every single back and forth moment he has, instead of keeping it to himself. He then proceeds to blame Florence for his feelings, telling her that everything he is conflicted about is her fault. His mood changes drastically within individual scenes with her. Florence, in the meantime, likes him a lot but is conflicted about him both because of his behavior and also having just come out of a long relationship. She also excuses a lot fo his behaviour because she knows about his stay in the hospital. Her best friend Gina, does not want her with him because of the way he treats her. Having also read complaints that Florence ends up simply catering to Greenberg's needs and is a weak character, there is a scene to counter that claim between Florence and Gina as we hear why Florence refuses to lose interest in him. She explains her choices and Greenberg is humanized enough for us to see why Florence makes the decisions she does. In addition to this, Florence has a breaking point proving she is not a character that can be constantlyy trampled on. This displays in part why Florence is not a weak character but an individual making a personal choice for better or worse.

The scene where Florence tells a story could be the most awkward, tense and hateful moment of Greenberg's behavior. Without going too much into it, as those who have seen it will know exactly what this refers to, it really shows Roger's impatience with others and how short a string his dissatisfaction with a conversation has. It is probably the moment people will hate Greenberg that most; at least it was for me. As for my reaction, it was the one moment that I said out loud in the theater "Oh my God". An overreaction? Probably, but it was a really surprising turn to a scene that started out on such good terms.

Greenberg's rare but genuine attempts at reconnection contribute to his humanization. His most desperate attempt to reconnect comes from his efforts at striking up a friendship and possible relationship with Beth (Jennifer Jason Leigh), an ex-girlfriend who he is clearly still thinks about. She has been through so much, a husband, kids and an impending divorce, that for her the relationship does not even feel like it happened. Her indifference towards him perfectly captures his mourning and hatred towards time and the things it can blur, distance and effect in so many ways as if nothing ever even happened. He really does try with her but it does not work and the scene with the two of them in the restaurant is painful to watch (there are a lot of painful scenes in this) as he talks to her about moments and days between the two of them which she cannot recall and does not seem to care to attempt to.

This is without a doubt Ben Stiller's best performance; a role that he was born to play (picturing anyone else playing Roger is impossible). He is stripped of extravagance and is not afraid to make Greenberg as unlikable as the script portrays him and succeeds beautifully in all the moments that Baumbach gives him to deepen the character, get in his head and show us through his face the pain, awkwardness and trouble he has functioning in society. Greta Gerwig is a real find. This is her first foray into the mainstream after being a hugely relevant contributor to the mumblecore movement. Last year she memorably played best friend Megan in Ti West's The House of the Devil and she has a rich career ahead of her. She is just as interesting to watch as Stiller and both actors make us understand why their characters do the things they do largely contributing to the film's success We may not approve but we understand. The two also have a great deal of what many on screen pairs fail to these days; chemistry. On a final note concerning the performances, Rhys Ifans is so good in this that by the end I wanted an entire film dedicated to Ivan as it becomes so evident that his story is merely touched upon.

Baumbach's direction is at turns observational and subjective. There are times when he takes a step back to let us see what Greenberg's interactions are really like, objectively letting us observe the negative effect and impact he has on other people. This allows us to view his current place in the world and to fully see why his cold and hateful behavior is not accepted in most social circles. Baumbach performs a balancing act with this and scenes where we are subjectively let inside of Greenberg's mind and shown exactly what he goes through in a social situation and how he sees everyone else. The scene that perfectly captures this is the first party scene in which Ivan and Roger attend a birthday party for one of their friends' children. Baumbach inserts a montage with James Murphy of LCD Soundsystem's score pervading in the background, competing in the audio track with the dialogue taking place combined with quick non-linear cuts and portions of various conversations Greenberg has at the party. All of it equals an entirely overwhelming montage in the constant awkwardness of Greenberg's complete misfire in every encounter he has and the techniques that Baumbach employs through his use of editing and audio overload. He perfectly conveys Greenberg's subjective experience in social situations and through the effect this scene has on the viewer, we feel the way he feels involuntarily aligning us with the protagonist. The scene culminates in a stunning moment with an extended overhead shot of Greenberg alone but surrounded by children running around and adults stationed in stable conversation. He is lost, confused and unsuccessful in his attempt to function at this party through a combination of his own coldness towards others and his genuine discomfort with them.

We have come to the personal part of this review. Noah Baumbach is, for me, in the top tier of working directors and screenwriters not only in his own scripts but in his contribution to two Wes Anderson films. I adore every work of his because of his courage in the characters he writes and the way he challenges his audience to really dig deep into his examinations of upper middle class angst as he relentlessly enforces the validity of his characters' feelings. He knows that not everyone is going to relate to them and furthermore he knows that many are going to actively invalidate their plights through personal assertion. There is nothing wrong with this. Just because his characters can be difficult to relate to does not mean that they do not deserve to have their stories told. Films that are challenging in this regard are refreshing to me and much more interesting than the majority of work out there. He makes his characters ugly but valid and fully realized.

That is why I love Margot at the Wedding so much. Margot was refreshing for me personally because of how brutally unlikable she is. There is a difference between brutally unlikable and brutally uninteresting. In many writer's but more often studios' attempts to create easily marketable and relatable characters the result is many times a dull and redundant story. I am surprised by how many found Greenberg to be so completely intolerable considering that not only does the character grow by the end of the film but also because this film is so much more accessible in my opinion than Margot. Also, while Florence's actions might be questionable in her unwillingness to give up on Roger at times when you may want her to, she is very easily likable not to mention Ivan who is extremely easy to attach to.

I guess I am so deeply fond of it because Greenberg felt disturbingly relatable. Reviewers have referred to his character as a monster which is completely pushing the line. I find it interesting that people are much more inclined to accept the actions of characters that kill people in films before they can accept a character like Roger Greenberg. Greenberg is unlikable. He is stuck in a largely middle-aged conundrum; as Ivan (Rhys Ifans) talks about late in the film, he is incapable of embracing the fact that his life has not turned out as he planned, a problem which taken on its own should be relatable to many. His misanthropy and his disconnect from society and all of the things that make him so hateful to many others felt familiar to me in my own feelings, especially in his disconnect with the current generation which would be my own. Obviously my feelings are not nearly as generalized or unwavering as it is for him but I felt a connection with him to the point where by the end of the film I truly loved this character and outside of much of his treatment of Florence and Ivan, I cannot say his actions upset me all that much. I never approved of them but I was more fascinated by his actions than pissed off.

Greenberg's ability to openly show his disdain for everything, which is what turns so many people off from him, is an aspect I cannot relate to. However, in relation to my own thoughts at times, yes I do relate to some of the things he says. His experience in social situations feels eerily familiar. His concerns about middle aged life and the way he so fully feels the passage of time is something that I relate to in my youth which is just a little terrifying. Throughout the film all I kept thinking was that this film was not made for people my age; so why do I understand everything he is going through even if I do not relate to the way he goes about dealing with his issues. The film, which is alternately and much of the time simultaneously very funny and also very depressing felt relatable and true to me. While I am not at the age to fully understand that passage of time, opportunity and examination of self growth I felt a very strong connection making me one of the many that truly loved this film.

If everyone liked Greenberg the film would not be successful because that would mean that Baumbach had not stayed true to his title character. Greenberg will alienate some and unite others but through portraying a character fully and deeply on both the director's and the character's own terms whether or not people relate to it or sympathize with his plight enough to care about the film makes this a unique, brave and acutely observational character study that will be hated by many and cherished by many for years to come.

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This was one of my favorite films of the year. Seeing all of the one star reviews here is so insulting. This is a good film! It got good reviews! Can a unlikable character provide this much hate that you are motivated to write brief scathing reviews on a website? Apparently! Sigh. My name is Greenberg and I show disdain towards you all.

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Manhattan (1979)

In 1979, Woody had the burden of trying to capture the "originality" of "Annie Hall," the Oscar-winning Best Picture of 1977.

So when "Manhattan" was released, Woody's first "true" widescreen picture (so much so that Woody insisted this film NEVER be released on video or shown on television without the black bars on the top and bottom of the screen), I wasn't quite sure what to expect.

I discovered that "Manhattan" had a completely different tone than "Annie Hall." It was more serious, but still hilarious. I became so enraptured by its themes, its music and its atmosphere that I felt, until I saw "Schindler's List" in late 1993, that I had witnessed something that comes along only once or twice a generation...and that's true greatness on film. I paid to see "Manhattan" at least four times during its initial run in 1979. I had never done this before, even when I include those popcorn pictures I had seen several times put out by Spielberg and Lucas during the 1970s. I found "Manhattan" simply incredible, so "on the mark," so revelatory about the weaknesses of people, especially so-called "intelligent" people.

Rather than go over the plot, I believe "Manhattan's" themes include the following:

1. intellectualism is overrated.

2. romance is illogical and unscientific.

3. words don't always match our actions.

4. moral structure is a man-made invention.

5. fidelity is an optimistic ideal.

6. skeletons in the closet are better left unsaid.

7. uncorrupted optimism is mostly found in young people.

8. cynicism increases as you grow old.

9. advancing years = more unnecessary baggage.

10. The more you know, the more it can hurt you.

That all of the above is delivered with humor is something only Woody Allen could accomplish.

There was a time when Woody's life imitated his art so closely that I had to avoid this SPECIFIC film for awhile. But now the past is past and it doesn't matter. Woody's art remains and the messages in "Manhattan" haven't been diminished after so many years. It still holds up even though it was made during the late 1970s.

Yes, Woody Allen's films are an acquired taste. People won't admit it, but when you pin down WHY they don't like "Manhattan" or anything he does, you find the reasons are rooted in conventional moral judgments, religious intolerance or even genetic issues such as his "whiny" voice and the fact he is one of the most un-photogenic actor-director-writers of our time (e.g., no one likes watching Woody "kiss" any woman on screen.)

And when art becomes too closely reflective of an artist's life, it can make people uncomfortable. My response is if you are unable to separate an artist's personal life or lifestyle from his work, sometimes the world can be made the lesser for it.

"Manhattan" and "Annie Hall" remain the benchmarks of all urban-based, non-screwball comedies made in America. That Woody was able to "re-invent," or more to the point -to "invent" a new genre of comedy -is more evident today by looking at everything that has come since 1979 that is clearly derivative from these two landmark urban films.

Only elitist thinkers will call people who don't "get" this film "fools." They're not. Again, Woody's films are an acquired taste. Fans who have followed him forever, quite candidly, like the way he is on screen, even if it's the same nebbish, over-analytical character every time. We're comfortable with him in the same and opposite way that we didn't mind Cary Grant playing Cary Grant all of the time. Nobody delivers a punch line or joke better than Woody and when he's not in his own films, they don't seem as funny.

"Manhattan," in my opinion, is the finest of Woody's "quartet" of masterpieces (the others are "Annie Hall, Hannah and Her Sisters" and "Crimes and Misdemeanors"). There is so much hilarity and truth woven into this picture, complimented by a glorious Gershwin score and wonderful black and white cinematography, that I'm 100 percent sure -that Woody will never be able to top this film -even if he lives to 100.

The end "smirk" on his face speaks volumes about what's going on in this story, and why, unlike most of Hollywood's "mainstream" comedies, he won't give you the standard cornball ending.

Yet what he leaves behind as the credits roll, still leaves you satisfied. There isn't anything left hanging, in my mind, since you already know that Woody's character KNOWS how everything is going to end. That's the reason for the "smirk."

How many filmmakers can get away with this and stay original?

This is Woody's greatest film and it remains undated after more than 30 years...

When Woody Allen won the Oscar (in abstentia) for writing and directing "Annie Hall," which also won the Oscar for Best Picture, it was assumed the stand-up comic turned auteur had reached the pinnacle of his career. Then Allen proceeded to go out and make an even better film with his next effort, "Manhattan." Filmed in glorious black & white (and widescreen) by the great cinematographer Gordon Willis, the opening sequence combining indelible images of New York City with Gershwin's "Rhapsody in Blue" is a paean to city Allen loves and the most rhapsodical sequence in any of his films.

Rather than talking about the plot per se, "Manhattan" is best explained as a convoluted series of wrecked and ruined relationships centering around Allen's character, Isaac Davis. Isaac is divorced from Jill (Meryl Streep), who is now living with Connie (Karen Ludwig), and planning to write an expose on her marriage. Isaac is having an affair with 17-year-old Tracy (Mariel Hemingway), but then he meets Mary (Diane Keaton), the mistress of his best friend Yale (Michael Murphy), who is married to Emily (Anne Byrne). Ultimately, however, this is not a film about love, but rather a film about loss, because you just know that forced to make choices, Isaac is going to make the wrong ones. Tracy and Mary are characters constructed as such polar opposites and it never dawns on Isaac to focus more on what each has than on what they lack.

Of course, today this film is obviously open to reinterpretation given Allen's very public personal life and it is now assumed that the Isaac-Tracy relationship was a sign of things to come rather than a dramatic construction. If you can get away from the film's Freudian implications then you can appreciate Hemingway's Oscar nominated performance, which is not only at the heart of the film but provides its heart as well. In contrast, Keaton's Mary is rather soulless (the anti-Annie Hall if you will). When the choice is so clear the fault is clearly not in the women, but rather in the character of Isaac (or lack of character, as the case might be). The ending is certainly the most bitter sweet of any Allen film to date.

Most Romantic Lines (remember, this is a Woody Allen film): (1) "I think people should mate for life, like pigeons or Catholics"; (2) "Yeah! I can tell, a lot. That's, well, a lot is my favorite number", and, of course, (3) "Why is life worth living? It's a very good question. Um...Well, There are certain things I guess that make it worthwhile. uh...Like what... okay...um...For me, uh... ooh... I would say ... what, Groucho Marx, to name one thing... uh...um... and Willie Mays... and um ... the 2nd movement of the Jupiter Symphony ... and um... Louis Armstrong, recording of Potato Head Blues ... um ... Swedish movies, naturally ... Sentimental Education by Flaubert ... uh... Marlon Brando, Frank Sinatra ... um ... those incredible Apples and Pears by Cezanne... uh...the crabs at Sam Wo's... uh... Tracy's face ..."

If you enjoyed "Manhattan" then check out these other films on the AFI's list of 100 Greatest Love Stories of All Time: #11 "Annie Hall," #25 "When Harry Met Sally," and #35 "Gigi." Why? The first because it is also Woody Allen, the second because it also takes place in NYC and involves making the wrong choice and then running to the woman to do something about it, and the third because it also thanks heaven for little girls...

Buy Manhattan (1979) Now

"Annie Hall" may be generally regarded as the funniest of Woody Allen's adult comedies, but there's much to be said for the richly textured "Manhattan." Mariel Hemingway is perfectly cast as the doe-eyed (and teen-aged) Tracy, the initial love interest of Allen's Isaac Davis. Setting aside any parallels to Mr. Allen's current real-life situation, suffice it to say that the relationship between Isaac and Tracy is sweet and passionate, and ultimately the heart of the life lesson Isaac learns. Dianne Keaton (Mary Wilke) is the hyper, neurotic adult involved with Isaac's married friend Yale (Michael Murphy). Together, Hemingway and Keaton give excellent performances: perhaps even Mariel's best, while Keaton's is at times cloying but at heart quite sympathetic in a search for love in Manhattan. Which brings us to the real star of the film: the city itself. The opening montage alone--set to Gershwin's "Rhapsody in Blue"--paints a delightfully romantic, pulsing portrait of Allen's New York. Cinematographer Gordon Willis's sumptuous black-and-white was shamefully overlooked by the Academy. Visually, the film is stunning, with a palette of tones that reflect the story's inherent warmth as well as its moments of stark confrontation. Allen has worked in black-and-white several times, but this is the most successful effort. And, as much as he seems to decry it, Woody once again creates a sentimental--but never mawkish--ode to love, human frailties, and the Big Apple. Yes, that's Meryl Streep as the other woman. If a classic film is one that stands the test of time, then "Manhattan" is holding up exceptionally well. Even bettern than "Annie Hall."

Read Best Reviews of Manhattan (1979) Here

It makes me sad (not to mention angry) that some people make the statement that this movie is about "a child molestor." The same people who say this are the ones that praise "There's Something About Mary" and "American Pie" for it's "comic innovativeness." This is NOT a documentary, it is simply a situation, and Tracy (the girl) was not forced into her position as girlfriend--it is a choice. Let's not forget this was the 70s, and while that's not an excuse, shame on those who imply that this beautiful movie is simply about a man and an underage girl.

That said, this is one of the most gorgeous movies ever made. Although "Hannah and Her Sisters" is probably my favorite Woody Allen movies, this is Allen's cinematic masterpiece. Words can't describe how beautiful the lights of Manhattan look as they sparkle through the trees in Central Park. But the acting shines as well. Diane Keaton is both hilarious and sad as a neurotic woman who is so full of herself and yet so unlucky in love; Woody Allen plays a divorced, neurotic man (shocker. . .); and while Mariel Hemingway isn't terrible, the tone of her voice and her manner did grate on my nerves a little. . .but that didn't ruin the movie at all. She is the voice of reason not only to Issac (Allen's character) but for the entire film.

It's a true testament to the genius of Allen that his movies, which usually end so sad, can still fill you with hope. It's as if he's telling the audience that it's the journey, not the destination, that's important. Everything about "Manhattan" shines, even after more than 20 years. I highly suggest this movie to anyone who hasn't seen it.

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There's poetry in Manhattan, the poetry of opposites. As Gershwin's Rhapsody in Blue plays over lusciously composed black and white images of an idyllic Manhattan, we see picture postcards shots of Broadway, 42nd Street, Central Park, the Skyline and fireworks. Fireworks we almost wish would burst the film into color. It won't. This is a film about opposites, black and white or at least inconsistencies.

It's a film about 42 year old Isaac, (Woody Allen)and his small circle of friends. He's a successful television writer, who's been divorced twice. Isaac is having a fling with 17 year old Tracy (Mariel Hemingway). Isaac continually reminds her their relationship is temporary. When she talks about being in love with him, he tells her to not get hung up, she's too young, there's too much life for her experience, she has to go to school in London without him in the near future.

Isaac hates his job. Hates writing the junk he is writing just to earn a paycheck and support his comfortable lifestyle. He quits to get serious about the novel he's always wanted to write. He's having a bit of trouble finding his writing voice, just as he's having trouble finding balance in his life. Quitting his job however means he'll have to cut-back his lifestyle and even move into an apartment with noisy neighbors and brown water. Isaac's ex-wife (Meryl Streep) is about to publish a sure to be devastatingly personal book about their marriage. It ended when his wife left him for another woman and Isaac tried to run over her girlfriend with his car. They have a son and on visiting days old wounds are re-opened. His best friend Yale, (Michael Murphy) who is happily married, is nevertheless having an affair with Mary (Dianne Keaton). When Isaac first meets Mary, he hates her. She represents the type of Radcliff pseudointellectual who can't properly pronounce Van Gogh that he detests. But opposites do attract. They become friends but Isaac does not make a pass at his best friend's mistress.

Yale decides to stop cheating on his wife, and suggests to Isaac that he should date Mary.

These people operate in a world of shadows and illusions. They are all false fronts. Their self confidences, their cleverness and wit are all a facade hiding how scared, alone and vulnerable they really are. And this is not a film where suddenly they open up and reveal themselves or transform into better people. These are characters who have become a part of the city, of Manhattan, and a part of each others lives.

Gordon Willis photography is part of this charade. In one of the later montages, a romantic montage of shots is given an edge, partially by the greyness of the images (not merely black and white) and partially because cliche's are used and turned inside out. During the cliched Central Park boat row boat ride (an homage to Horsefeathers perhaps), Isaac reaches into the water and removes his hand which is now covered with sludge. At the Hayden planetarium it's so dark we see Isaac and Mary in silhouette. A shot in Mary's apartment is lit seemingly by a small table lamp.

Allen's cynicism and skepticism have never been as sharply realized than in this film. There are no slapstick sequences, and no dream sequences in this -Allen's most assured, mature and personal of films.

There are plenty of laugh out loud lines of dialogue (courtesy of Allen and Marshall Brickman), but they seem natural, and never forced. This is a confident, relaxed Allen. He's not trying to please the audience as he did with Annie Hall. He's not making compromises with his material so he can sell a few more tickets at the box-office.

All of the actors are perfectly cast and at their peak. Even small supporting roles, like Wallace Shawn and Michael O'Donoghue are wonderful. Look fast at the t.v. show for David Rasche and Karen Allen (in a blonde wig). The Gershwin music is sometimes used as exclamation points (much as rock music is used in film). Rhapsody in Blue, Someone to Watch Over Me, and S'Marvelous in particular are worked wonderfully into the film.

This is Woody's masterpiece and a film that will be even more appreciated in years to come. Thank You

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The House Bunny (+ BD Live) (2008)

When I first heard about this film, I was less than impressed and had no intentions of seeing it. Once, however, I saw the preview at another film, I decided to give it a try and I'm glad I did.

"The House Bunny" is a charming and funny little film starring Anna Faris as Shelly, a playboy bunny who lives a carefree life in Hugh Hefner's mansion. After her 27th birthday, she finds herself suddenly evicted from her perfect life, unaware of how she can make a living. When she stumbles onto a college campus and discovers that sororities slightly resemble her former playful lifestyle, she becomes determined to be the house mother of a failing sorority full of misfits and unpopular girls. Through her determined spirit, willingness to encourage others and using her sexuality in a positive way, Shelley works her magic and helps her girls to become of the belles of sorority row. And in the process, the young women teach Shelly some valuable lessons as well.

Faris gives a good comedic performance, giving the character a sweet, likeable naivety. I liked that the character wasn't bitchy or a diva, simply a kind girl who lived an exotic life but must now adjust to her new situation and envirnoment. The supporting cast is funny but the brunt of the film falls on Faris, who delivers and proves she can carry a film. Notable supporting characters include Rumor Willis (the daugther of Bruce Willis and Demi Moore)former American Idol alum, Kathernine McPhee and Colin Hanks, son of Tom Hanks.

This is a fun date movie and I recommend it as a perfect summer comedy movie. Worth a trip to the theater!

Anna Faris is one of the popular comedic actresses with her roles in "Scary Movie" films but also showed us how versatile of an actress that she is through roles in films such as "Lost in Translation" and "Brokeback Mountain".

But this time, Faris has dual roles as executive producer and actress for "THE HOUSE BUNNY", a comedy film written by the creators of "Legally Blonde" and produced by Happy Madison Productions. And with that being said, if you are a fan of Happy Madison style of films such as "50 First Dates", "Deuce Bigalow" or more recently with films such as "Bedtime Stories", you know that you're getting a fun film that will generate a lot of laughs. But also films that are not meant to be taken seriously. Just sit back and enjoy.

"THE HOUSE BUNNY" features Shelley (Anna Faris), a young orphan who becomes a beautiful model for Playboy and lives in the Playboy mansion. Her dream is to become a Playmate and Miss November. But after celebrating an extravagant 27th birthday at the Playboy mansion highlighted by cameos by professional athletes such as Shaquille O'Neal and Matt Leinart, Shelley receives a letter that she must vacate the Playboy mansion.

Shelley becomes homeless and has some rough luck until she overhears a sorority talking about fashion and she follows them to their home. Not knowing what a sorority house is, she meets the house mothers who pretty much tells her to get lost while one feels sorry for her and tells her to visit another sorority, Zeta Alpha Zeta.

The Zeta Alpha Zeta sorority are a few women who are somewhat nerds, outcasts and are in danger of losing their house because they don't have 30 members. Fortunately for them, Shelley takes up a job to become their house mother and using her sexy body brings the attention to the sorority and hopefully help them get the 30 members that they need but also helping the women discover their inner beauty and to hopefully give them the courage to get a makeover and also meet guys.

Anna Faris really makes this film work. Faris really worked out for the role to make Shelley's part work. Having to wear short shorts and showing off her toned abs and body, it's definitely not a part that I would have imagined her playing but she executes her role convincingly.

Shelley is much more ditsier than Witherspoone's "Legally Blonde" character and because she is quite naive and only exposed to what goes on at the Playboy Mansion, she has an interesting way of viewing life and again, Faris does a great bringing life into her character.

Joining Farris are the Zeta Alpha Zeta sorority girls:

Natalie (played by "Superbad" actress Emma Stone), the leader of Zeta Alpha Zeta who is pretty much the brainiac.

Mona (played by the "40-Year Old Virgin" and "Nick and Norah's Infinity Playlist" Kat Denning), the punk girl who is anti-popular and has piercings all over her face.

Harmony (played by "American Idol" finalist Katharine McPhee), the pregnant sorority member.

Joanne (played by "From Within" actress Rumer Willis), the sorority member who wears a body brace.

Lilly (played by Cheetah Girls member Kiely Williams), the sorority member who is afraid to talk to people.

Carrie Mae (played by Deuce Bigalow: The European Gigalow" actress Dana Goodman), as a scary sorority member who walks with a hunchback.

Tanya (played by Kimberly Makkouk), as the very small member of the group.

And also starring Colin Hanks as Oliver, a normal guy who works at a convalescent home. Shelley happens to be attracted to him but her Playboy way of attracting men by flaunting her body, doesn't seem to work on him, thus with the help of the Zeta Alpha Zeta girls, they teach her how to be smart.

The film also features a pretty strong soundtrack as a lot of the songs are well-known such as "When I Grow Up" by the Pussycat Dolls and "Shut Up and Let Me Go" by the Ting Tings.

VIDEO:

The video is featured in 1080p high definition and aspect ratio is 2:40:1. Picture quality was quite vibrant during the outdoor scenes and during dark scenes, I really don't recall seeing much noise during the blacks.

AUDIO:

The film is featured in TrueHD 5.1. Although the film is primarily a dialogue film, where the film really gets pumped up audio-wise is during the moments that feature a lot of music.

SPECIAL FEATURES:

The Blu-ray edition of "The House Bunny" definitely has a good number of featurettes included.

* House Bunny Style: Make-up/hair/wardrobe documentary on making over the Zeta girls into "Bunnies"

* The Girls of Zeta: A look into the actresses who make up the sorority girls of Zeta and how they bonded on-set

* Calendar Girls: A fun look into the photo shoot for the calendar

* Anna Faris: House Mom: A look at Anna Faris and her character of "Shelley", her infectious smile, fun personality and interactions with others

* Colin Hanks: Mr. Nice Guy

* From Song to Set: Katherine McPhee: A look at the on-set experiences of first-time actress Katharine McPhee

* From Tour Bus to Trailer: Tyson Ritter: A look at the on-set experiences of first-time actor Tyson Ritter

* Look Who Dropped By: Checkout the stars who showed up on-set!

* The Girls Upstairs: Behind the scenes with the real "Girls Next Door"

* Zetas Transformed

* Getting Ready for a Party

* House Bunny Memories

* I Know What Boys Like Music Video by Katharine McPhee

* INTRODUCTION TO "I KNOW WHAT BOYS LIKE"

* Deleted Scenes

For me, the featurette with Anna Faris was interesting to watch. Especially to get her take on having to do the dual roles as an executive producer and being the lead actress. Also, learning how she had to really workout for the role and her thoughts of wearing the skimpy outfits. Really good insight into the actual film.

Also, it was great to see the camaraderie of the ladies in the film and how much fun they had shooting the film. There literally are a good number of featurettes that last around five minutes or more on this Blu-ray.

In "Looked Who Dropped By", you get to see the number of talent who had cameos in the film from Shaq, Matt Leinart, former ESPN analyst Sean Sallisbury, sportscaster Dan Patrick and many more. "The Girls Upstairs" features Hugh Heffner and the three Playmates from "Girls Next Door" on set.

As for the deleted scenes, no commentary but there were quite a number of deleted scenes which I agree with the director for cutting out those scenes.

I wish there was a commentary segment featuring Faris but unfortunately there wasn't one. But overall, you do get a good number of special features on the Blu-ray disc and it is BD-Live enabled.

Typically, when I watch a "Happy Madison" produced film, I expect to watch a comedy and just sit back and see how crazy and at times, how moronic some films can be. But with "THE HOUSE BUNNY", I have to admit that I was amazed to see Anna Faris in this role and how she brought this character to life.

Personally, I don't think I can picture any actress making this role happen and so I was very pleased with her performance. As for the overall film, I would call it "Legally Blonde" meets "The Revenge of the Nerds" and to see how the women literally transform themselves to the women no one wants to be around, to the women than the frat boys want to party with.

But with that being said, that scenario can be seen quite negatively to people who do not believe a woman should have to go through a makeover, wear slinky outfits to make things happen for them in college.

For me, many Happy Gilmore produced films are never meant to be taken seriously and for those who approach these comedy films with a lot of seriousness, are probably going to get disappointed. You need to really sit back and just enjoy how far the characters can make you laugh or make you feel embarrassed. It's all fun!

Again, Anna Faris does a great job on this film and really demonstrating her versatility as an actress. Without her, I really don't think this film could have worked. She brought life into the character of Shelley and watching the featurette, she definitely made it fun for the other actresses and they fed off that enthusiasm, The chemistry with Faris and the other actresses worked quite well.

Overall, "THE HOUSE BUNNY" is a fun and enjoyable comedy that is sure to make you laugh and also looks great on Blu-ray.

Buy The House Bunny (+ BD Live) (2008) Now

Well, I'm embarrassed to admit that I really enjoyed this silly movie. I hadn't intended to see it, but got pushed into watching it with my family. And I liked it better than they did! It was actually very sweet.

The plot, of course, is a cliche. Nerdy sorority is made cool by an ex-bunny. Not original. But it isn't meant to be. This whole thing is just a wonderful frame for the comedic talents of the people involved. We particularly enjoyed the scene where Shelley tries to act like Marilyn Monroe over the steam vent, and gets her knees badly steamed. That is just so silly that you have to laugh.

Also, at my house, we just find it so strange that the series "the girls next door," whose performers are in this film (the Faris role, Shelley, is supposed to be living at the Playboy Mansion as the movie opens), is one of the sweetest shows on TV. We expected trash, and were confounded by pleasant people that we genuinely like. So that predisposed us to like this film, too. There is a certain innocence to the whole thing.

So, I find myself in the position of recommending this film to anyone who enjoys silly comedy.

Read Best Reviews of The House Bunny (+ BD Live) (2008) Here

Anna Faris discovers a facet of method acting? Yes. Not since Christian Bale muscled up in order to one up Leo DiCaprio for the title role in American Psycho has someone altered their body so very dramatically for a role. The previous soft Anna has been replaced by the T-1000 Anna, hotter than ever, and funnier to boot.

As far as goofy comedies go, the writing was good. The plot was cute. The situations were were well-thought out and hilarious.

Shelley (Faris) I plays a wanna-be Playboy bunny who is cast from the Playboy Mansion after her 28th birthday. To put a roof over her head she takes a group of social outcast sorority sisters in need of a house mother under her wing and shows them the ropes of presenting themselves and talking to men. In turn the sisters teach her to an intellectual man (played by Colin Hanks).

The social blunders are numerous and the movie borrows heavily from Sorority Boys, in a good way.

Anna Faris was goofy in the Scary Movie series, good in Waiting, but has truly come into her own here. This is a must see.

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Sure this flick is formulaic and derivative but I loved it. It's consistently funny and engaging and it'll make you grin from ear to ear. This film should have been the one to break Anna Faris big. Her Shelley may be a little vapid but she's no dumb bunny. Anybody who would typecast her as a dumb blonde should check her out in the underrated "My Super Ex-Girlfriend". Like Reese Witherspoon's Elle Woods in "Legally Blonde" this is the kind of role that should catapult her to better things. Not to be overlooked is Emma Stone as the wallflower president of the sorority that Shelley becomes housemother to. I was expecting a cliched girl nerd turn but Stone imbues Natalie with warmth and complexity. It was also pretty cool that Hugh Hefner is on hand to take a self-deprecating portrayal of his image. The only debit here is stiff as wood Colin Hanks as Shelley's perfunctory love interest. Hanks may have inherited his dad's vocal ticks but has nil of his acting chops. I saw this on a sick day and it was just what the doctor ordered.

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