An American in Paris (2009)

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

Disc 1:

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

1938 MGM short: Paris on Parade

1951 MGM cartoon: Symphony in Slang

Theatrical trailer

Disc 2:

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

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

Outtakes:

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

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

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

Gene Kelly and Leslie Caron promotional radio interview with Dick Simmons

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The Sex Thief: Remastered Edition (1974)

[The Sex Thief AKA Her Family Jewels 1973 88 minutes directed by Martin Campbell Widescreen] The late David Warbeck (who later appeared in three Lucio Fulci horror films in the 80's and a ton of other films) stars as Grant Henry AKA the Sex Thief in this silly but surprising 1973 British sex comedy. A writer of trashy paperbacks, Henry moonlights as a masked jewel thief who is usually caught in the act but lures his female captors to bed. He is a criminal by choice, not by necessity. Bedroom gyno-gymnast that he is, the women all lie to the authorities about his identity and secretly hope to get burgled again and again.

A shameless Hollywood producer and a ditzy blonde wannabe movie star try to drum up publicity by claiming that the notorious thief assaulted her. Enraged and engorged that his name has been tarnished, our beloved Sex Thief purchases a toy gun and stalks the actress. In a forced apartment entry, he catches her in the bath before the pair passionately reenact her made up fantasy scenario. Typically dimwitted and corrupt cops more interested in peddling contraband blue movies (porn in today's vernacular) than catching the thief also become involved for comedic effect. Despite the softcore stereotype of the British sex-comedy film, this one is fairly well made and occasionally funny, mildly sexy and a fairly flagrant female fleshfest.

Michael Armstrong, who acts in the film as a breast obsessed cop, wrote the screenplay under the demonic alter ego Edward Hyde, is most familiar to exploitation fans for the much maligned and frequently banned ‘Mark of the Devil' as well as the autobiographical ‘Eskimo Nell', another Brit sex comedy from that time. The version of this flick known as ‘Her Family Jewels', had brief notoriety when it resurfaced with some hardcore insertions before being yanked (puns intended) from circulation. Another discovery is actress Gloria Walker AKA Gloria Maley who went from being well-worked over by Warbeck's buzzing stimulator here to providing the blood and guts special effects for 1980's ‘Inseminoid' (ugh) a more diverse career move is hard to imagine. ‘The Sex Thief' marginally rises above the typical British sexploitation comedy from that era thanks to some pointed raunchiness, a somewhat subversive script and a charismatic leading man. Oh yeah, and a boatload of nudity, which is the only reason to watch flicks like these. No one under 40 will appreciate it, it's for old codgers (like me) to wax nostalgic over, remember the miniskirts, fashions and marvel at how different times were and how women looked then.

The remastered edition is in widescreen, where earlier editions were only available in full screen, and a decent clean-up of picture, color and contrast are noticeable. So if you want to recapture stolen moments from the bygone era of your wayward youth and pilfer a snicker or three in the process, snatch yourself a copy of ‘The Sex Thief'. All else should consider yourself duly warned.

Many were the sex comedies that England made during the seventies, with a significant part released by Jezebel. I do remember watching some at the time, although I have forgotten most of their titles. But one that clearly comes to mind is the delicious "The Sex Thief," a spicy sex comedy directed by a young Martin Campbell, who would years later be responsible for James Bond's "Casino Royale" and "Goldeneye."

The film stars David Warbeck who at one time was considered to play James Bond -as Grant Henry, the sex thief, who, during the day, works as a "creative artist" never figured that one out. He is an attractive guy and, when discovered by his female victims while conducting a robbery, they quickly fall for his charms, with one saying, "I should call the police," and Grant just answering, "Later." Yep, as simple as that. However, the cops are after him, due to a clue given by one aspiring actress, trying to get publicity, when she tells the police that, "he had a Russian accent. I'll do anything I can to help such a beast to be put behind bars." Of course, she also got a taste of the thief, or vice versa. Unfortunately for Grant, a sexy insurance lady (Diane Keen) had developed the perfect trap to catch the famous sex thief. She is aided by two inept and horny cops.

"The Sex Thief" is truly funny, with smart and hilarious dialogue. Of course, as any film of the time, it is loaded with female and male nudity. This, friends, is a classic of the genre, in a magnificent Blu-ray edition. (UK, 1974, color, 90 min)

Reviewed on March 12, 2013 by Eric Gonzalez for Kino Lorber Jezebel Blu-ray

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The Bounty Hunter (2010)

There are a large number of movies released starring big name stars that just never seem to quite live up to their potential. The movie that is, not the stars. And I don't think it's the fault of the stars either. Some would say it's a combination of script, direction and more but in general I don't think its any one item. It's a combination of them all and perhaps just a lackluster idea that seemed better on paper. Such is the case with THE BOUNTY HUNTER.

Gerard Butler stars as Milo Boyd, a down on his luck bounty hunter deep in debt to bookies who never seems to have much luck. Having just caught a bail jumper the end result is a night in jail for torching a parade float on accident while attempting to catch the guy.

Nicole Hurley (Jennifer Aniston) is a hot shot reporter who thinks she's on to a major story. An apparent suicide left behind too many questions that no one seems to be asking. As Nicole is about to go before a judge for an assault charge (what that involves is revealed later and it's not as funny as it should be) when she gets a call from an informant. Since she doesn't show for her hearing, her bail is revoked and she's a wanted fugitive.

Guess who gets to pick her up for jumping bail? Of course it's Milo, who also just happens to be Nicole's ex-husband. Yes the pair had a parting of the ways and one gets the idea that it wasn't an easygoing divorce. No, both parties seem to not think well of the other. And when Milo tosses Nicole into the trunk of his car to take her in, things don't get a lot better.

As the film moves forward, Milo eventually sees the problems that Nicole is having between trying to find clues to her story that might involve a best friend they both share as well as being shot at by someone who wants this story silenced. Along the way he keeps Nicole handcuffed to the bed at night and has to dodge his own problem, the bookies he owes money to. Somehow the only solutions to their problems is to stick together and figure things out.

This is the type of movie where you know from the first scene that a happy ending is just around the corner no matter how many guns are drawn and how many shots are fired. Goldie Hawn made several films in this genre including FOUL PLAY and BIRD ON A WIRE. A combination of agitation between the two main characters, remembering the past, romance, adventure and the chance that someone might separate the characters that were apart for good by the final reel. But that never happens.

Butler is coming along well with his career but his choices aren't always what he probably hoped for. He's taken a chance with comedy in a couple of films now and though he does an excellent job, he seems more suited for things like 300. Aniston has never seemed to make the leap from small to large screen like many actresses. Which is sad because she genuinely does a good job in everything she's done and this film is no exception.

So what's the problem? The directing is fine, the photography well done and the acting, as state, well above par. I think perhaps the problem lies in the script. The two characters reveal so little of themselves in a positive light that you tend not to care about them. You hope they get back together but know so little of them as the story unfolds. The small glimpses you get are very small indeed.

These are characters that we need to feel for, to understand, to want the best for and until late in the film we never have those emotions touched. Instead we witness two self absorbed people who whine about one another and blame each other for everything that went wrong. It's the Bickersons without the humor.

The laughs are short term and unmemorable. The action is predictable. And the whodunit that the movie surrounds itself around to make it all worthwhile isn't nearly as crafty as it would like us to believe.

All that being said, the movie isn't a bad film and definitely worth a dollar rental. Its just not one of those movies that you'll want to sit on the front shelf and pull down now and then. You may enjoy watching these two gifted actors perform well together once, but long term this isn't a movie you'll add to the collection unless you're a die hard Butler or Aniston fan. So enjoy the small amount of entertainment you get from this one and then let it fly. Perhaps the next movie that arrives in this genre will gel better than this one though.

Look, going into this you know what you're getting. It'll be a pseudo-chick flick in which Jennifer Aniston will be hot; Gerard Butler will be manly; the two will be forced to reconcile because of proximity; and the laughs as well as the action will be dwarfed by the attempts to tie everything into a happily ever after bow.

Milo Boyd (Butler) is a recently fired cop who has taken a job as a bounty hunter. His ex-wife, Nicole Hurley (Aniston), is a pouty journalist who has just skipped a court appearance and jumped bail for a hot story about a potential murder cover-up. Naturally, the paths cross in a soggy Mr. and Mrs. Smith impersonation without the on-screen chemistry. Except Mrs. Smith in this case desperately wants to be with Mr. Smith. And by Mr. Smith I mean Brad Pitt. Hijinks ensue, they reminisce, and yadda yadda yadda.

Watch it on an intercontinental flight and at least you'll pass about two hours. Nothing is really bad, per se, but nothing stands out either. I think I laughed once, and it might have been out of pity. A banal rom-com at best. A better option might be some Tylenol PM and two beers.

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I haven't quite figured out yet just why I like this movie so much but I think I found it to be kind of different, for one thing. Not the same old Jennifer Anniston, playing Rachel Green. Yes, she will always have that type of personality, 'cause that's who she is but I really like the chemistry between her and Gerard Butler for one thing. That's a big deal to me and I like a film where the characters actually grow, learn, change and move on-like they talked about when they had dinner together. Take responsibility for your #*%$ and move on. Also, I appreciated the fact that the few swear words were mild and the little bit of sexual innuendo was pretty tame. I also love Christina Baranski-she's fun no matter what she does but it would have been nice to see her and Anniston have a scene together (on the phone is not doing a scene together). The scene between Baranski and Butler was awesome, they even had chemistry. I also wonder how the actress who played Theresa managed to walk away without fainting when Butler dips her down for a passionate kiss after she hands him a check! Sigh! Now that was hot!

I really love this film. I have a copy that I just put in now when I'm doing other stuff and have it running in the background. It's fun, it's fast, it's clever, and it's crazy. Oh, and most of the violence, directed at Jason Sudekis's, Stewart, is comedic and besides his character deserves it, he plays a dope, but a hilarious dope! At one point, he congratulates himself for something and says, 'Stewart, you a tremendous stud!' Hilarious! He's perfect for the part.

This movie truely is funny and a little sappy. Give it a chance. Oh, and in the end, it also teaches us a good lesson in friendship, so there!

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The Bounty Hunter isn't even remotely funny. Even though it's not really a romance comedy, it sure *feels* like one because of how fruity and nonchalant the whole storyline is. The action bits feel like they were created by a bunch of 5 year olds, or rather, created by a group of writers that were going for something only a *very* select few would be able to appreciate.

I guess I shouldn't be surprised with the main character being Jennifer Aniston. She's not the kind of actress to star in really exciting action-packed films. No, this is definitely NOT a suspenseit's a really pitiful attempt at a comedy involving far-fetched and pointless "bounty hunter" *comedy* segmentscompletely unsuspenseful.

As soon as I found out there was no suspense, well, I said to myself "Maybe I can appreciate it as a comedy film". Nope. I couldn't. Not when I had to sit through one failed attempt at humor after another.

Just skip it.

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This could have been an enjoyable romantic comedy. Yet, so much went wrong with it. There is a lack of chemistry between the leads. The tone of their relationship is cruel, abusive, manipulative, and demeaning. The rest of the cast seems to be a collection of embittered people without even a hint of humanity. There is not one like-able character in the entire ensemble. The last minute "happy ending" doesn't compensate for the dreadful journey getting there. Don't waste your time (or money) on this one!

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Every Which Way But Loose / Any Which Way You Can (Two-Movie Collection) (2011)

im giving both movies 5 stars because they are great classics . but beware of sound changes made within both movies . warner bros made changes to sound fx when philo fights . it may not bother some people but i noticed it right away and it bothers me that warner brothers chose to do this when they have plenty of room to include the original sound mix

Galen claims that the right turn scene is missing on this disc. Apparently Galen isn't aware that Every Which Way but Loose didn't contain any right-turn jokes. All of those jokes appeared in Any Which Way You Can. You can ignore the missing footage claim. Blu Ray quality of this film is lackluster. Films are what they are. Three Star all around for the quality of movies, image, and sound; more nostalgic value than anything else.

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I'm happy to report that the somewhat misleading use of the term "2 movie set", while true, is less informative than '2 Disc Set'. Yes indeed this is a 2 disc set, not '1' as widely speculated prior to release (also shown as '1 disc' on Amazon's product page).

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great,

I received the package on April 30, with 16 days in advance.

it's still a bit long 15 days for a shipment to France.

I recommend this double blu ray as it is in free zone.

The blu ray has the English language, French, Spanish and German (Mono for last three language).

PS: It would be nice to report when the blu ray are "eligible in Europe."

thank you :-)

Sorry for my english, I'm french ... "Old Europe" ...

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It's nice being able to watch Clint Eastwood's old movies remastered and in HD on Blu-ray. To top it off, both the original and sequel are on the same DVD.

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Take This Waltz (2011)

Someone seems to say "life is between boredom and anxiety". People feel bored for what they already have and feel anxiety for what they don't. The process of knowing a new person or getting a new thing stirs the excitement. The excitement makes people feel delighted, happy and bold, which could lead to make a wrong decision and regret later. After a while, the excitement dies down, the new becomes the old, the boredom strikes again... I think the movie captures the idea very well. People who have the similar experience will find this movie is interesting and worth to watch. Otherwise, the movie might seems boring and slow.

The important thing in the life is to figure out what is really important and hold on to them. Rather than chasing the "mirage" created by the excitement, it is better to ride out the boredom by discovering new trait from old people or things, include ourself. So when you feel you will give in to the temptation, you can watch this movie and see whether you still want to do it or not.

Take This Waltz is a slow moving quirky movie. There was something unique about this film, something that caught my attention from the first moment.

The film opens with a beautiful song, light quirky words, slightly on the folk side. The opening montage is a set of close ups of Margot making cup cakes. One of the last shots is of her sitting in front of the oven, a man in shorts walks past and the montage ends with an out of focus shot of the man standing in front of a bright window. I describe this very carefully because the film closes with exactly this same series of shots. They are identical, except for one small detail; the man is wearing long pants.

The film then moves to a town on the east coast of Canada where Margot writes the new brochure copy for a Colonial town. A man taunts her to participate in a mock flogging. He ends up sitting next to her on the plane home. Turns out he lives across the street and they share a cab home, as they part ways she says under her breath, "I'm married." Margot is married to Lou, a chef writing a chicken cookbook.

This next paragraph has spoilers in it. If you would rather not know some details, skip this paragraph.

Ultimately, Margot ends up having an affair with Daniel. The literal interpretation of this affair is that she is a horrible person, doing what so many people do. She should be in love with her funny schlub of a husband. Her life is fabulous and she should be happy. Instead she falls for this handsome sexy guy across the street. I contend that there is another way to look at this film. Lou wore shorts a lot in this film. Daniel never wore shorts once, in fact the director made sure we got to see his Capri pants, they were always long pants; even at the beach. Margot never cooks in the whole film; in fact she hates the kitchen. The opening and closing montage style is completely different from the rest of the film. It is an intimate dance with Margot, the close ups of her bare feet moving gracefully. Throughout the film she wears funky sneakers, rarely barefoot. The opening and closing montage say that the affair was a fantasy. If I look back on the film with the idea that the affair was completely in Margot's head, the film takes on a completely different amazing turn. It all makes sense and is powerful.

The film is beautifully made. The interiors are full of stuff, bright colored stuff. Margot wears some of the funkiest unusual clothes. The exteriors portray a Toronto neighborhood so perfectly, open and green. The trips into the city are tight shots with all kinds of activity everywhere. Michelle Williams is absolutely radiant. She is bohemian, wears those unusual clothes perfectly. She as well as Sarah Silverman are never afraid to take off her clothes. They are both beautiful women comfortable with their bodies. Seth Rogan and Luke Kirby are also confident, but both stand to the side to let the women shine. This is a strong cast. I do have one complaint about the Montreal airport, it is not Dorval the chairs, halls, and doors are all wrong. Given the attention to detail in this film, I'm surprised that slipped in.

The film is almost two hours long. It does move along at about the same slow pace throughout. Frankly, I liked this pace. This isn't an action picture; it is a sort of romance or a slow slide into a fantasy world. I would guess it was too slow for a lot of viewers. This is an R rated film. There are several scenes with full frontal and rear female nudity. There is a scene in the middle of the film where Daniel describes what he wants to do to Margot. It is one of the most sensual scenes I have ever watched where nobody ever took off their clothes or even touched. There is an artistic scene of two people having sex, reasonably well covered. There is some strong language. The film is intended for mature audiences.

This film was less about betrayal and more about what boredom and fantasy will lead people to think. I loved the quirkiness of this film. The soundtrack was perfection. Sarah Silverman and Michelle Williams were amazing. Although slow moving, I was moved by this film.

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Margo (Michelle WIlliams) meets Daniel (Luke Kirby) on a Colonial tour, in which actors are put in stocks and whipped for committing adultery. This bit of foreshadowing (Daniel goads her into administering the lashing) is a clue as to the moral dilemma that involves Margo, Daniel, and ultimately Margo's husband, Lou (Seth Rogan).

The theme of marriage, temptation, boredom and adultery is hardly new fodder for exploration, but it does have an endless fascination. This tale of hipster attraction, lust and flirtation does not add anything particularly intriguing to the mix. Michelle Williams does a good job with the complicated character of Margo, who seems literally lost in her own neuroses and insecurities. She swings from childlike timidity to really bold flirting without much in between, and the instant hot attraction between she and Daniel leaves her understandably emotional and highly charged. Daniel, it turns out, lives right across the street from Margo and Luke (how did they not know this?) and he also veers from boldness he literally stalks her 24/7 -to suddenly turning morally righteous just as he's about to get what he wants. These two tease each other in a way that I found infuriating. Of course, they say and do things that real people operating under the conventions of civility would never say or do, but when it comes to pulling the trigger, they both back off.

Most puzzling to me was the character of Luke (Seth Rogan), Margo's husband. A writer of cookbooks involving chicken, he is a charming manchild with a strange distaste for touching his pretty wife. She, clearly in love with him, tries on countless occasions to "seduce" him (her words), only to be spurned with no explanation each and every time. They behave towards each other like kindergarten children with a crush. They "play" with each, tickle each other, he dumps cold water on her in her shower (why???) but he will not sleep with her. Is he gay? Asexual? At one point he mutters something about "not deserving her" which does nothing to clarify the situation.

My favorite performance in the movie was that of Sarah Silverman. She seems natural, is her usual bold, profane self, and adds a dimension of reality to a movie which is so subtle and nuanced it gets in its own way. "Everything new gets old" is hardly a startling new revelation, and unfortunately, this treatment of that theme ultimately fails to satisfy.

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This is not a light Hollywood RomCom. This story explores the chemistry of relationships. Margot is happily married to a good guy, a chef named Lou. They have fun and a nice life where their friends and family love them as a couple. Five years into a marriage, they do not have a deep connection, but a superficial one where they are content with the companionship that grows over time. There is a lot of nurture & familiarity in their relationship but no spark.

The two are different from each other. Margot feels the space between them but does not want to explore what is happening on a deeper level until she meets a carefree urban hobo / artist by chance when visiting a local landmark. She later realizes that he lives across the street from her. Daniel, the artist seems to see past her normal facade and made up excuses and stories. He calls it for what it is and makes her realize that she does not want everyday security but a raw deep connection with someone who feels her being deeply and allows her to be an individual.

The film is shot in beautiful urban Toronto. The backdrop and streets are full of color and life. The main characters of Margot and Daniel are played by the talented and adaptable Michelle Williams and hunky, deep and slightly mysterious Luke Kirby. Michelle gives a great performance of a young woman who is not sure what is lacking in her life. She tries to hold on to the things that others say are good for her and struggles with being pursued by a slightly obsessive suitor. The cerebral and sexual tension between the two actors heightens as the film progresses. One of the best non sex, erotic scenes happens in a cafe where Daniel tells Margot what he will do with her (this happens about 45 minutes into the movie). Luke Kirby looks at Michelle Williams as if he can see deep into her soul and Michelle looks increasingly like she has been carried away on a cloud when she looks at him. The acting is superb. Excellent performances are also seen by Sarah Silverman and Seth Rogen.

This is now one of my all time favorite movies. I hope to see more from Sarah Polley who wrote and directed this movie.

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I swear those Canadians can churn these kinds of movies out endlessly; and I can't say I'm sorry. I enjoyed watching this movie very, very much.

Here's the scoop. Margot (Michelle Williams) can probably write but uses her talent to write p.r. type stuff. She's married to Lou (Seth Rogen) who writes cookbooks featuring chicken and chicken only. They live in Ontario and are good together. They have a cool, interesting thing between them, but she has some issues, some voids that eat at her. She meets Daniel (Luke Kirby) on a flight. He paints, but is afraid to display his works. Turns out he lives across the street from her and therein lies the rub as the two become interested in one another.

The user reviews on this are lukewarm, but for me it was a great watch. First off, I like the set up. Of the three main characters, there are really no "bad" people. Rogen seems perfectly content though there may be something in the fact he doesn't want children. From the opening shot, when you see Margot out of focus, you know she will be the crux of the matter. She is generally happy but something is missing. The finger is pointed at her more than Rogen as being a villain. Daniel is a decent guy but has issues in fear and sees something in Margot. Though he respects the fact she's married, he still needs to be with her. They don't "cross the line" but they still do damage to the status quo.

Hat's off to the set directors here. Both Morgot's/Lou's place and Daniels place are cluttered, but it's a great clutter; filled with all sorts of odd stuff all over the place. The eye is constantly wandering over things, and the color scheme is great. Colors and things that normally would not occupy the same frame in most movies are at home here. Whoda thunk that Sarah Polley would go from child actor to such an astute writer/director. This is a woman's film to be sure (note the post aerobics shower scene) and she fills the circumstances with subtle nuance. For me there was only one clunky scene in the whole film. And she interjects certain plot points in surprising ways. Oh! The sound track is really nifty too. I liked the tunes a lot and I liked the way they underscored the content.

I must stop now or the length will put people off from reading it but I like this film a lot and would recommend it unhesitatingly to anyone fond of indy films.

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Coyote Ugly (The Double-Shot Edition) (2000)

"Coyote Ugly" has to be the best romantic dramedy this year, even though this year has had it's share of bad romances-Autumn in New York, Down to You and The Next Best Thing just to name a few. The bar dancing scenes are incredible accompanied by a fantastic soundtrack including one of my favorites, "Pour Some Sugar on Me". Plus there are two new great songs from LeAnn Rimes,who is also in the movie, but I'm not reviewing the soundtrack so I'll skip this. And that's just the stuff you see in the previews. What you don't see on the surface through the previews are the great performances from newcomer Piper Perabo, Adam Garcia and the always great John Goodman. the story is mainly about Piper Perabo's character, nicknamed Jersey, who goes into the big city trying to get someone to perform her well written songs. She runs into several problems with a new boyfriend, some disagreements with her father, and many crazy encounters at the bar "Coyote Ugly". The title is explained in the movie to mean when you go home with a one night stand after a night of big drinking and you wake up with someone so ugly that you would rather chew your arm off than wake them up to know you're leaving. Believe me, you're not going to feel that way leaving this one! BUY THIS MOVIE!!!

A talented young woman from New Jersey, filled with hope and desire, moves to New York to chase her dreams of becoming a songwriter in "Coyote Ugly," directed by David McNally and starring Piper Perabo. Against the wishes of her father, Bill (John Goodman), but with his acquiescent approval, Violet (Perabo) begins her quest and soon learns what every aspiring newcomer to show business discovers: It's tough out there. Soon, in order to pay the rent and keep the dream alive, on a tip she seeks employment in a bar called Coyote Ugly; the owner, Lil (Maria Bello) lets her "audition (work one night)" to see if she can handle their kind of action. It's a tough gig, but Violet knows she's going to have to make certain sacrifices if she's to succeed. And that is really what this movie is all about: Personal character, having the tenacity to maintain ideals and dignity, and deciding what and how much one must be willing to sacrifice to achieve one's goals; and most importantly, having enough heart to see it all through. Perabo gives a winning performance as Violet; she's fresh, somewhat naive (but not entirely), and the way she presents her character makes it easy to connect with her right away. She becomes someone you care about quickly, and there are moments early on, especially when she first arrives in New York, that allow you to emphasize with her immediately. There's a fragility about her, but at the same time she exhibits a strength of character and sense of morality that is becoming; and being able to convey this level of complexity convincingly is a tribute to her ability as an actress. John Goodman also does a good job as her father, a caring bear of a man who obviously has nothing but the best intentions for his daughter at heart. His performance, and the way the situation of his having to let Violet go is handled makes it believable, and helps create an emotional bond between them and the audience. It's something with which many will be able to identify, and it becomes one of the underlying strengths of the film. One of the weaknesses of this project comes, not from the movie itself, but from the "promotion" of the movie; in this case the theatrical trailer, which is a gross misrepresentation of what "Coyote Ugly" really is. Certainly the "coyotes" and the bar are a significant part of the film, and it's all exceptionally well and tastefully done, and is a fun part of the movie and definitely gives it some life; but I think the presentation in the trailer will do more to alienate a cross-section of audience that ultimately would appreciate this movie, but initially at least will not even see it, and only because of a misconception caused by the preview. It must be noted that this is a PG-13; there is nary a profane word, and no sex or nudity in it. It is an upbeat, entertaining film that should be readily embraced by a much wider audience than one would expect simply from seeing the trailer. The excellent supporting cast includes Adam Garcia (Kevin), Izabella Miko (Cammie), Melanie Lynskey (Gloria), Bridget Moynahan (Rachel), Tyra Banks (Zoe) and LeAnn Rimes (In a cameo as herself). Hopefully, if only by word-of-mouth, this movie will gain the audience it deserves. Reminiscent of "Flashdance," there is a universal theme here of having a dream and going for it. In the final analysis, "Coyote Ugly" is a decent film that will appeal to anyone who's ever had or pursued a dream. Do yourself a favor, put any preconceived notions aside and check this one out; I think you'll be glad you did.

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Let's begin with what this movie is NOT: It isn't Academy material nor is it a cure for cancer. It IS a fun, romantic (and yes, sometimes cliched) fairy tale about attractive young people pursuing dreams. The performances are credible and the music propels the story along at a pace that keeps you from concentrating too much on the paper-thin plot line. For those gray days when you need entertainment that lifts the spirit even if it doesn't tax the mind, this movie fills the bill. Remember "Dirty Dancing", "Footloose" and "Flashdance"? If you like these movies (and I do), sit back, dispend disbelief and just enjoy the exuberant show!

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This "Coyote" ain't "Ugly"! Actually the thing that you may mainly be fooled by is the trailer-"Is this a plotless, PG-13 version of "Showgirls"?" Actually it's not. The people that actually decided to see it(which was no small amount-$60 million worth) found that it was about a young female songwriter,played exceptionally well by rising star Piper Perabo, who moves into the big city trying to sell her music and finds herself working and the craziest bar since the Ti--y Twister in "From Dusk Till Dawn". Of course the men will be more than entertained by the hot, dancing barmaids which make some great "action" scenes for the film, but what for the women? The women actually get more out of it than the men. A great plot-the storyline mentioned earlier plus getting rid of stage fright, setting things straight with her father, finding how far a true love would go. Great overall movie, good characters, good acting, good setting. Truely a good movie for everyone. Just go see it! Deserves at least a rental but my DVD collection wouldn't be perfect without it! "Coyote Ugly"!!

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The girls of COYOTE UGLY were terrific. I only wish we could've seen more of them. The story revolves around PIPER PERABO who is an aspiring songwriter in new York with no money. Her dad in Jersey (John Goodman) wants her back home. She meets a guy, of course, and it revolvs around them two and her trying to get her music career started.

The scenes at the bar are of course the best....lots of fun and sexy scenes. While this is rated pg-13 so there is no nudity or sex scenes...there are some scenes at the bar and with the two main leads that are pretty hot....a CAMEO by Patrick SWAYZE too, you'll see what I mean.

Also Leanne RIMES who did the voice of the lead when she sings is awesome. . . where did the little country girl go....you'll see her in the film as well...she's hot!

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Deadball (2011)

Dead Ball is a madcap comedy with a goofy eye for humor. Bathroom jokes, midget jokes, bad jokes, awful jokes, honestly fun jokes, you have to take the good with the bad with this one. CGI gore mixed with real gore gags, this baseball game of destruction is highly enjoyable if you're its target audience.

Regular Joes: 3/5

Japanese cinema fans/5/5

Don't like Spoofy Comedies: 3/5

The Comedy is make or break. If you don't like juvenile, stupid humor, then avoid. But the gore is good, and the movie is fun. End of story.

Director Yudai Yamaguchi definitely knows what fans of splatter (like me) want to see on-screen. Blood geysers, decapitations, amputations...Yamaguchi knows how to deliver. DEADBALL is the famed director's most recent release, and it is a perfect addition to his canon of work. Although the film doesn't showcase much of anything new, it is vastly entertaining and certainly worth checking out.

I've been a fan of Yamaguchi's work for a while now, ever since I reviewed his film YAKUZA WEAPON a while back (unfortunately, the review is no longer available on my site since it crashed in December of last year). The director's over-the-top style combined with a panache for gore gives audiences a jolt of hyper-violence they will not soon forget. And his films are simply so much fun to watch.

DEADBALL is shot well and the acting is pretty good overall. I especially enjoy seeing Tak Sakaguchi onscreen; he is an exceptional talent and I always like to see what he does next. In this performance, his role as the sullen Jubeh, who always seems to find a cigarette in every seen, is exceptional. He personifies the bad-but-misunderstood hero.

What truly stands out for me in this film is, as expected, the gore. Director Yamaguchi goes above and beyond when it comes to special effects, and he showcases that talent in this film. DEADBALL contains some truly excellent gore and, as per his stye, it is presented in all of its zany, beyond-tasteless glory.

Although the premise might seem a bit far-fetched, you should never go into a Yamaguchi film with a serious mindset. If you do, you're bound for disappointment. But if you go into these movies with the right frame of mind, then you're in for a real treat. I recommend giving DEADBALL a look...just make sure you don't eat while you're watching it. Doing so might cause you to lose your lunch.

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This one was wow I really cant understand where they come up with the sheer craziness of this one. It takes the original and adds crazy by 100. But I think it goes tooo far sometimes with some of the stuff. The original had charm, this one seems more shallow and lets be really crazy/wierd just to be weird. Still its a really cool movie just for Tak and his badassedness in most anything he plays in. So if youre a fan of the original Id recommend it, theres even a few nods to it in this which I enjoyed. This was a riot to watch with friends so Id recommend that setting watching these types of movies anyway.

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Comedy is the most difficult film to cross international waters. This isn't because different folks require different laughs; rather, it's because effective comedy what makes the jokes work requires an intrinsic understanding of that people's culture and/or societal norms. Comedy in its primal form pokes fun at those standards, so in order to understand the anticipated punchline one must understand the culture at some basic level. In other words, let's assume Japanese people hate clowns but Americans don't; all of the jokes pointed at a society's fear are likely to pass over the heads of an American audience unless they're constructed broadly enough that any person an everyman can make perfect sense of it. Usually, that isn't the case. Usually, humor is closely aligned with one's particular civilization, leaving many bits and pieces of a film like DEAD BALL sadly lost in translation.

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

Poor little Jubeh. Jubeh Yakyu (played by Tak Sakaguchi) was just a boy with boyhood dreams of playing professional baseball, the great American pastime. However, turning your father's brain to jelly with a fastball he couldn't control put poor little Jubeh on a much different course. Swearing never to pitch again, he abandons caring for his younger brother Musashi and enters a life of crime, one which eventually leads him to Pterodactyl Juvenile Reformatory. There, Headmistress Ishihara gives him an ultimatum: either play ball again, or she'll murder his cellmate in cold blood.

As is often the case with splatter movies, don't go into this one expecting it to make much sense, much less perfect sense. It doesn't.

Actually, DEAD BALL rolls ever onward, and the more it rolls the more wheels come off its wagon. There's a story here as demonstrated by the synopsis above, but the narrative wanders around so much one might suspect they were shooting and somebody lost the script. The first hour while the picture maintains a loopy, goofy, mainstream comic quality is quite entertaining in much the same way a Mel Brooks film or a Zucker Brothers comedy can be. However, the second hour succumbs to splatterific nonsense, wherein the audience learns (out of nowhere) that our heroes (and I use that word lightly) find themselves trapped in the midst of a kill-or-be-killed baseball event, much of which defies any measure of logic. To make matters worse, the final fifteen minutes the film actually tries to throw audiences yet another curve ball (get it?) when somehow someway it becomes a bit of an all-out farce. Suddenly, our heroes are apparently gifted with time travel skills and the ability to rise from the dead if only for a few scenes in order to underscore just how far off the rails this train has run.

To his credit, adaptor/director Yudai Yamaguchi revels in his own excesses, never dialing back the craziness; but, to his detriment, he's delivered a wildly uneven picture. Some of the material such as Ishihara's affiliation with the Nazi Party and Jubeh's curious ability to pluck a cigarette out of the air any time he feels like it are broad enough that they work fine all on their own ... but the rest? It teeters on `absurdism' consistently, possibly even when it isn't supposed to. Is it legitimate splatter? The first hour would imply not as it's mostly conventional laughs, albeit in a Three Stooges kinda/sorta way. The second half is when true splatter begins, but, at that point, methinks splatter fans may've turned it off by now due to the lack of bloodspray in the first half. For the record, the traditional comedy was the way to go with this mess; it appeared as if everyone was having a grand old time ... and then a splatter film broke out.

Kudos to all involved, though, for embracing the zaniness inherent in telling this story. I'm just disappointed it didn't add up to more sense.

DEAD BALL (aka DEADBALL) is produced by Nikkatsu (as Sushi Typhoon) and Pipeline. DVD distribution is being handled through Well Go USA. For those needing it spelled out perfectly, this is a Japanese spoken language film with English subtitles available (no English dubbing). As for the technical specifications, it all looks and sounds very solid, though be prepared at some laughable special effects (I'm certain that's by design). There's a handful of special features, including a spinoff short, a making-of compilation, cast interviews, and trailers for additional titles available from Sushi Typhoon.

MODESTLY RECOMMENDED, mostly for fans of the unique art form. You like splatter? You may like half of DEAD BALL ... the second half, that is. While the first half has a handful of splatter moments, it's more of a traditional comedy that works quite well on its own. The second half will be more to your liking. There are all kinds of bloody deaths in the most bizarre baseball throwdown you'll ever experience. I've tried to caution all: don't expect this to make sense. This is much more technique than it is message.

In the interests of fairness, I'm pleased to disclose that the fine folks at Well Go USA provided me with an advance DVD copy of DEAD BALL for the expressed purposes of completing this review.

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"Deadball" may be the first sports splatter comedy. Baseball prodigy Jubeh Yakyu (Tak Sakaguchi) is the most feared and dangerous juvenile delinquent in Japan. After accidentally causing the death of his father with a super-powered, deadly fireball pitch, Jubeh swore off baseball and turned to crime and now, at 17, has been sent to a reformatory for hardened criminals.

Headmistress Ishihara, the granddaughter of a World War II Nazi collaborator, runs the institution with an iron fist and the enthusiastic help of sadistic assistant, Ilsa. Shortly after arriving, Jubeh learns that his younger brother had done time there and died mysteriously. Jubeh is presented with an ultimatum by the governor: join the reformatory team in the national tournament for juvenile inmates, or witness the death of his innocent cellmate. Knowing that the death of his brother is in some way connected to the team, Jubeh agrees.

"Deadball" is an outrageously over-the-top movie filled with impossible situations, killer baseballs, grisly gore, and cartoonish, Amazon-like women. It intentionally attempts to offend practically every race, ethnicity, gender, and institution imaginable as it barrels along.

Bonus features on the Blu-ray release include a making-of featurette, cast interviews, spinoff short, and theatrical trailers.

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American Pie (Blu-ray + DVD + Digital Copy) (1999)

First off I would like to say that this was the funniest movie of the year! I watched it in theaters 5 times and I laughed as hard the 5th time as I did the the 1st time. As for the unrated version there is about less than a minute more that was added here than the orginal version. If you had a choice of chooseing the rated or unrated, you cant go wrong with either of them. As for the rest of the DVD, its awesome. It has access of the greatest quotes and songs that were played in the movie. Plus, they have the video for "You Wanted More" by Tonic which I was extremely happy to see because it didn't get enough airtime on the music channels. Overall, I would say this is DVD is a good example of one of those DVDs that show what you can put on a DVD. Plus, having the trailer for Man On The Moon was a major plus!

Ok, so when are the people at Universal going to release their final versions of DVD releases first? I don't see why they make us buy one version one year then a better version the next. I love this film and enjoyed the extras on the first printing, but please...Universal, stop with the dual prints! If you print one collector's, make it a collector's edition. Not a preview to a better version of the same disc.

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For years we have endured movies that follow a recipe of non offense. American Pie decided to serve dessert instead of appetizers. Offering glimpses of more realistic high school hijinx. This story makes it easy to put yourself into those embarrassing situations you may have been through or had a friend go through. American Pie is without a doubt a hilarious roast. As far as the difference between unrated and rated, unrated just gives us a more front row view to a couple scenes. If you don't own it buy the unrated version. If you already own the rated version, buying the unrated version is not necessary. American Pie, either version, is a must own DVD for any collection.

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If you bought the original DVD version that came out then you pretty much already have this "ultimate" edition. The deleted scenes, which there are only a handful, are the only real additions to the original disc. Save the twenty-two dollars and use it to go see "American Pie 2" if you already have the original. Don't let Universal milk you for twenty-two more dollars. If you don't have "American Pie" on DVD, then definitely buy this because the extras are great, just not that different from the first DVD of the movie.

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While I found this movie hilarious when I saw it, first in theaters, and then on this "unrated special edition", I thought that the release was lacking. The producers try to push this unrated version on the consumer by advertising a plethora of bonus materials. Scenes originally deleted from the theatrical release, and a Widescreen presentation among other things. As far as I could tell however, the only thing changed from the original release is one scene, and that being a fairly minor change. The rest of the movie was exactly how I remembered it. For this, I find it rather audacious of Universal to release two different versions of the DVD, one theatrical and one unrated one, when they could have just as easily included that single cut out scene as a bonus feature in one dvd. Furthermore, the box says that the movie is presented in a widescreen 1.85:1 ratio. Not true. The movie is in a fullscreen format, which is incredibly annoying to most true movie fans. Despite these misinformities, American Pie is still a great movie and deserves to be seen. And for any die hard fan that is considering buying both the rated and unrated versions, don't. One is good, but anything else would be a waste of your time and money.

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The Graves / Zombies of Mass Destruction (Double Feature) (2011)

Im gonna be honest..."The Graves" was a bit of a disappointment but "Zombies of Mass Destruction" actually wasnt a bad movie. ZMD is your typical horror comedy in the same vein as "Shaun of the Dead" and it scores. This movie isnt PC, people get called names that some might call offensive. Luckily not only did I not care, I laughed. Now, as for "The Graves", it was a movie good enough for the scy fy channel or chiller but not pay per view. If somebody told me college kids made this movie I might be ok with it...maybe. Now, im not saying it was a bad movie, it was just too cliche for me, it had everything down to the strong female character from the overused formula for slasher movies. So just to make it clear, I would purchase this movie for ZMD alone, if you liked movies like "Return of the Living Dead", "Shaun of the Dead" and "Brain Dead" then pick this up and enjoy a cheap laugh.

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