Showing posts with label z movies. Show all posts
Showing posts with label z movies. Show all posts

Star Trek: Original Motion Picture Collection (Star Trek I, II, III, IV, V, VI + The Captain's Summ

Star Trek: Original Motion Picture CollectionI'm floored by the number of reviews here that give this a 1 star review, and then state that they haven't seen the movies. If you actually compare the picture quality with these new BDs to previous DVDs, you do see a vast improvement. Star Trek II, III, and IV have more consistant color and detail then what I saw in the DVDs. In previous editions of ST III, I always noticed an upped contrast in comparison to II and IV: but in this set, it's in line with all the other movies. There seems to be a lot of rumors here about what "Digitally Restored" is over "Digitally Remastered" (as TWOK was the only to get "Digitally Restored"). A digital restoration is when it's accessed that there has to be a new edit of the film due to the state of the print (it could be going in and adjusting color levels for consistancy or even digitally painting out blemishes). It seems Paramount found TWOK to be the only movie in need of a restoration: when you see the other movies on a HDTV, you can easily tell that they are coming from an HD master and not an SD upconversion like some are claiming. They compare favorably to other blu-ray movies from all the big studios. I notice some of the HD interviews are the same interviews taken from the special edition DVDs: it's nice to see them in their original HD resolution (where the studio has obviously been gearing up for HD for several years). Note that there's also some interviews from the special edition DVDs that were shot in SD and have been transfered to this issue (the main one seemed to be ST V). The only gimmick I find with the movies is the "new" 7.1 sound mixes. I don't see the need in mixing 5.1 to 7.1....but the lossless audio does sound great. This blu-ray set is a definite improvement over any other issues of the movies. Issues like DNR or restorations are always subjective; but these transfers are good enough that whenever the movies get a re-issue, I suspect it will be more along the lines of adding more featurettes (or rendering out HD resolutions of the CG shots in the case of TMP).

***Addition****

Since there are still more 1 star reviews, I thought I should address the misinformation about what remastering means in relation to Blu-Ray. It's impossible for any of these movies to have come from a DV (digital video: SD DVD resolution) because studios have been working in 2k resolutions for awhile. A 2k file is 2048 pixels wide by X number high (it's a standard that has varying aspects....with some of my 3D files, I work in 2048x2048). Studios are currently converting to 4k work for new movies and for film restorations of older titles. So the restoration for TWOK might have been scanned at 4k for the 35mm scenes and 8k for the 70mm VFX. The other movies could have been scanned a number of years ago, but the studio would still have masters that are at least 2k resolutions.

Now studios do not author BDs themselves: they go hire companies to do that. So for a genuine HDTV movie, Blu-Ray title, or DVD title the company is getting a copy of the 2k studio master and then remastering for that particular medium: for Blu-Ray, they rescale and process the image to be 1920x1080 at 24 fps....for HDTV, they rescale to 1920x1080 60I, and for DVD, they rescale to 720x480. At this stage, the authoring company then adds particular DNR and compression appropriate for for the medium. When it comes to DNR, some people are more against it then others. I personally don't feel the DNR is that bad here: there are some scenes in these movies that weren't processed the way I'd like them to....but if they ever do get a remaster, it's going to be at the HD level: the studio master is unadulterated.

To conclude my thoughts....it's a pity that the reviews here are getting dragged down by mis-information. I gave this set a 4 star review simply because I save 5 stars for the extremely good titles on BD. If you have a 100" TV, then maybe you want to wait for another HD remaster with less DNR. I'm not as anti-DNR as others....but I'd say that it's not as bad as some make it out to be: I still see plenty of grain for appropriate scenes, and there's not huge edge enhancement going on during scenes with too much softfocus. And for me, the softfocus issues (only in certain scenes) and certain cinematography effects are a lot more glaring then DNR: things that were harder to pick up back when these movies were made, and something that's niether correctable in a transfer and is more clearly evident in HD. For a 110" TV DNR issues might be more overwhelming, but for my more modest TV set with great 7.1 sound system, I'd say this is a no brainer purchase for any passing fan of the series. The movies are marred by some production values that prevent this set from being a "demo" set, but I think the transfers do more closely reflect the studio masters. All of the movies have never looked or sounded as good: they should be stunning for any passing fan of Star Trek.

"Mr. Sulu, Impulse power."

I thought this might help, as there is very little info from Amazon on this product. This review is mostly for the content of this STANDARD DEFINITION 7 Disc ORIGINAL MOTION PICTURE COLLECTION Box Set released Sept. 22, 2009.

Obviously, these are the 6 Original Paramount films with the Original Series cast.

STAR TREK THE MOTION PICTURE

THE WRATH OF KHAN

THE SEARCH FOR SPOCK

THE VOYAGE HOME

THE FINAL FRONTIER

and THE UNDISCOVERED COUNTRY

Every film in this set is the Original Widescreen Theatrical Version. The 7th Bonus Disc is THE CAPTAINS' SUMMIT. A 70 minute round table discussion with William Shatner, Leonard Nimoy, Patrick Stewart, Jonathan Frakes, and host Whoopi Goldberg.

Each Movie Disc includes commentaries, a few short Special Features, and NO theatrical trailers. The Insert Card states: 2 1/2 hours of Special Features. My guess is that they're leftovers from the previous 2 Disc Editions for each film, none of which I've ever owned. So, don't take my word for it. (Anyone that thinks 5 Stars may be too generous for this Edition, I only really care about the films. And, the way they look and sound. SFs are of secondary concern to me.)

Sound for all the films is 5.1 Dolby Digital EX and maintains a good presence. There is NO 2.1 or DTS setting. As usual with big studio blockbusters, music is too far forward in the mix for my taste, and dialogue is at a lower volume. (For optimal home theater playback, your center channel should always be set at a hotter level than your front speakers. Here's a good starting point for louder films: The individual speaker volume levels for my surround receiver go to 12. Please, no Spinal Tap jokes. I usually leave my L/R front speakers at level 4, and make my center channel all-the-way hot at 12. I always leave my rear effects speakers at 8 or 10. My Velodyne subwoofer is usually set at -7 because I have neighbors, and the darn thing really pumps those ultra low earthquake frequencies.)

The transfers look EXCELLENT. I've perused them all, but I have only viewed the FIRST film in its entirety. Very nice. Good color timing. (NOSTALGIA ALERT: I really appreciate the primitive Special Effects, models, matte painting, and miniature photography of this era. With the advent of CG, these kinds of photographic effects are a rarity these days. The wormhole sequence is still awesome, and the VGER probe scene still looks really cool. I can't wait to view the rest of the films. Especially THE WRATH OF KHAN!)

This Box Set is a very handsome Edition. Each Disc comes in an ultra thin slipcase with a different cast member in silver on the cover of each case, with Shatner's photo on the Bonus Disc. (I would have preferred the Original movie poster art for each film, but the design is unique for this Edition.)

The Box has a 3D Trek logo on the front, is only 2" deep, and doesn't take up much shelf space. The entire Box is covered with a transparent slipcover that is open on the top and bottom. (CAREFUL: The insert card is glued to the outside and the bottom of the Box. If it comes off, the entire Box can fall thru the bottom of the outer slipcover and crash onto the floor. Remove it, put it under the slipcover, or throw it away.)

A very affordable way to own the 6 Original films.

SPOCK LIVES!

Enjoy.

Buy Star Trek: Original Motion Picture Collection (Star Trek I, II, III, IV, V, VI + The Captain's Summ Now

Having just gone through my set of the Blu-Rays, I'm very happily surprised at the content. The only aspect keeping this from being a 4 or 5 star review is the fact that only the theatrical versions are available. Blu-Ray is specifically made to hold a great deal more data than any prior video or DVD format. Aside from the issues regarding the new effects of the director's cut of TMP, there's little reason (other than monetary) for Paramount to hold back the extended cuts. Seamless branching, used so successfully on the TOS first season set, would work equally well here.

The Motion Picture is another story, since the new effects were rendered for lower resolution and it will take time and, of course, money to rerender them. We can expect to see a Director's Edition release on BD in the near future, I'm sure. However, this does not excuse the lack of the inclusion of the extended TV cut put out on video.

Having said that, it is an amazing thrill having the theatrical cuts of The Motion Picture, and The Undiscovered Country on disc for the first time ever. TUC was NEVER seen in this version since its original release and until today, I had totally forgotten how good a film it was. Many fans enjoy the additional scenes, but I always felt they brought the film down some. The scenes were obvious and amped up the silliness fact in a film that very much needed to be played straight. The two video versions really brought the maturity level of the story down some notches.

Now, however, we once again see the film as originally released 18 years ago (oh God, it's been that long). Over the years, the film had become less enjoyable and fallen down the ranks in my personal list of favorites. None of the other had, but this one a film I really loved in the theater had dropped in favor. Now, having watched it again from beginning to end, I found I loved the film once more. The story is tighter and less obvious. These changes were not major, but they made an impact. This is the best movie for the cast to exit on and is once more a 4 star film to me.

The Motion Picture: it's great to see this movie in this format again, as released without alteration. However, this film is more problematic. The extended version was just a "longer cut" with some great scenes added, but none of the fat trimmed (these scenes are included in the extras). The Directors Cut was better paced and more tightly edited and also added some amazing effects to cover some of the less successful work in the picture, but they also lost bits that made the film unique which weren't "bad." Since there never actually was a "perfect" version of this film, it's vital all three versions should be made available (or maybe someone should redo the DE).

The Wrath of Kahn: again the theatrical cut and, as we all know, this film had the full restoration, presumably because the master elements needed it badly while the other films were fine. I'll comment on picture shortly, but let's just say this is a fantastic presentation of the movie.

Finally The Search for Spock, my favorite Trek film. For those who notice such things, the video versions always screwed up the opening credits. The VHS version had them replaced by "video graphics" which looked like a cheap, high school AV squad attempt to make Star Trek movie credits. The wide screen VHS and laserdiscs were much better, givings us the titles seen in the film. However, the DVDs had a "glitched" version of the titles, with the timing off badly. It's tough to explain, but if you compare the BD and the DVD opening credits, you'll see them. And since this is my all time favorite Trek film, one I saw in the theater 7 times and memorized with obsessive Trekkie abandon, you can imagine my thrill when I saw the BD version corrected the credits. Ahhhh! :-)

Okay, my impression of the picture quality. There's been a lot said about the excessive digital noise reduction Paramount slathered on the films. I was expecting some bad stuff when I fired up my 52 inch HDTV. You know what I got? An amazing picture every time. The level of sharpness and clarity to these films is a revelation! I had NEVER seen these films looking so amazingly sharp and detailed. The Wrath of Kahn, which as noted got the real restoration, is very nice, but I didn't notice a huge difference between this restoration and the other films. Mostly, I noticed the print was a little darker than prior prints and the other films. The blacks do hold up well on BD, better than on HD-DVD, to my surprise.

I have read that those who watch the movies on HUGE screens will notice the DNR, I have to say that my 52 inch, which I sit 6 to 8 feet away from, does not reveal any obvious dullness. And, really, I would assume the great majority of people don't go much larger than 52 inch (unless you have a mansion and more money than God). Honestly, I have no issues with the picture quality, and can wholeheartedly give the picture a thumbs up.

The sound is also extremely impressive. The dialog is not lost among the music and sound effects, like so many other HD presentations. The muddiness in much of Kahn and The Search for Spock is not as strong, and the music score for the films never sounded so good.

The subtitles for various alien languages are, however, disc generated, not embedded in the films. So the "species centric" fonts are lost (and, I guess, really doesn't make these true theatrical cuts). However, they are not obviously bad or "video titles" and won't stand out to people not that familiar or who don't care.

To sum up: the only disappointment is in the fact that there's plenty of room for all versions of the films, either side by side or through branching, so (aside from the DE of TMP), there's no reason to have left them out. Having all versions would justify the price tag of this double or triple dip. Especially since you know Paramount will release these again with these versions included.

Otherwise, it's a great set. The theatrical cuts are the versions I fell in love with and it's great to have them back. The picture is outstanding, with refreshing sharpness and clarity, while the sound mix is comfortable and satisfying.

5 stars for the presentation

Subtract 2 stars for leaving out the alternate versions.

For fans of the original cuts, this is an essential set. It's up to you to decide if you want to hold out for the next and probably more complete release of these films.

Read Best Reviews of Star Trek: Original Motion Picture Collection (Star Trek I, II, III, IV, V, VI + The Captain's Summ Here

Firstly we are very fortunate in Australia that we get this set around 2 weeks before the US. The price we pay however is that the set costs nearly double here what it is on Amazon (and that is adjusted for the currency difference). And despite this I am still calling it a worthwhile upgrade

Firstly the good. The movies look about as good as you can reasonably expect. For something that did not go through a Lowry or equivalent frame by frame meticulous restoration this is a good looking set of movies overall (with some reservations as explained below).

As of writing I have only had a chance to fully view the first film and sample parts of II and IV. The Motion Picture was thoroughly impressive. Given low expecations that it was not a restoration like Wrath of Khan I did not expect much. The visuals were thoroughly engaging and the transfer looks like it was done off of a freshly minted print especially for this transfer. There was a visible lack of marks and scratches on the film. Do a compare against the Director's Cut DVD and you'll see a huge number of blemishes on that version. Interestingly the striking visuals of the Theatrical Version were more compelling visually (and more authentic) than the Director's Edition on DVD. For the record I DO NOT LIKE THIS MOVIE but found it compelling viewing until the last act (which becomes a little much). The visual upgrade finally shows what Robert Wise was going for as far as impressive optical effects and these hold up surprisingly well 30 years later. So #1 was a worthwhile watch, prob the most i ever enjoyed this film. The sound was also decent. Not the full range effort of today's best transfers but pleasing enough with generally clear dialogue. I also briefly sampled The Voyage Home and it was generally a pleasing transfer with a solid soundtrack. The upgrade becomes more noticeable if you then compare to the previous DVD editions. You'll find these hard to watch after Blu Ray.

Now for the not so good. Yes, these are theatrical versions and truth be told probably the optimal versions to watch (tighter, less self indulgent and "original") but it would be nice to have the choice of the Dir ed or original for completeness. However the most disappointing thing about this set (so far) has been Khan. The packaging notes that this is a fully restored transfer. When putting it in the Blu Ray player I started wondering whether someone substituted the disc on me. From the first half hour or so I watched I noticed the image had a noticeable degradation from the first movie. Likely due to the lower production budget and likely lower quality film stock used. The image had a noticeable lack of sharpness compared to the first film, the sound was rather hollow (seemed like less ADR and more location dialogue, that was at times hard to understand). If this is a restoration I'd hate to see the state of the original elements and I have to wonder whether the restoration work could have been done a lot better. I expected a real showcase for what is considered the best film in the series and so far I was thoroughly underwhelmed. Again it's better than the DVD edition but should be a lot further improved.

The other noticeable thing was the excessive use of video noise reduction or otherwise known as grain removal (esp noticeable on The Voyage Home). The transfer there was generally good, but the grain removal made all the faces look like they were rendered with putty. Unnatural and overly smooth. This made the film less engaging as subtle facial expressions are lost (or rather smeared away). The sound here also lacked the depth you would want to hear from the best High Def transfer.

But, on the whole anyone who likes their Trek should consider picking these up. Even if there is a double, or triple dip coming you can enjoy the films now in the finest quality and technology available today. In our case you pay an arm and a leg for the luxury, but hey...Life is too short. And when they release a superior edition with more compelling content, i'll probably buy it again...and then again a few years later when they come up with something better again. We keep buying new versions of software that are just different enough to warrant a respurchase why would film be any different?

My vote good enough for now, but could have been so much better...

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I had pre-ordered this item, and then saw some early reviews around the web stating that the video quality wasn't up to snuff. I canceled my order, and put the discs on my Netflix queue instead to evaluate them before purchase.

Well, I re-ordered the set. Let me tell you why.

The Films:

The Trek films, to my mind, are a very good capstone to the Original Series Trek characters' stories. In them, we are presented with a very good "trilogy" of sorts, ST2-4, and a few other films that retain the thematic elements of the others whilst enjoying varying quality of story.

The Motion Picture (ST1) is unfairly maligned in my eyes. It very ably presents a story of characters re-uniting after a hiatus, with all the varying emotional consequences of that separation. Grafted to this is a relatively high-concept science fiction tale of an artificial intelligence seeking its creator. If this film had been cut by 20 minutes (very long effects sequences which seem a deliberate paean to Kubrick's "2001"), people would be hailing it as a masterpiece.

ST2: The Wrath of Khan is, of course, the public's pick as the greatest Trek film. It's hard to argue. A good villain, a deep emotional core, a slam-bang space battle, and some great performances make this a film that doesn't really misfire.

ST3: The Search For Spock is the middle act of a "trilogy", and really works in my opinion. It has a lot of action, a good dose of humor, and a lot of heart.

ST4: The Voyage Home is unbridled fun from start to finish. Lighter in tone than the preceding two films, it still captures the emotional core of the story, and brings the trilogy to a satisfying conclusion.

ST5: The Final Frontier is the black sheep of the family. It introduces an unfortunate "retcon" character, does some unrealistic things in its quest to reach the "center of the galaxy," and posits an unsatisfying sci-fi story about "finding god." The characterizations are still generally good, though, and there are plenty of charming moments for fans.

ST6: The Undiscovered Country is a return to form of sorts, but I think would not be regarded as highly if it had not followed ST5. A cold-war allegory, it has some good action, but suffers from some silly sequences in the middle (a prison planet and a murder mystery spring to mind). It does have Captain Sulu, though, which is hard to dislike.

The Blu-Ray:

Well, first I'll list the negatives:

We are not presented with the "directors editions" from the last DVD box set. Thus we miss some new effects shots from ST1, one very good bit of back story from ST2, and a few negligible cuts from the rest of the films (mainly 6).

Digital Noise Reduction has been applied to at least the final 4 films and the results are not always positive. Grain has been reduced from the films with negative results some very fine detail (such as fine facial wrinkles) is scrubbed away also. It probably will not be noticeable on displays under 40 inches and I imagine it would be quite noticeable on front projection screens above 80 inches. I personally noticed it in spots on my 50" display, especially on Star Trek 4. ST4 comes off by far the worst, with many faces looking waxy and other scenes being artificially pumped up by edge enhancement to compensate (check out Kirk and Spock walking by the boat dock before Gillian picks them up). I would say ST4 and ST6 suffer the most by the out of control noise reduction. You can really see it when smoke is in a scene check out the scene in ST6 when Kirk smokes a cigar. As the smoke wafts in front of his face, you can see pores and lines under the eyes that are absent in the very next shot sans smoke. It's that extra little layer of detail we could have had, and it's missing.

The double dip conundrum: we are certain to be presented with a new set, although I will go on record betting it won't be before Xmas 2010, if even that soon. Paramount will be putting out the Abrams film this year, Seasons 2-3 of TOS this year, and the TNG movies probably next year. Surely there will be a complete box set at some point, incorporating the "directors edition" footage, but I would guess that this will not be released until the 2nd Abrams film hits theaters. It seems to takes upwards of a year to re-transfer and restore a film, the Directors footage has to be re-shot in 1080p, and logically, Paramount would not cannibalize their current retail SKUs by so quickly re-releasing them. So I would guess 2012 would be the soonest we'd see the "directors editions" with new, hopefully less DNR'ed transfers.

All right, now the good news:

These films have never looked this good. NEVER. ST1 is revelatory there are colors I've never seen, and DNR is not obtrusive at all fine detail seems quite evident. ST2, which apparently had the latest transfer, does not suffer from excessive DNR. ST3-6 are the films that have the most aggressive noise reduction, but it is only noticeable in select scenes (I am watching on a 50" 1080p display). For the most part, detail is quite strong (especially for movies shot in the 1980s), color depth blows away the DVDs (you really should compare them prepare to be dazzled), and sound quality is excellent. The worst looking of these films look as good as the best cable TV HD. The best of them (1 and 2) are competitive with some of the better Blu-Rays on the market now. Just to correct some misinformation from previous reviews, all the films are presented in 1080p. None of them are 1080i, or anything less. Also, all of the films are truly high definition. They are not some sort of pseudo-HD, as one particularly egregious review has claimed.

So it's hit or miss in terms of A/V, but light years ahead of the DVDs. The biggest gains are in color the DVDs are positively muddy by comparison. ST 1, 2, and 5 generally look pretty good detail-wise. The other films suffer from waxy faces they have strong mid-range detail (like cloth textures or scenery), but weak fine detail (like facial wrinkles). It is aggravating, because the films look so good in general, that the little details are washed away.

Extras are VERY strong. Each film gets new commentaries, and most retain a second commentary as well. MANY new documentaries supplement the older ones which are retained for this set (I would estimate about 100 minutes per film combining old and new content). "Library Computer" offers interactive text data while you watch the films. BD Live functions include the ability to create and take fan quizzes with your remote and internet connection. The one giant new inclusion, "The Captains Summit," is presented on its own disc in full HD quality. This is a 70 minute round table, hosted by Whoopie (Guinan) Goldberg, featuring actors William Shatner, Leonard Nimoy, Patrick Stewart(Picard) and Jonathan Frakes (Riker). Wow! It is oddly titled, and I wish that they had included Kate Mulgrew (Janeway), Scott Bakula (Archer), and Avery Brooks (Sisko). The interview was a bit directionless at times, with Goldberg failing to keep her guests on track. Nonetheless, the actors are generally funny and at times engaging and insightful, and true fans will eat this up.

Atypically for CBS/Paramount, the packaging for this set is very nice. A cardboard box with a plastic slipcover holds the Blu-Ray cases, which are all of the "slim" variety. Thus, the set takes up the space of only about 3 regular Blu-Ray cases, despite having seven discs. Separate cases, though, allow you to lend out one disc, and there is never any fumbling around with the elaborate multi-disc cases that often comprise these sets.

******

In summary, it comes down to a value proposition. At Amazon's reduced price, you're getting the theatrical cuts of the films, better than they've ever looked, for $11.65 apiece. I know I've paid more for films I care about a lot less. There probably won't be superior presentations of them for at least 3 years. So for a serious Trekkie, the math is simple. This is a purchase.

For a general sci-fi fan with an HD setup, it's a maybe. If you're the type who's willing to buy "Chronicles of Riddick" for $20 just to have something HD to watch with spaceships and explosions, it's hard to see the argument against this set. If you're a new Trek fan who wants to dive in, this value is hard to beat. If you don't care much about Trek, this might be a pass, since intimate knowledge and interest for the characters really helps your enjoyment of the films.

The haters need to calm down. No, this is not a perfect set. But at this price, it is still a very strong value. The missing material is not really integral to enjoying the films (unlike the LOTR set without the Extended Edition material now THAT is a significant loss). If you want to see the films for the next 3 or 4 years at their best, this is the set to get. Otherwise, you're stuck with the dull, muddy DVD transfers for at least that long. When it comes time for the double-dip in 2012, the only ones that will probably warrant a re-purchase are 1 and 2, since they gained the most from the "Directors Edition" material.

I would have rated this 3 stars had it been significantly more expensive, or had significantly fewer extras. But for $11-$13 (depending on the set's price) per movie, I'm willing to take the plunge, come what may. I think this set is a worthwhile purchase at either price point, and I would have placed the order at 79.99 as well.

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Mental (Blu-ray + Digital Copy + UltraViolet) (2013)

MentalIt's a story too weird to be true -after his wife is committed to a mental hospital, a neglectful politician hires a hitchhiker to care for his kids.

But it actually was true, and it happened to the family of Australian director P. J. Hogan when he was a child. Years later, he sculpted this too-weird-even-for-sitcoms story into a delightfully peculiar, over-the-top comedy with potty humor, musical numbers and the occasional pickled shark. But it has a bittersweet core about loss, disappointment and mental illness.

Sweet Shirley Moochmoore (Rebecca Gibney) is treated badly by everybody -her cheating, neglectful husband Barry (Anthony Lapaglia), her snobby neighbor Nancy (Kerry Fox), her doll-obsessed sister Doris (Caroline Goodall) and even the girls at a local coffee shop. So she eventually has a nervous breakdown, and ends up in a mental institution.

Barry demands that his five daughters claim she's "on holiday in Wollongong," mainly because he's up for reelection and doesn't want the bad press. But he quickly discovers that they can't run the house themselves -especially since all five are convinced that they suffer from various mental illnesses. So he hires a random hitchhiker named Shaz (Toni Collette) to look after them, and goes back to ignoring his family.

At first Shaz terrifies the girls, but she quickly converts them to her life philosophy: the "normal" world (especially Australia) is insane, and the "crazy" unconventional people are normal. She teaches the girls to mess with the bullies in their lives, and even encourages teenage Coral (Lily Sullivan) to pursue her first romance. But what does Shaz have to do with a mysterious shark hunter (Liev Schreiber) and what is her real goal?

"Mental" is one of those "heartwarming" comedies that would feel corny if it was just churned out of Hollywood. But since the story comes from someone who actually lived it, it has a very genuine feeling -especially since it tackles some heavy issues, such as mental illness. Not only does poor Shirley have a nervous breakdown after years of being treated horribly, but one of her daughters suffers from full-blown schizophrenia.

And despite that, it's still uproariously funny. Hogan makes the whole thing just a little too colorful, zany and over-the-top. It's a live-action cartoon. He careens us through the over-the-top antics of Shaz and the girls --they trash their neighbor's all-white house in a really gross way, Shaz beats up the donut girls, and attempt a commando-style infiltration of a shark exhibit. But Hogan never loses sight of the bittersweetness of a messed-up family, and never stops making you want to see things turn out all right.

If there's a complaint, it's that the movie sometimes doesn't seem to draw a distinction between real mental illness and being beaten down by life. Perhaps that's the point, but that's sort of like saying that Crohn's disease isn't too different from being pressured to go on a diet.

Toni Colette is absolutely brilliant as Shaz -a surly, wild woman with a pitbull and knife in her boot, who never hesitates to kick normalcy in the face. But we get glimpses of a very troubled, sometimes "mental" woman underneath it all, and it leaves you wondering if she wants the Moochmore girls to replace something missing in her own life.

And the rest of the cast is quite good also -Sullivan, Bethany Whitmore, Chelsea Bennett and Nicole Freeman are simply delightful as the girls, especially Malorie O'Neill's heartbreaking depiction of a schizophrenic child who isn't getting the help she needs. Gibney is heartbreaking as a sweet, gentle woman who has been beaten down by life, and finally gains some strength on her own. And... well, Liev Schrieber is just hilarious when he's being tortured by an acoustic guitar.

"Mental" is one of those rare comedies that can tackle heavy subjects without losing its wacky, wild attitude -and Toni Colette's Shaz is worth the price of admission alone. Bring us the mechanical man!

This movie has it all! Humour, heart,compassion, life lessons and on and on. Toni Colette gives an outstanding performance along with her co-stars.

It had me laughing and crying all at the same time. It will be one I will watch over and over again. Definitely one to buy..a keeper. Highly recommended!

Buy Mental (Blu-ray + Digital Copy + UltraViolet) (2013) Now

Enjoyed this movie and the lesson taught and learned! This was very entertaining, far from ordinary, looking for funny and a movie that leaves you smiling watch this!

Read Best Reviews of Mental (Blu-ray + Digital Copy + UltraViolet) (2013) Here

Shirley (Rebecca Gibney) and her family of girls all think they are crazy. They self-diagnose from the Internet. Barry, their absentee father (Anthony LaPaglia), is also the mayor of the town. He decides to solve the issue by having Shirley committed and provides for the girls by putting Shaz (Toni Collette) in charge of them. He picked her up hitch hiking.

Shaz has her own way of doing things and explains that all of Australia is crazy. Her antics have an ulterior motive which we discover late in the film. Shaz has a refreshing brutal honesty to her approach.

The movie is a bit long. The first hour is zany and will have you laughing out loud. The film then shifts into a more serious mode, imitating a dark comedy up to the heart warming ending that brings it home from the opening. Good one P.J. Hogan.

The film is a must for quirky indie lovers.

Parental Guide: F-bomb, groping, brief nudity (Lily Sullivan, Sam Clark-rear)

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I have always been a fan of Toni Collette's work. I passed by this movie several times as I thought it was just another poorly written or directed movie that it seems like so many well heeled actors have been picking up lately and audiences have been disappointed in. I finally was desperate for something to watch and so picked "Mental", while keeping my expectations low. It grabbed me right away with the opening sequence of this mother and her rendition of The Sound of Music. The movie was awkwardly funny, plot left you unaware of what was coming next, I laughed until I cried and then the serious moments through me for a loop, cried than too. Maybe it was just my day to feel "Mental", but this movie was such an unexpected surprise for me that I am proud to get a chance to put in a review and hope it encourages others to give it a chance, and than hang on for the ride!

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Sleepwalk With Me (2012)

Sleepwalk With MeI've seen Mike Birbiglia in a few stand up broadcasts, but really knew nothing about him, except that I liked his laconic, stutter-step approach to delivering his material. He seemed like a funny guy who also happened to be sorta nice too. I knew nothing about his book, Ira Glass appearances or one-man off-Broadway show. That's probably a good thing, because I was able to enjoy SLEEPWALK WITH ME pretty much on its own terms.

Apparently this movie is quite autobiographical, even though Mike has changed his character's name to Matt. But Mike/Matt frequently talks directly to the camera, and we're assured the story is true...so it's almost impossible not to assume that we're basically seeing a (perhaps exaggerated) take on Birbiglia's life. But it doesn't really matter either...the story is compelling and says some interesting things about relationships and about how a stand-up comic builds their career literally from the ground up.

Matt is in an 8-year relationship with Abby (Lauren Ambrose, who is wonderful). Abby is a great girl, and everyone (both viewer and the characters on screen) have to wonder why Matt is having a hard time settling down and committing to a marriage with her. But as Matt says, he's unhappy that everyone says the best thing about him is his girlfriend. It's true. He's a bartender who wants to do stand-up. Or at least, he thinks he does...he gets almost no opportunities to try. His life and his relationship is on hold. Abby is faithful and patient, but also growing frustrated. Surely she is wondering what more she can give of herself to this man who trembles at the thought of marrying her.

One day, with Abby's help, Matt actually gets an agent. And the agent begins to give Matt tiny gigs. Gigs that barely cover the cost of gas and food to get there. But Matt wades in, ready to try out his meager material. He's actually a pretty terrible comedian, but he's willing to do just about any lousy gig he can get. He is excited at his new life on the road (there's a great scene when he checks into his first flea-bag motel and is clearly THRILLED).

Abby remains in NYC, but is supportive. Matt continues to limp along until he gets the advice of a more successful peer to use his personal conflicts as fodder for his material. Suddenly, his material connects with the audience, and his success grows. He loves life on the road. And thus, his distance from Abby grows.

Meanwhile, he also suffers from severe sleepwalking, where he gets out of bed and runs from the creatures that are chasing him in his dreams. His dreams of running seem to coincide with this waking fear of commitment. Of a "normal" life chasing him down.

Matt frequently behaves poorly, but Birbiglia is so specific in showing us details of his life, that we tend to sympathize with him, even as we wish he would pull himself together. At one point, before showing us some really poor behavior, Matt turns to the camera and says "before I show you this next part...remember, you're on my side." And he's right, we are.

We're also on Abby's side and that's what gives this movie such a rich, bittersweet quality. We yearn for them to find happiness...yet we see how elusive that is going to be. Birbiglia directs the film, and he shows an adept touch for little details and telling dialogue. I'm not ready to say he's a great director, because so far, he's only used his own life as material...but I'd be prepared to see more of his work.

SLEEPWALK WITH ME is very funny at times. It's very raw at times. It can frequently be surprising (the details of his sleep disorder are fascinating). It's a very adult film (the language is relatively mild though). It is VERY well acted (including great support from James Rebhorn and Carol Kane as Matt's parents). The dialogue is sharp, and few words are wasted. Almost every line is significant.

It's not a perfect film. Sometimes the pace drags...it felt longer than its 90 minutes. It occasionally struggles to reconcile its varying tones. I like movies that shift tone, but I like to feel the director MEANT for the tone to shift...sometimes I think it does despite Birbiglia's efforts. But these are fairly minor complaints and I'd give the film 4.5 stars.

"Sleepwalk With Me" (2012 US release; 90 min.) brings the story of Matt (played by Mike Birbiglia) as he struggles with a sleep disorder and tries to salvage his long-time relationship with Abby (played by Lauren Ambrose). Abby wants to get married, badly. Matt, not so much. Abby is looking for any sign from Matt that he will propose, which he eventually does, after an emotional side trip that makes him feel guilty and ashamed. Parallel to all of this, we see Matt getting his start on the stand-up comedy circuit, and barely hnaging on. Then, one day, he makes a funny quip about his failing relationship with Abby, and wouldn't you know, the audience eats it up! I don't want to give more away, you'll just have to see for yourself how it all plays out.

Several comments: first and foremost, even though he plays a character called "Matt", this story is based on Mike Birbiglia's own life experiences (in fact, before this became a movie, this was an unexpected off-Broadway hit play). Birbiglia not only stars but also co-wrote and co-directed the movie. Second, the movie makes the most of the shoestring budget on which this obviously was made, and I was pleasantly surprised how well it all flowed. Last but not least, the overall tione of the movie is very much bitter-sweet (to me at least). When I saw this in the theatre a few days ago (at the Landmark E Street Cinema in Washington, DC), there were a number of people who were laughing out loud in many parts of the movie. I never felt quite that way. Yes, there are funny moments in it, but when all is said and done, this movie documents a failing relationship and a serious disorder, so how truly laugh-out-loud funny is that?

Besides Bribiglia, who obviously carries the movie (and quite well at that), the support cast is nothing short of terrific, including the already mentioned Lauren Ambrose as his girlfriend, but equally if not even more so James Reborn and Carol Kane as his parents. They make the most of the limited screen time they have. This movie is MILES away from your standard Hollywood fare, but if you are in the mood for something quirky and slightly left of center, "Sleepwalk WIth Me" is HIGHLY RECOMMENDED!

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A funny comedy about a man with a serious medical problem while we get observe his life. It's something to watch before considering marriage.

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Comedian Mike Birbiglia's first movie is an autobiographical story of his life as a struggling stand-up comic and his relationship with his longtime girlfriend Abby (Lauren Ambrose). Both issues are complicated by a sleep disorder that causes Matt to sleepwalk, sometimes with disastrous results.

When Matt (Birbiglia) attends his sister's (Cristin Milioti) wedding, all fingers begin to point at him and when he and Abby will get hitched. After all, it's been 8 years. Everybody likes Matt but they love Abby. Matt bartends hoping to become a stand-up comic, but as more than one person tells him, "you're not very good." And he's not, at least early on. There's one telling scene in the picture, when asked why he's not sure about marriage and his response is that he's afraid that the best thing about him is Abby. We get it.

As luck would have it, Matt gets a series of one night stands that force him to travel throughout the northeastern United States, alone in a crummy station wagon donated by his critical father (James Rebhorn). He stumbles and fumbles along the way but eventually finds his rhythm and discovers a new line of jokes. And they all feature him and his fading relationship with Abby.

Fortunately for both, they each discover that they weren't meant for each other, even as they were closing in on a wedding. The movie is certainly more comedic than dramatic. It works even if it is sometimes a bit awkward with Matt talking into the camera. There are several funny scenes involving Matt's sleepwalking. They are at their best when we get to see what Matt is actually dreaming about. This certainly isn't a great movie but was fun to watch and not mean spirited toward marriage in general.

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It's great when a low budget film makes it big, like this one did at the Sundance Film Festival. I think Mike Birbiglia bared his soul in a very creative but real way. He shows the struggle of becoming himself while becoming a stand-up comedian. I'm a big fan of Ira Glass, and I enjoyed the Q&A on the DVD as well.

Cathy in Atlanta

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Committed (2000)

CommittedSome people drift through life, moving from one thing or one person to the next without batting an eye; others latch on to a cause, another person or a principle and remain adamant, committed to whatever it is-and figuratively or literally they give their word and stand by it. But we�re all different, �Made of different clay,� as one of the characters in this film puts it, which is what makes life so interesting. Some people are just plain crazy, though-and maybe that�s the way you have to be to live among the masses. Who knows? Who knows what it takes to make things-life-work? Writer/director Lisa Krueger takes a shot at it, using a light approach to examine that thin line between being committed-and how one �gets� committed-and obsession, in �Committed,� starring Heather Graham as a young woman who is adamant, committed, obsessive and maybe just a little bit crazy, too. Her name is Joline, and this is her story.

Admittedly, Joline has always been a committed person; in work, relationships, in life in general. She�s a woman of her word who sticks by it no matter what. And when she marries Carl (Luke Wilson), it�s forever. The only problem is, someone forgot to tell Carl-and 597 days into the marriage, he�s gone; off to �find� himself and figure it all out. When Joline realizes he�s not coming back, she refuses to give up on him, or their marriage. Maybe it�s because of that �clay� she�s made of. Regardless, she leaves their home in New York City and sets off to find him, which she does-in El Paso, Texas, of all places. But once she knows where he is, she keeps her distance, giving him his �space� and not even letting him know she�s there. She considers Carl as being in a �spiritual coma,� and it�s her job to keep a �spiritual vigil� over him until he comes to his senses. And while she watches and waits, her life is anything but dull, as she encounters a young woman named Carmen (Patricia Velazquez), a waitress at one of the local eateries; Carmen�s �Grampy,� (Alfonso Arau), who is something of a mystic; T-Bo (Mark Ruffalo), a truck driver who has issues concerning Carl; and Neil (Goran Visnjic) an artist who makes pinatas and takes a fancy to her. For Joline, it�s a journey of discovery, during which she learns a lot about Carl, but even more about herself.

There�s a touch of humor, a touch of romance, and some insights into human nature in this quirky film that is more about characterization and character than plot. And Krueger presents it all extremely well, delivering a film that is engaging and entertaining. Her characters are very real people, with all the wants, needs and imperfections that make up the human condition; a rich and eclectic bunch through which she tells her story. We see it from Joline�s point-of-view, as Krueger makes us privy to Joline�s thoughts and therefore her motivations, which puts a decided perspective on the events as they unfold. That, along with the deliberate pace she sets that allows you to soak up the atmosphere and the ambiance she creates, makes for a very effective piece of storytelling. There�s an underlying seriousness to this subject matter, but Krueger chooses to avoid anything heavy-handed or too deep and concentrates instead on the natural humor that evolves from the people and situations that Joline encounters. And the result is a well textured, affecting and upbeat look at that thing we call life.

Heather Graham takes hold of this role from the first frame of the film to make Joline a character totally of her own creation. She immerses herself in the part and gives a performance that is convincing and believable, adding the little personal traits and nuance that makes all the difference between a portrayal that is a mere representation of a person, and one that is real. And for this film to work, it was imperative that Joline be viable and believable-and Graham succeeds on all fronts. Her screen presence has never been more alluring, and her vibrant personality or even just the way she uses her eyes, is enough to draw you in entirely. it�s all a part of the character she creates; there�s an appeal to Joline that exudes from her entire countenance, who she is inside and out. She�s a likable, agreeable person, and because you�ve shared her innermost thoughts, you know who she is. It�s a good job all the way around, beginning with the way the character was written, to the way Graham brings her so vibrantly to life.

As Carmen, Patricia Velazquez is totally engaging, as well. Her performance is very natural and straightforward, and she uses her instincts to effectively create her character. She has a charismatic presence, but is less than flamboyant, and it gives her an aspect that is attractively down-to-earth. She is refreshingly open and up-front; you get the impression that Carmen is not one to hold anything back, but is totally honest on all fronts, and that, too, is part of her appeal. And, as with Joline, this character is well written, and Velazquez brings her convincingly to life.

Overall, there is a number of notable performances that are the heart and soul of this film, including those of Luke Wilson, Casey Affleck (as Joline�s brother, Jay), Goran Visnjic, Alfonso Arau and especially Mark Ruffalo as T-Bo, who, with very little actual screen time, manages to create a memorable character.

The supporting cast includes Kim Dickens (Jenny), Clea Du Vall (Mimi), Summer Phoenix (Meg), Art Alexakis (New York Car Thief), Dylan Baker (Carl�s Editor), and Mary Kay Place (Psychiatrist). A film that says something about the value of stepping back to consider The Big Picture-reflecting upon who we are, where we�re going and what we really need-�Committed� is an enjoyable experience; a ride definitely worth taking.

It takes a certain type of person to enjoy this movie for what and who it tries to appreciate. For the extremely introspective, honor-obsessed, and non-conventional folk out there, this IS the comedy to watch. I was left falling in love with the main character sometimes reminding me of myself, or mostly of people I know and was also left with one dominate, repetitive thought: I'm not alone.

People usually associate the comedy genre with lightness, and fluffy, not-too-deep mania. (I'm guilty of it myself) It just catches you off-gaurd how deep this movie really is, and how much it reveals about the human mind and emotions. The "let down" the other reviewers speak of, is going in to see this movie, looking for the wrong things. Perhaps we've ALL forgotten that deep thoughts can be funny.

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Lisa Krueger's second feature has Heather Graham as Joline, New York club owner who is married to a struggling phographer Carl (Luke Wilson). But this film is not your usual work of romantic comedy, because it has plenty of eccentric characters. Joline is just one of them, and the strongest one, for she is a committed person to the bone. Very committed to her action and words, she lets a "band" play on the stage even if all the member except for the bass player quit the band and left for Japan.

But her belief is to be tested when her newly-wed husband left her without obvious reasons, afterwards sending only a postcard with a blurred postmark. But she has to believe what she has believed, so she decides to hit the road, goes to El Paso, and tries to find something she has been missing in her life.

The story is interesting, but you soon find that the film has little to offer except the heroine's engaging personality. However, the whole film is somehow sustained by Heather Graham's presense, which almost compensates for its meandering plot. Of course, this means that if you don't like her character, or just don't get it, you lose interest in the film, but for Heather Graham's fans, it is not a bad thing to watch this one for once.

Another merit of the film is the unique cast of the film, which includes Casey Affleck, Golan Visnjic, and Alfonso Arau as male players, but more amusing are females, the cameos of Clea Duvall, Summer Phoenix, Patricia Velasquez (one of the best players in the sequel of "The Mummy"), and Mary Kay Place, who was in the director's previous film "Manny & Lo." Whether or not they are used in the most suiable way remains a point to be dabated, but it certainly is good to see them showing up on the screen. And the photography of the film captures the beauty and climate of El Paso very well.

"Committed" is not a good film, but still has original concept and lovely Heather Graham, last of which would anyway justify my defending the film. For her fans, or those who are looking for something totally different.

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This movie hit me at just the right time. Normally I would have turned it off as the pace was a little too leisurely but the little spiritual messages it was giving me were so perfectly spot-on that I had to watch it all. The main character reminded me of myself going through a hard time, and how a spiritual experience can look like a psychotic episode from the outside. The acting was good, the characters understandable and the road trip was a lot of fun.

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I was lucky enough to catch this film on cable, and not just because I was supposed to be doing housework at the time. After seeing Jurassic Park III, Planet of the Apes (2001), and America's Sweethearts, I had come to believe there were no story tellers left in the film industry.

This film is all about story and nothing about special effects. Heather Graham is wonderful as Joline (spelling?) and pulls of the humor--which is of an ironic rather than slapstick variety--with charm and charisma.

The story is unpredictable and filled with unexpected and appreciated turns. This is a film with nuance, one that requires viewers to pay attention, and if you do, you are in for a real treat--a movie with a quality story that holds up from beginning to end.

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The Big Hit (1998)

The Big HitI've trashed more than my fair share of big, brainless action flicks for being stupid, unbelievable, and nasty. But for some reason, either by merit of the film itself or some fluke in my taste, I like THE BIG HIT. If the former is true, here is why.

There are those of us who peruse the direct-to-video bins of action and horror movies in a desparate search of fun. THE BIG HIT, although released theatrically, is everything that you desire while looking at direct-to-video crap, but never get, and its infinitly better.

Make no mistakes: this movie is vulgar, crass, and shameless. It even crossed my line with the vomiting scene, but I managed. The film finds hit man Melvin Smiley set up to take the fall for a major screw-up by his hipster co-workers whilst dealing with being a pushover to his fiancee and girlfriend.

Maybe the fact that this film has such a plot, a plot that is relevant to the action and interesting is what makes it exciting. The characters are stimulating and provided vibrant dialogue. Through the pretty routine directing, it's Ben Ramseys script that makes the thing so fun. The action sequences are pretty by the numbers, as I've mentioned, but there are moments or rhythm and sublime carnage beneath the rest of it.

The film has a hard-hitting and pulsating score by Graeme Revell, which is also notable in its genre for its themes and concentration on doing more than making noise.

Be warned: those who do not tolerate profanity, violence, and general disregard for morals (these are hit men, after all) should not view. If you do not fall into that category, and like a bit of ultra-violence brimming with wit and style, there is a very good chance you will like this movie, and almost NO chance that you will regret seeing it.

Or like I said, it might have just been a fluke in my tastes...

I remember first seeing the previews for The Big Hit and thinking to myself, "this is going to be one terrible film." Then I actually rented it, and found myself enjoying the movie immensely. Oh, it's one silly action film, but it's fun usually for all the right reasons, so that's why I'm recommending it. And this says a lot, believe me, because I find 3/4's of the movie's cast utterly revolting (Antonio Sabato, Jr., Christina Applegate, Bokeem Woodbine, Lela Rochon, and Elliot Gould all in the same movie, and I still somehow enjoyed it).

Mark Wahlberg stars as Melvin Smiley, a hitman with a heart of gold, sort of. Outside of his dubious career, he's a relatively nice guy with an airhead fiancee (Applegate). Anyway, his hitman buddies, specifically Cisco (Lou Diamond Phillips), devise a plan to kidnap Keiko Nishi (China Chow), the daughter of a super-rich Japanese businessman, not knowing the man has just went bankrupt (shown in a hilarious scene). Anyway, they have to store Keiko at Melvin's house, and he's forgotten that his fiancee and her parents are visiting for the weekend. To make matters worse, Keiko is the goddaughter of the hitmen's boss, Paris (Avery Brooks), who's looking to crack down on the guys who kidnapped her.

The Big Hit desires to work as an action and comedy, and succeeds quite well at both. The shootouts are pure Hong Kong-style (no surprise, it's directed by Kirk Wong), outrageous but cool to watch. The fight scenes are kinetic and well-choreographed, with the performers displaying some nice, agile moves without really going into all-out martial arts (by this, I'm referring to the final fight in the video store). None of the action is superspectacular or completely memorable, but it's all exciting and lots of fun, which is what it should be.

Director Kirk Wong also shows a capbable hand at humor. For once, the majority of the film's jokes actually work. Even a long-running gag involving Melvin and his overdue rental of King Kong Lives pays off in the end. A lot of people are going to find this humor stupid, but for me, it was stupid and funny. Some of these jokes probably wouldn't naturally be funny, but the cast (particularly Lou Diamond Phillips) pulls them off with a great sense of comic timing. Hell, I even laughed during that obvious "tracebuster" joke.

As I said before, most of the cast members are those I generally try to avoid when I watch movies and they're terrible here, but they're offset by the film's leads, thankfully. Mark Wahlberg is not a great actor by any stretch of the imagination, but he's likeable and perfect for this part. The lovely China Chow is a spirited foil for Wahlberg, she's smart, funny, and sassy, and also the film's most genuinely likeable character. Naturally, the film progresses by developing some romantic chemistry between her and Wahlberg, and to my surprise, those scenes actually work.

Stealing virtually the whole film is Lou Diamond Phillips (who I've always liked), who's hilarious as the two-timing hitman Cisco. Off the top of my head, I believe this is his only comic performance to date, and he's so good at it, I wish he'd delve into the genre more often. The always solid Avery Brooks has a few throwaway scenes, but it's always nice to see him in a role outside of Deep Space Nine. All in all, The Big Hit was a good time, never truly excellent as an action/comedy (it needs more even plotting and less superfluous characters) but just enjoyable enough, and that was good enough for me.

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I wasn't going to add a review to this site, but after seeing all the negative reviews I had to. This is one of my favourite films, because it's enjoyable. Sure, there are funnier movies, movies with more action, better acting, a better plot and all the other things that people like. But this film is good at what it does, and that is bringing everything together. Rather than being the best film at one of these categories, it is good at all of them. And it's FUN!! Lou Diamond Phillips kicks arse in this movie... and there are some killer lines in there too ("Bust some caps?!? Give this man a gold star!!"). The soundtrack works well, the camera work is top notch, and all around this is very well produced. It seems there are a lot of people out there that think a film can only be good if it has a message, or Harrison Ford. Well here's an ideaget out there and make a movie yourself... let's see what kind of message you can offer the world. In the meantime, respect this film for what it isextreme entertainment. And for that guy who said that all the people that hate this film are from Australia, I'm an Aussie.

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I love this movie! Its definitely one of my favorites, and I have the tendency to watch it twice in a row! Mark Wahlberg is such a hot, sweet lil badboy and with that innocent soft voice and smile he always gives me the tingles. Love the action scenes and the sense of humor is so cheesy its just hilarious. The romantic scenes with Mark and his many girls keep me coming back for more and more. For the girls, there is a great locker room scene with the guys' naked butts---yummy!

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This is again one of those movies you must not take too seriously. If you do, you will be spending that 100 or so minutes sitting and wondering why are you watching this...

Plot in a sentence: four contract killers go moonlightning and accidentally kidnap their boss' god-daughter and mayhem follows...

Don't miss this gem! There are so many in-movie jokes, parodical remarks, sexy booty and great-off-the-wall action you have to see it twice to catch them all...

Favourite line: "You can't handle the truth!" (not a mistake!)

Fear and Loathing in Las Vegas (The Criterion Collection) (1998)

Fear and Loathing in Las VegasI find it sad that much of the country bases it's movie selections on the opinions of hacks like Leonard Maltin. I can see why this wasn't a mainstream success due to it's waaaaaay out in left field mentality, but because of all the negativity this great film remains unseen by many. As people come around to the acting genius of both Johnny Depp and Benecio Del Toro (and they will), they will inevitably want to see their earlier works and then, finally, they will see what all the hype wasn't about.

Terry Gilliam absolutely NAILED Hunter's book. The visuals are incredible and alarming. The angles, strange and enticing. I heard that they filmed this movie without a script, just the book in hand. After reading the book, I believe trying to write a script for it could have severly dampened the impact.

Now for the drug use... If you are the type of person who realized that Fight Club wasn't really about the fighting, then you will also realize that Fear & Loathing isn't really about the drug use. According to the big dog movie critics only a stoner will appreciate this movie, which leads me to believe that only idiots become professional movie reviewers.

If you appreciate ground-breaking cinema, truly innovative directing, first-rate acting and are looking for something different... the ramblings of a gonzo journalist could be just the thing.

This DVD finally gives one of Terry Gilliam's lesser-loved (but brilliant!) films the red carpet treatment. The commentary from Gilliam is crazed and passionate; Depp and Del Toro really show off their wit, charm, and intelligence along with producer Laila Nabulsi's back-stage insight, and the last commentary is a rather odd and screwball one from Thompson himself. I won't tell you a thing about the last commentary. You've got to buy this and check it out on your own. (Here's a hint: 'Screeee-ahhhh! Raaaaaaaagh!' *other assorted sounds*)

The second disc is crammed with some great goodies as well Depp reads letters written to/from Thompson. There's a great BBC documentary showing HST and Ralph Steadman undertaking a trip from Las Vegas to Los Angeles. Another gem is a snippet from an audio-book recording of Fear & Loathing with Jim Jarmusch as Raoul Duke! All definitely worth it.

Fear and Loathing isn't just a drug movie (as all the extras on the DVD will reiterate over and over again) it's a truthful, imaginative, twisted, and subversive take on the death of the most idealistic decade and generation. We get to see it all through the eyes of two renegade professionals, one a journalist and the other a lawyer, both fighting the good fight against scum and villainy.

We can't stop here! THIS IS BAT COUNTRY.

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A Review of the DVD: "Fear and Loathing in Las Vegas"

Starring:

Johnny Depp,

Benicio Del Toro

Director: Terry Gilliam

Writing credits:

Hunter S. Thompson (book)

Terry Gilliam (screenplay)

Tony Grisoni (screenplay)

Tod Davies (screenplay)

Alex Cox (screenplay)

Run Time: 118 Minutes

Released: 1998

Hunter Thompson practiced total immersion journalism. He called this form reporting gonzo journalism.

Hunter Thompson drove to Las Vegas to report on a motorcycle race and ended up writing a story about himself writing a story about a motorcycle race. If he would have written a conventional report on motorcycle racing it would have been interesting to motorcycle enthusiasts for a few days. Since he wrote a gonzo story he had a very wide canvas and he used it well to create a classic.

Johnny Depp and Benicio Del Toro do justice to the outrageous characters created by Hunter S Thompson. The reader might be turned off by the obstreperous behavior, extreme self indulgence and offensive inconsiderate language. If you can look past this offensive conduct and you will see that Hunter S Thompson gave us an insight into the American character of the 1970's.

See also: Hell's Angels: A Strange and Terrible Saga (Modern Library)

Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream

Fear and Loathing in Las Vegas

I completely enjoyed this film and recommend it to others.

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It was upsetting to see the only review of this title was not a review at all but a complaint against amazon so I had to put in my two cents. This movie has some of the best performances from Jonny Depp and Benicio Del Toro and Terry Gilliam directs one of his finest films ever. Too bad this one was missed by audiences in 1998 when it quickly came and went from theatres after the first week. If you like Hunter S. Thompson and movies like The Big Lebowski, you'll want to make sure to add this item to your movie collection. The HD transfer alone is worth purchasing this version, but make sure to check out the Criterion DVD which contains interviews from Hunter S. Thompson as well as a full movie commentary that's as entertaining as the movie itself.

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If, when you rent this film, you are expecting a Cheech and Chong film, think twice. People frequently compare the two, but Fear and Loathing is not only infinitely better, it is not the screwball comedy everyone seems to think it is.

Johnny Depp plays Raoul Duke, alter ego to gonzo journalist Hunter S. Thompson, who wrote the book this film is based on. He is sent on an assignment by Rolling Stone to cover a motorcycle race in Las Vegas. Coming along for the ride is Dr. Gonzo (aka Oscar Zeta Acosta), Duke's repulsive attorney, played by Benicio del Toro. The two rent a very expensive convertible and bring along with them a case full of illegal drugs.

The film is essentially the journey of two drug-fueled madmen through one of the most unfriendly cities in the country, but it's also a study on what life was like in 1971. In the end, as funny as it may be, it's really a docudrama. Gilliam directs the film in his classic "nightmarish" style, creating a truly hellish vision of America. But the biggest surprise of all is how true the screenplay is to the novel. Sure, like any adaptation, some good stuff is taken out, but if you compare what's written down, there isn't that much of a difference.

Most enjoyable, however, are the performances. Johnny Depp is hilarious as Duke and Del Toro, despite how disgusting his character is, is nothing short of a scene stealer. The film is also ripe with cameos, the most memorable are the ones delivered by Harry Dean Stanton, Tobey Maguire, Gary Busey, and of course, Flea of the Red Hot Chilli Peppers.

I recommend this to any Gilliam/Thompson fans, though in order to enjoy it, you need to watch it in a generally filthy atmosphere, and for some of you, you may need to see it more than once to really appreciate this. Overall, Fear and Loathing in Las Vegas is a very good film filled with moments that stick with you for a long time.

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Young Frankenstein (1974)

Young FrankensteinFirst, let me begin by saying that the only reason I don't give this 5 stars is that I wanted a bit more from the commentary track, as I indicate below.

The content of this wonderful movie is covered amply elsewhere, so I won't repeat what others have so well synopsized. I WOULD like to point out a couple of things about this particular DVD:

1) The commentary track is accessible from the the LANGUAGE SELECTION menu, rather than from the special features menu (as is usual for commentary tracks). I was terribly frustrated by this until I got some help from Christian at boldopinions.com (thanks Christian!).

2) Yes, the commentary track IS mostly Mel babbling, but there are some nice tidbits here (many of the cut-away shots were put in because Gene Wilder kept breaking, Mel thought "Puttin' On The Ritz" was frivolous, etc.). It's also heart-breaking to hear about how Marty Feldman's health habits led to his death at age 59. Unfortunately, since Mel's commentary leans toward the personal, we don't get to hear about the roots of the dart-throwing scene (practically a duplication of a scene in "Son of Frankenstein")-and I would SWEAR that the trees going by the window in the Transylvanian train sequence are the same ones in the train sequence in "Son of Frankenstein." So we can't have everything.

3) The documentary is really wonderful-it's obvious that everyone has warm feelings about the film, and the recollections are sharp and insightful. It gives the movie added dimension, so don't pass it over.

I haven't seen mention in the Amazon reviews of "Young Frankenstein" the multiple homages to "Son of Frankenstein," not the least of which is Gene Wilder's spot-on lord-of-the-manor affectations through many of the early Transylvanian sequences (in his grandfather's bedroom: "And where is my grandfather's PRIVATE library?...[book snatched from shelf] Why, these books are all very general [snap snap snap the pages]; any doctor might have them in his study [SLAP book closed]" and the entirety of the aforementioned dart-throwing scene (in which Wilder is positively CHANNELING Basil Rathbone). So make "Son of Frankenstein" ALSO required viewing prior to seeing "Young Frankenstein."

Finally, I think that Mel hits the nail on the head when he says (repeatedly) that so many scenes are emotional at the same time that they're being funny. This film was made with such love by all concerned, and it shows. Yes, it can be occasionally crass, and go for obvious cheap laughs (albeit MUCH less so than any movie Mel has made before or since), but what one ultimately takes away from this movie is the incredible amount of care everyone took with the project. Hell, you might even find yourself with a tear in your eye at the end (I did-the awesome score by John Morris helps a lot!). Alas, Mel and Gene were never again to collaborate on a script (it is amazing that the Borscht Belt comedy of Mel Brooks and the hopeless romanticism of Gene Wilder found such fertile creative ground in the first place!), so this movie is lightning in a bottle (pun intended). Don't miss it.

This may just be the funniest movie of all time. Mel Brooks never before (and never again) worked with the tight parameters he did here: gene Wilder actually wrote most of the script, and that plus the use of the old Universal sets and props seem to have kept Borooks's more sophomoric instincts (which have gone overboard in some of his later films) tightly in check. Thus he--and everyone else in the film--is doing their absolutely finest work ever.

From Teri Garr "rolling in ze hay," to Kenneth Mars's inspired Police Inspector, everyone in the entire film seems to be working at their most hysterically hilarious. Special mention must be given to Gene Wilder giving one of his most classic performances of his strangled-fury schtick ever ("Put... the candle... back!!!") and to Peter Boyle, for his very poignant and funny depiction of the Monster.

But standing above all of the end in terms of sheer brilliance is Madeline Kahn, giving what must be the funniest female performace ever on film as Frankenstein's fiancee and the monster's eventual bride. Unlike everyone else in the film, she's not really parodying anyone other than herself; yet nevertheless her depiction of Elizabeth, the wealthy prude who discovers she's a volcano of passion undeneath, is so funny I'm practically crying almost every time I see this film. There's one brief little scene where she's brushing her hair in her boudoir before the Monster steals into her room and kidnaps her, and for absolutely no apparent reason(which makes the scene all the funnier) she's giving vent to a deeply lusty rendition of "The Battle Hymn of the Republic" while brushing out her hair. It is the funniest five seconds in the entire film--and in a film this hilarious that's saying a lot.

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...yes, even better than "Airplane", and quite possibly the funniest film of all time, period. Side-splittingly funny and infinitely quotable, this is film is absolutely priceless. Filmed in black and white, the movie is filled with atmosphere, fantastic one-liners and classic characters. Marty Feldman and Madeline Kahn completely steal the show, you'd never guess that Inga was the same Terri Garr from "Tootsie", Cloris Leachman is virtually, wonderfully, unrecognizable, and you will neverand I mean NEVERbe able to look at Peter Boyle the same way again after seeing his portrayal of the monster (especially after viewing "Puttin' on the Ritz"). The fantastic script, by both Brooks and star Gene ("it's pronounced Fronkensteen") Wilder, was nominated for an Oscar, and so fantastic are the lines that you will find yourself using them in every-day life (I have and still do). This movie will make you giggle, chuckle and laugh out loud. It's the blueprint for all parody films ever made and it's still the very best. This is a movie that can be watched over and over, as little things will get by you on the first couple of viewings. I love the tip of the cap to "The Bride of Frankenstein" near the end of the film and especially love Kenneth Mars' portrayal of the heavily accented town Constable ("Footschteps, footschteps, footschteps!"). This is my all-time favorite movie. And "Bluecher" in German means "glue"...

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People might find other Mel Brooks films to be funnier, pointing to "The Producers" and "Blazzing Saddles," but I still think that "Young Frankenstein" is far and away his best film ever. Of course this might be because a lot of the credit goes to Gene Wilder, who co-wrote the script and plays Dr. Frederick Frankenstein, grandson of the infamous monster maker who finally decides to pick up the family business.

Then there is the first-rate cast, with Peter Boyle as the Monster ("Putting on the Riiittzzzz"), Marty Feldman as Igor ("What hump?"), Madeline Kahn as Elizabeth ("Ah, sweet mystery of life at last you've found me!"), Terri Garr as Inga ("Roll, roll, roll in the hay!", and Cloris Leachman as Frau Blucher (Neeeeiiigghghh!!!!!). I even like the film score by John Morris that sets the right tone from start to finish, including the haunting theme that lures the monster back to the castle where he was born (with a nice French horn part for Igor).

But what I really think makes this film work is that there are several scenes that are played absolutely straight, such as when Frederick reclaims his family name and the Monster is tormented in the jail cell. Then there is the doctor's speech at the moment of creation, which stacks up against anything you will find in any of the classic Universal Frankenstein films: "From that fateful day when stinking bits of slime first crawled from the sea and shouted to the cold stars, 'I am man', our greatest dread has always been the knowledge of our mortality. But tonight, we shall hurl the gauntlet of science into the frightful face of death itself. Tonight, we shall ascend into the heavens. We shall mock the earthquake. We shall command the thunders, and penetrate into the very womb of impervious nature herself!"

Wow. Read that and tell me that Brooks and Wilder did not know what they were doing in this one. Yes, this is a comedy, but it has a strong affection for the films it is spoofing, "Frankenstein" and "The Bride of Frankenstein," that comes through in several excellent homages. The extra material included on the DVD shows that Brooks and Wilder left lots of funny shtick on the cutting room floor, which should not surprise anyone. There is no reason that "Young Frankenstein" and "The Producers" cannot be included on anybody's list of Top 10 Comedy Films of All-Time. They are both are mine.

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YOUNG FRANKENSTEIN is one of the funniest movies I've ever seen. There are so many things that Mel Brooks and Gene Wilder got right in this film, it is hard to enumerate them. Suffice it to say that this film, spawned from a real love of the "Frankenstein" films of the 1930s, manages to satirize the originals with perfect grace, all the while creating a movie that is strangely touching in its own right. The comedy is spot-on and I found myself rolling at several points.

The film itself is gorgeous. It is entirely shot in black & white. It was a great decision to do so, too: the black & white film lends the movie a "haunted" feel that transports the audience back to the shadows and gloom of the 1930s originals. Not only does the B&W film allow us to "get in the right mood," I also believe that it is what contributes to the fact that YOUNG FRANKENSTEIN achieves more than just a simple parody. As strange as it sounds, particularly when compared to modern parodies, this film manages to tell a touching story. There is a real human element to this film, despite all of its (hilarious) off-color jokes and humor.

Let me make a few comments on the special features: this is not a crummy DVD. There are a bunch of extras that make this edition worthy of buying. The DVD quality is superb. Additionally, there is a commentary by Brooks, a 36 minute documentary, outtakes, deleted scenes, and some weird "Mexican" interviews. I particularly enjoyed watching the documentary of how this wonderful film came to the big screen. It was obviously a labor of love and it shows.

If you enjoy Mel Brooks's films, the original Frankenstein films, or simply a great & timeless comedy, you honestly cannot go wrong with YOUNG FRANKENSTEIN. It holds up after thirty years and will continue to do so for many to come.

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How to Lose Friends & Alienate People (2009)

How to Lose Friends & Alienate PeopleI missed this in the theaters, even though my girlfriend and I are huge Simon Pegg fans. Unfortunately the way it was marketed when released made me think it was a romantic comedy / follow-up to the Devil Wears Prada. I also had no idea that Simon Pegg was the film's lead (which would have been a driving factor to get me into the theater). With that said, I really enjoyed the overall feel of the film and found it far more entertaining than Run Fatboy Run, a film which didn't allow Pegg to do what he does best ... which is be damn funny.

While not in the same genre of films that Hot Fuzz and Shaun of the Dead blazed into, this film is a nice balance between a mild romantic comedy and some stinging satire regarding the ridiculous relationship between print media and Hollywood's elite. It's definitely worth watching for Pegg's performance, and Kirsten Dunst is far more likeable here than in the latest Spider-man film, playing a more complex and human character than MJ part trois.

In regards to the low rating the film is currently seeing on Amazon, I can only say that it's disappointing the film didn't do well in theaters, but regardless of the lack of extras and tomfoolery going on with MGM's home entertainment management, it's a shame that people are rating the film so poorly. Unfortunately, if people just see the listing for this film with a paltry two stars and don't go on to read the reviews they'll miss out on a refreshing and entertaining comedy starring one of England's funniest, freshest and most talented actors.

On a side note, I'm continually impressed with the range of actor Jeff Bridges' in his portrayal of various characters in his many film roles. His turn as the villain in Iron Man was memorable and I found his portrayal of media mogul Clayton Harding to be entertaining and an excellent compliment to Pegg's hilarious Sidney Young. Definitely worth your time to rent and perhaps even own if MGM gets smart about releasing a revision of the DVD with proper extras (or how bout a Blu-ray edition MGM ... I'm sure we'd all eat that right up!)

Simon Pegg stars as Sidney Young, a hack writer with a British celebrity magazine whose only desire is to be with the people he trashes in his columns. Clayton (Jeff Bridges) is the successful editor of New York celebrity magazine. He offers Sidney a job which he accepts. Sidney quickly discovers he is way out of his league and if he doesn't shape up he will lose his job. Kirsten Dunst plays Simon's boss who sees him as a zero and would like to see him fail. Meagan Fox plays an actress that Simon would like to get close to at any cost.

Simon can do no right, sort of an obnoxious Mr. Bean. However as the story progresses we discover that Simon isn't as shallow as our first impression. His turn around and redemption is what turns this film from a romp to a heart warming tale.

PARENTAL GUIDE: F-bomb, no sex, nudity (Margo Stilley)

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HOW TO LOSE FRIENDS & ALIENATE PEOPLE

I am a huge Simon Pegg fan as most people probably are now days; come on all of his stuff has been great. I remember seeing the previews for this and thinking "all right here is his forte into mainstream movies". Now I knew that could go one of two ways, those of course being bad or good. Thankfully this while not his best film is really good and that is mainly because of Mr. Pegg himself. I know what you are saying "of course he is good in it" and I know that but I felt the need to say it, so get off my back.

The film follows an off the wall writer named Sidney Young [Pegg] as he goes from wanting to be in the "it" crowd to actually being there. The thing about it though is that what got him to the dance just might be the one thing he has to give up in order to be successful. Writing for a small magazine that trashes the stars [or at least he does] over in the UK, he is offered a job in the US by his hero in the biz Clayton Harding [Jeff Bridges]. Once there the hero he looked up to is looking more and more like a sell out and after meeting Sophie Maes [Megan Fox] he just might do the same. The only real person at least in his eyes is Alison Olsen [Kirsten Dunst], so he tends to hang around her while wanting Sophie.

This film based on a book by Toby Young is well handled under the direction of Robert Weide. The film is well paced even though it is a bit long which may be it's only down fall, the only one I guess. Written for the screen by Peter Straughan and acted out well by the entire cast this film is really entertaining. The film has laugh out loud moments but it is much more of a wittier humor or subtle type if that makes sense. Still I find the film to be very entertaining and found the cast to be real fun to watch.

Simon Pegg is excellent as the lead in this film and it was cool to see him in this type of role, in fact he should do more of these. Kirsten Dunst is great as well in this film and gives one of the better performances. Jeff Bridges is great as usual and Megan Fox does a good job as well as does the rest of the cast. Like I said this is not the best film ever and is not even Pegg's best film, but it is still a very entertaining flick. I recommend this film to any one reading this if only a rental that is fine, I bought it.

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super funny and smart...Simon Pegg is hilarious, one of my favorite brits of all time to watch. cool and unpretentious

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Loved this movie the first time around in the theater, had to rent it to watch again with a friend.

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