Blazing Saddles / Caddyshack / National Lampoon's European Vacation (Triple Feature) (2012)

Blazing Saddles / Caddyshack / National Lampoon's European Vacationgreat movies in one compact case makes more room for more movies on my shelve that makes it easier to get more movies.

A great comdey 3 pack and excellant value for the money. I love all the movies! Blue Ray quality is amazing.

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I got this for $10, it was a great deal for great movies! My coworkers have already borrowed them and watched! Ha!

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The first two, Blazing Saddles and Caddyshack stand on their own. Why NL's Euro Vacation was added is a mystery. Just riding on the shoulders of two classics, and NLEV doesn't stand a chance!

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What can I say? Caddyshack is the greatest golf movie of all time. Don't take my word for it, it has been said by many of the world's greatest golfers. If you don't laugh, you are dead or need a heart transplant. Blazing Saddles has one of the greatest catch phrases of all time. "Badges? We don't need no stinking badges". Ok, it was originally used in "Treasure of Sierra Madre" but it wasn't funny then, it is funny in this film. Finally, European Vacation is just OK. Considering the price of this bundle, I considered Vacation a freebee. Watch these films a dozen times and pee your pants laughing.

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Sleeper (2013)

SleeperWoody Allen pulls out all the comic stops here, utilizing everything from Orwellian social satire, sci-fi movie parody, Harold Lloyd-style pratfalls,and a scene involving giant fruits and vegetables that has to be the funniest sight gag ever committed to celluoid. The one or two minutes of screen time involving the "Orgasmatron" alone is funnier than all the gags combined in any entire Farrelley brothers or Jim Carrey movie you'd care to name. By the way, am I the only person who noticed that the 1993 Sylvester Stallone film "Demolition Man" ripped off at least a half dozen comic premises directly from "Sleeper"? Granted, the "Rip Van Winkle" concept wasn't invented by Allen,but still...the gag about junk food being considered health food in the future--(just for starters) that's too specific to be coincidence! Oh well,there hasn't been an original thought in Hollywood since the mid-70's anywayso why should we lose sleep, eh? Don't miss this 'sleeper'!

I'm normally not a futuristic, sci-fi fan, so I was a little reclutant to see this DVD version. I was sure it would be yet another film ripping off earlier films' special effects, as so many sci-fi films do today. Boy, was I wrong with this certain dvd version! It's a little hard to believe that this film was made in 1973. It possesses orginality, creativity, and the simple ability to make you laugh. A few of my main favorite scenes are the "Orgasmatron", which really had me laughing! The one when Keaton's character, Luna, coerces Allen's character, Miles, into this spacesuit-like costume and pulls the cord that blows it up and has Allen flying around--many people might not like this certain scene, because it doesn't require Allen's verbal wit-but it was incredibly funny because he looked so ridiculous. I especially love the scene when Miles thinks he's Blanche Dubois and Luna has to become Stanley Kowalski in order to gently steer him back to reality. Allen was good as Vivien Leigh's Blanche, but Keaton was really wonderful as Marlon Brando's Stanley. This is an especially esoteric movie, because some people may not realize that one of Allen's goals for this movie was to satirize everything in the 1970's, including essential politicians. (Check out one of the earliest scenes, when Miles explains people that were important in the 1970's, such as Reagan and Nixon. This is one of the reasons why I like this movie so much. I don't have any complaints with this movie. Although, I did wonder whether Miles would choose to stay in the future with Luna, or have himself crygonically preserved again in the hopes that he'll wake up in another era that he actually likes. On a more materialistic note, I can't get over how young Allen looks in this movie! He actually looks good. And I can't believe how beautiful Keaton is! They really worked well together in this movie. I highly recommend this DVD version~don't miss it!

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`Sleeper' is the only Woody Allen work where in addition to acting, writing, and directing, he also contributes to the music by playing clarinet in the band performing on the sound track. This is his fourth triple credit movie and I believe it may be one of his better movies before `Annie Hall', which is still two movies into the future. Unlike `Bananas' and `All you ever wanted to know about Sex...', it seems to have more and better satire than simple parody, although there is parody and homage to famous comedic bits aplenty here. The most memorable `quote' is when Allen apes the famous Marx brothers routine where Groucho thinks he is seeing himself in a floor length mirror, but he is actually seeing Harpo dressed to imitate Groucho and aping every move he makes to keep the mirror image illusion.

One piece of satire that has actually improved in value over the last 25 years is the conceit that everything that was once thought to be bad for you, such as smoking, is now actually believed to be good for you. All you have to do is think back to the fate of eggs, fats, potatoes, and wine to realize that this gag is perilously close to the truth in a lot of cases.

This movie does not have the long `guest star' list or even a lot of the Allen stock company regulars as we see in `All you ever wanted to know about Sex...' or `Bananas'. The only cameo of note is a brief simulated telecast by Howard Cosell. Virtually the entire movie is carried on the backs of Allen's performance and, to a much lesser extent, the fairly ordinary performance from Diane Keaton. Not much of the great work we will later see in `Annie Hall'. But then, Allen isn't writing for drama or character development. All we get is setup, setup, setup, gag, follow-up, setup, setup,...and so on. The whole story is a great big setup for comic effect.

The story is that Allen goes into the hospital in 1976 for a simple procedure and is put into a cryogenic sleep. His cryogenic capsule is discovered 200 years later by a team of scientists who decide to awaken him and set him off to help overthrow a dictator because there is no trace of his identity.

Early in the movie, Allen shows off how really very good he is at physical comedy, much in the tradition of Charlie Chaplin, W.C. Fields, and the Marx brothers, although except for a bit here and there, it is never entirely clear that he is imitating any of these precursors.

If this owes anything to any other movie, it is probably `Fahrenheit 451', the film with Oskar Werner and Julie Christie made of the Ray Bradbury novel.

I am partial to Allen's later films, especially `Manhattan', `Stardust Memories', and `Hannah and Her Sisters', but I believe this is one of his two or three best before `Annie Hall', better than `Bananas' and `All you ever wanted to know about Sex...'.

Recommended for some great jokes and some really great physical gags.

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This isn't necessarily Woody Allen's best film, but to me it is his funniest. Most people see ANNIE HALL as the dividing line between early and late Woody Allen. Through ANNIE HALL, he was concerned with creating laughs, lots of laughs. But ANNIE HALL also brought a more mature technique in filmmaking, and with each film after it, there was less and less a concern that the audience laugh at a new joke every few minutes. Personally, I like to laugh, and I am not alone in preferring Woody's earlier to his later films.

The plot is akin to Rip Van Winkle. Miles Monroe is a health food storeowner who is frozen following unsuccessful surgery, to be reawakened two hundred years in the future. Most of the jokes in the film result from his experiences first from being reawakened and then acquainted with the world of the future. He is accidentally thrown together with a woman played by Diane Keaton, and eventually they are forced by circumstances to embrace the rebellion by the Big Brother type of totalitarianism controlling society.

The humor is a bit more slapstick than in much Woody Allen, though there are a wealth of one-liners. There are some wonderful absurdities, such as the ridiculous mechanized pet dog that Miles is given after his rehabilitation. And who could ever forget the Orgasmatron? Or the giant vegetable patch? Or the hysterical cameo narration by Douglas Rain, who also provided the voice for HAL in 2001: A SPACE ODYSSEY?

I continue to enjoy Woody Allen's films, and have, I guess, seen every movie he has ever made. But I do so with mildly dwindling interest, and considerable regret that he no longer tries to make me laugh so hard I injure my rib cage.

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I didn't consider myself a big Woody Allen fan when this movie came out. In fact, when I saw this movie I had no opinion on Allen at all. But this movie made me more objective of his work. That's not a slap at those who are big Allen fans, just a qualifier to my critique. This is one of the funniest movies I've ever seen right up there with the "His Girl Fridays, Airplanes, Blazing Saddles, Young Frankensteins, Night at the Operas", etc... Friends of mine have asked, "how can you watch that little dweeb?". They miss the point. In this movie in particular, it's Woody's dweebness that makes the movie work, and makes you laugh so hard. The situations he's put in and his responses to things 200 years ahead of his own time are hilarious, especially given his demeanor. Watch for my 2 favorite scenes 1) when they pass the ball (what exactly it's called I forget) to catch a buzz, and 2) when the doctors from the future run items from the past by him to get a better understanding of their significance. The picture of the future that is painted in this movie is hilarious, and the wit that Allen displays is equal to the task quick and economical. This happened to be the time in her life when I was red hot for Dianne Keaton. She was so sexy at this point in her life ("Looking For Mr. Goodbar" pushed me over the edge in my lusting for her) and she is perfect as the mindless ditz (like so many others of her time) whom Allen tries to explain the absurdaties of the period in which she lives. And there are so many small things that make you laugh that if you don't pay attention will fly right by you (ala "Airplane")the doctors surprise at what was considered normal and/or healthy during Allen's time and what they now consider "good for you", Allen's coping with the new era he lives in, and so many others that you have to see to understand. Allen and Keaton are the perfect pair for this movie. They play off each other perfectly in a background that is so bleak, so bland, so void of style or individuality that their work is a credit to what great acting can do with little back drop it makes the back drop more significant. I have to admit, I may have laughed the hardest the first time I saw this flick when I was, uh, somewhat under the influence. One of my favorite comedies of all time.

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Bam Margera Presents: Where the #$&% is Santa? (2008)

Bam Margera Presents: Where the #$&% is Santa?BAM MARGERA PRESENTS

WHERE THE #### IS SANTA

I bought this DVD for my girl for Christmas and she could not have been any happier, she is absolutely in love with Bam. So it was a big hit with her which made me a big hit with her, nice. Any way I watched this with her that night which was ok because I am a fan of Bam and all them so it was cool. It has been a while since anything new has come out from these guys so I was excited to watch it, I knew it would good.

The movie is all about Bam and company taking a trip to the Arctic Circle some where in Finland trying to find the real Santa Claus. Apparently the only thing left for Bam to get his wife Missy since she has everything she could possibly want he decides that the real Santa is the only logical gift. Accompanying him on this trip is his brother Jess and Chad I. Ginsburg from CKY, Mark Hanna, Joe Frantz, and a personal favorite of mine Brandon Novak. Back at home Missy and Bam's parents have to put up with not only two members of The Bloodhound Gang [including the ever funny Jimmy Pop] but also S***Goose, and Mark the Bagger. One of the main driving points behind this film is the two bets that are going down with the Bagger, one with Novak and one with Bam. With Novak is a bet to see who can get the most girls, and with Bam it is whether or not the real Santa is in Finland. The prize for the Bagger against Novak is a sexy robot and with Bam it is none other then Bam's wife Missy, yes he bets her.

In Finland the boys harass each other and by that I mean mostly Bam messing with Novak pretty hard, I feel so bad for this guy all through the entire film. Also along the way they decide that they need a map so Hanna is volunteered to get a horrible map tattooed on his stomach. Of course it would not be a Bam related film if HIM is not involved some how, so while in Finland they stop of at HIM's rehearsal studio to get directions and advice and also film a performance. Also the 69 Eyes and a few other bands pop up every now and then, but it is the appearance of the Dudesons that excites me. These guys are crazy beyond words and I love that they do not just cameo they are threw out the entire film. These guys just add a whole new dimension to the movie and even are involved in one of the grossest parts of the movie. All I am going to say is it involves eye balls, Novak and a male's part [if you know what I mean] from a dead animal.

Back in the states Missy and Bam's parents are hard at work at working on a huge surprise party for Bam, while the B.H. Gang and the Bagger are out looking for girls. The girl hunting parts are hilarious, especially when Jimmy Pop dresses up as Bam and gives the Bagger the worst advice on getting girls ever. Of course when they finally get some girls to come back to castle Bam with them two very funny players from Bam's new movie "MINGHAGS" show up, classic moment. Mean while back in Finland all the guys have to hike, travel by dog sled, reindeer, and snow mobile to reach Santa's house only to find Santa is on vacation. Do they ever find him before they head home, you will have to watch and see but there is a nice party waiting for them when they return home and all ends well {sort of} for Novak eventually. He even gets one over on Bam; excellent moment indeed [well played sir, well played].

Bam as always is his usual jerk yet funny self all through out this entire movie, as is Jimmy Pop and the Bagger [the funny part not jerk]. Chad and Jess are great as well, great to see those guys in this [OVER HERE], you will get that once you watch it. Hanna and Frantz as expected are just as funny as the rest; still Hanna's best thing was his over the top laugh on "Haggard". Everyone else in the movie is great but the show stealer is definitely Novak {who is the star, and rightfully so} with out a doubt, he is this movie's Dico I guess you could say. And of course you know the Dudesons are hilarious only adding nothing but laughs, poor Novak he hates these guys. And yes people this is a movie, a thought out written down in screenplay format movie based in reality. Bam, Frantz, and Joe De Vito wrote a hilarious film and Bam and De Vito's direction is seamless, Bam also serves not only as a producer but as an Executive producer as well.

This movie is worth every penny in my opinion and is beyond a rental, I suggest you buy this because it truly is a funny movie. If you liked Jackass, Viva La Bam, CKY, and especially Haggard then you will love this. And sure Dico, Dunn, Rake, and Raab are nowhere to be found on this DVD, but those who are make this hilarious. And who knows maybe in the future all of them will eventually work together again, maybe a "Where the #### are those guys" will be in the works. Still you can catch all those guys plus all these guys in "Minghags".

love this movie. i couldnt stop laughing, cant wait for more movies i own most his movies

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I bought the DVD on 12/2/08; and let me tell you that I laughed so $&%*ing hard!! Bam hasn't lost his touch when it comes to his pranks and humor. The movie reminded me a his CKY days and I really felt sorry for poor Brandon Novak being the brunt of his jokes! Bam's wife, Missy Margera, is looking pretty as ever, Jessie looks good, glad to see Chad I. Ginsburg, Mark Hanna is a mess, and Joe Frantz was funny too. Really wished that Rake Yohn, Brandon DiCamillo, Ryan Dunn, and Raab Himself was with Bam in this movie, but I still enjoyed it! This DVD is a must for Bam Margera/CKY fans.....I highly recommend it!

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When Bam was up to his old hi-jinks on Jackass and (at least initially) on Viva La Bam, he and his crew were fun to watch. The casts were a bit different depending on the era, but there was a stable core to the friend group that lent some enjoyment to watching them act like idiots. To a certain extent, the old material felt real and honest it was alot like they'd just taken a camera along while they were goofing off.

But this new material is absolutely nothing of the sort. Bam's new friends are all complete idiots and self-absorbed jerks, and the show is so scripted and edited that it's basically just Reality TV (tm) for mook-addicted MTV flunkies. "Bam's Where is Santa?" feels fake, contrived, forced, drawn out, artificial, planned line-by-line, etc. It's joyless and not funny. It seems the days when Bam (and company) was fun to watch are long gone.

They need to go back to the beginning and be real again, or quit making TV.

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WHERE THE F**K IS SANTA is about Bam Margera from the JACKASS crew and his group of misfits (Jess Margera and Chad Ginsburg from CKY, Brandon Novak, and a few others) taking a trip to Finland to find "the real Santa Clause". Half of the movie is typical Bam stuff that you would see in his Camp Kill Yourself videos with stunts, drunken hijinx, and skateboarding footage set to Norwegian Rock music. Half of it is obviously staged, similar to the VIVA LA BAM television show.

While Bam and crew are overseas, his wife and family remain at home to plan for a Christmas Party while their uninvited house guest, Jimmy Pop from the Bloodhound Gang, is on a mission to get his slightly retarded sidekick Mark The Bagger (a Whack Packer from the Howard Stern show) laid. Meanwhile Bam and company meet up with various rock star friends like HIM and The 69 Eyes, as well as Andy McCoy from Hanoi Rocks who gives them clues as to where they might find Santa's lair. In the process one of the guys gets a tattoo of a map of Finland on his stomach that they all use as their guide and they eventually get lost somewhere near the Arctic circle and have to sleep in freezing conditions.

There's not really much to say about WHERE THE F**K IS SANTA other than the fact that it's exactly like Bam's other stuff, which isn't a bad thing. As much as you try to hate the guy, the bottom line is that he and his crew are so over the top, obnoxious, and funny that you can't help but enjoy it. If you like VIVA LA BAM, JACKASS, CKY, and BAM'S UNHOLY UNION, you'll like this. Just think of it as an extended and uncensored Christmas episode of VIVA LA BAM, except without Rake Yohn, Ryan Dunn, Raab Himself, Brandon DiCamillo, and (fortunately) Don Vito present. Their absence isn't really explained but it also isn't really much of an issue anyway because if Bam is involved then trouble and mayhem will follow regardless. The film also has a ton of good music from the likes of Dimmu Borgir, GWAR, Clutch, CKY, Five Finger Death Punch, The 69 Eyes, Viking Skull, and HIM, just to name a few.

The DVD doesn't really have a lot of Extra Features except for a photo gallery and about twenty minutes of Deleted Scenes, including a scene involving an ice sculpture of Bam's naked dad sitting on a toilet, the guys doing shots of melted candle wax, and a full performance by HIM that had to be cut out of the film due to one of Bam's friends rocking out a little TOO hard.

3.5 stars

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The Princess Bride (Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1987)

The Princess BrideThis is a terrific movie that has so many different editions of the DVD and now Blu-Ray discs that it gets very confusing as to what is in each version.

A search of the internet shows several reviews that describe the differences between the DVD versions. Basically the "Dread Pirate Roberts" edition and the "20th Anniversery" edition have different special features not in the other edition.

As of this writing, there are three versions of the Blu-ray the Blu-ray only edition, and the Blu-ray + DVD edition in either a Blu-Ray or the old style DVD case.

What makes it confusing is that Amazon and other sellers of this Blu-Ray only edition list this movie as a 1.33:1 aspect ratio, implying that it might be a different movie cut, while the other two Blu-ray editions are listed as 1.85:1 aspect ratio. No doubt this, together with the fact that the Blu-Ray + DVD edition has almost the same price, has hampered sales of this Blu-Ray only edition.

Well, I went ahead and got the Blu-Ray only edition, mainly because I thought that there might be a chance that the 1.33:1 ratio was because some older movies were filmed on 35mm film which has a natural 1.33:1 aspect ratio, and then were cropped top and bottom to a 1.85:1 ratio to give them a widescreen look. On the other hand, the very first DVD edition released for Princess Bride notoriously had a horrible pan-and-scan cropped to fullscreen 1.33:1 aspect ratio that showed less of the movie than the widescreen version, which is not what you want to see in a Blu-ray. I was hoping for the other possibility that the listed 1.33:1 for this Blu-ray edition meant that cropping had been removed from the widescreen version to show MORE of the movie as it was originally filmed.

However, on playing this Blu-ray, it was immediately obvious that this Blu-Ray only edition is the same 1.85:1 aspect ratio as the other Blu-Ray editions. So all those listed descriptions of this Blu-Ray as a 1.33:1 aspect ratio are just flat out wrong.

What are the other goodies on this Blu-Ray? The Special Features include:

Audio Commentary by Rob Reiner

Audio Commentary by William Goldman

The Art of Fencing

As You Wish, The Story of The Princess Bride

Cary Elwes, Video Diary

The Dread Pirate Roberts: Greatest Pirate of the Seven Seas

Fairy Tales and Folklore

Love is Like a Storybook

Miraculous Makeup

Original Theatrical Trailer

Princess Bride: The Untold Tales

So, this Blu-Ray contains essentially all the special features of the "Dread Pirate Roberts" edition and the "20th Anniversary Edition" except for the DVD games and the booklet. The special features are in their original DVD or lower quality video resolution, although it seems that some of the excerpts from the movie itself have been re-edited to use the higher Blu-Ray resolution.

The Blu-Ray quality is excellent, except for being a bit grainy in some parts tweaking the sharpness or edge enhancement helps, if you have this feature on your Blu-Ray player.

Finally, a few words about the movie it is an absolutely wonderful classic a warm, romantic, and humorous mythology, one of those perfect family movies that could be shown every year just like "A Christmas Story". It was known to be the late Andre the Giant's happiest experience in life, playing the role of Fezzik; he regularly watched the movie afterwards.

It belongs on the list of my favorite films of all time.

Here's what is new on the 20th Edition DVD:

"The Princess Bride: The Untold Tales"

"The Art of Fencing" Featurette

"Fairy Tales and Folklore" Featurette

"True Love and High Adventure: The Official The Princess Bride DVD Game

The Dread Pirate Roberts/Buttercup Editions include all of the Special Edition features plus:

French (Dolby Digital 2.0 Surround) Audio Track

"Dread Pirate Roberts: Greatest Legend of the Seven Seas" mockumentary

"Love is Like a Storybook Story" featurette

"Miraculous Make-up" featurette

Quotable "Battle of Wits" trivia game

Collective booklet: "Fezzik's Guide to Florin"

I prefer the Dread Pirate Robert's/Buttercup Edition, but there are three reasons why you might want to buy the new 20th edition:

1. You don't already own the movie (shame on you).

2. You collect all things Princess Bride.

3. The DVD cover art is fantastic!

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I remember when I first saw this movie, around age 13, I had no idea who the Man in Black was through the entirety of the first act. Sure, it's apparent now, given the benefit of hindsight, but because of the actor's anonymity at the time I never made the obvious connection. On top of that, most of the rest of the cast was unknown to me as well (except for the one non-actor, Monsieur Roussimoff, a.k.a. Andre the Giant). The sweeping anonymity of the company allowed the film to do two things: first, the audience isn't distracted by the presence of the Big Star; and second, unknown actors allow for no preconceived notions of their characters. Which in turn allows the filmmakers to subvert character types, and insert some true surprises into the story.

Which, to make a long point even longer, is the whole ethos of the film

William Goldman's book "The Princess Bride", on which this film is based, intended to tell only the 'good parts' version of the story of Westley and Buttercup. That is, it would leave in the high drama and action and romance, while curbing the back-stories and superfluous exposition. William Goldman, in his role as adaptor of the book into a screenplay, remains fiercely loyal to this proposition. He's constructed a framing device, wherein a grandfather is reading to his sick grandson, which allows him to make meta-fictional comments on the seemingly typical fairy tale being told. In doing so, however, he subverts the fairy tale's typicalness, making it much more surprising and revelatory. At one point the grandson worriedly asks about the fate of the villain: "Who kills Humperdinck?" The grandfather calmly answers, "No one. He lives." Which is not only a true statement, for that is exactly what happens, but it doesn't even come close to ruining the end of the story. On the contrary, it increases the suspense, and makes what does happen quite astonishing.

Rob Reiner, in only his third time out in the director's chair, does a wonderful job of translating Goldman's script to the screen. He utilizes elements, whether by choice or by budgetary restraints, that would at first appear incongruous, but work as a whole to keep the audience off-balance, and thus more receptive to the surprises the movie has in store for them.

The acting is, stylistically, all over the place. It ranges from the unabashed over-the-top passion of Mandy Patinkin (Inigo Montoya), to the bumbling buffoonery of Wallace Shawn (Vizzini), to the gentle anti-acting of Andre the Giant (Fezzik), to the unsubtle Snidely Whiplash villainy of Chris Sarandon (Prince Humperdinck), to the Borscht Belt mugging of Billy Crystal (Miracle Max), to the icy malice of Christopher Guest (Count Rugen), and the stark realism of Robin Wright (Buttercup, the title character). No two actors take the same road, but they all somehow arrive at the same location. Cary Elwes, playing the hero, is the only one who falls easily into all these styles, as the situation demands it. He is menacing, suave, cool, funny, athletic, simple, sweet, fierce, etc., etc., etc. Elwes and Patinkin are the standouts for me -their swordfight atop the Cliffs of Insanity is technically brilliant, literate, and extremely entertaining -but the entire cast effective. Even the smaller roles (British comedians Mel Smith and Peter Cook each have brief but memorable one-joke cameos) make their mark.

The film's musical score, composed by 'Dire Straits' frontman Mark Knoplfer, swings and sways from moment to moment. In one, he uses stark, bouncy lines to underscore a simple scene of Fezzik and Inigo trading rhymes. In the next, he layers synthesized strings to call up the gravity of the Man in Black's chase. My only problem with the music is the song written for the closing credits: it's weepy and melodramatic, without the sense of subversive fun that had prevailed up until that point.

The sets and scenery switch back and forth between real and obviously fake. Filmed in and around the English countryside, most of the outdoor locations (the severe valley, the woods) breathe reality and beauty into the story. Others, such as the Fire Swamp, the Pit of Despair, and the plateau above the Cliffs of Insanity, have the phony feel of a Hollywood soundstage. Again, the film keeps the audience on their toes.

So now that I am 27 instead of 13, and know back-to-front the filmmographies of all the actors involved, and have seen the film more than a dozen times, and can quote lines from it at the drop of a hat, do I find it any less appealing than on that first viewing? Of course not. Goldman and Reiner's film rewards multiple viewings, with its wit, its playfulness, and most importantly, its subversiveness. Will there ever be a time when I tire of watching it? A time like that is right now, as Vizzini might say, "inconceivable".

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I am a great lover of the Princess Bride, so when the 20th Anniversary Edition came out, I pre-ordered it and eagerly awaited it's arrival. Well, I got it on Saturday, popped it into the DVD player and fully expected to be dazzled by all of the new extras. There's one new featurette on the movie, which does not feature Cary Elwes. There's an intro to the new PB game that's out. And a featurette about how this compares to other fairy tales. The rest of the features that were so awesome in the special edition, like Cary Elwes' video diary? Nothing else is included. I was very disappointed, and wish I had not wasted my money. The movie is awesome, and if you do not own it, by all means, buy whichever version you please. But my own personal preference is for the Special Edition. It sounds like the Buttercup/Dread Pirate versions are cool too. Just wanted to warn you all so you don't make the same mistake. Thanks!

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The MOVIE: at first glance, this is your basic fairy-tale-fantasy-love-story between Princess Buttercup and her dashing lover Wesley. Mix in some pirates, giants, swashbuckling Spaniards, evil geniuses, dungeons w/ torture devices and six-fingered men, and you have possibly the best non-animated family classic of the 1980s. It's also the favorite (and usually most-quoted) movie of many of my friends. In sum, words cannot do justice to this movie, so please rent it.

The DVD: I absolutely refused to buy the first DVD release of this movie, as it was non-anamorphic (i.e., will not fit on widescreen TVs) and was sorely lacking in extras. This SPECIAL edition is well worth the wait. First of all, you have two high-quality featurettes from 1987, each roughly 10 minutes long. The first one is a look behind the making of the movie and includes on-location interviews of the actors between shots. The second featurettes is more of the same, although it focuses more on providing unique insight into the decisions behind the casting of every major character in the movie. Also included is a 5-minute video diary by Cary Elwes, which is basically Cary with a camcorder filming himself and other members of the production at various points (e.g., practicing with his fencing teacher, the crew eating meals, etc.). Cary and Robin Wright provide voice-over commentary.

However, the true gem of this disc is the 30-minute "As You Wish" Documentary, in which all the principals (Cary, Robin, Rob Reiner, Billy Crystal, Fred Savage, William Goldman, Mandy Patinkin, etc.) look back from 2001 at the entire history of The Princess Bride, from the reasons as to why Goldman wrote the original book in 1973, to his decade-long attempt to get it put on film, to the choice of Rob Reiner and its subsequent filming, and to the legacy the movie has left in the 15 years since its release. In covering almost every aspect of The Princess Bride, this documentary is often funny, sometimes sentimental (especially when the actors reminisce on their memories of Andre the Giant), and always fascinating.

Lastly, the DVD contains two audio commentaries, one by Rob Reiner and a separate one by William Goldman, with each providing their respective insight into the various parts of the story and its filming. (I will say, however, that Rob Reiner's commentary is much better than the sparse one he gave in the DVD for "When Harry Met Sally").

In sum, this is the consummate DVD for any true fan of the movie. I can't imagine too much more that could have been added to this DVD which would have made it too much better. A truly, can't-miss DVD. If you own the first release, you won't regret trading it in for this one.

House (The Criterion Collection) (1977)

HouseCriterion is a great company -arguably, the best DVD releasing company in the world. They are known for standards of excellence that aren't traditionally seen in most other companies' releases; not only in their DVD transfers and special features, but for the consistent high quality of the films they release. Most of the films Criterion release are already well-established, traditional, "classic" films. So, it's always nice to see a somewhat more "obscure" film get the Criterion treatment -this film definitely deserves it.

While not completely "obscure" -it's quite well-known in Japan, as well as amongst underground horror and experimental film lovers around the world -it certainly doesn't seem as, dare I say, "important" as many other Criterion releases. But being the underdog works here, since the film only costs $26 brand new (well below most "big" Criterion film's releases) so it will hopefully motivate more people to check out this work of art.

...YES, a work of art. While touted as a "horror" film, this most resembles an art film, one of the more experimental variety, and it is masterfully-shot and -directed. Utilizing all sorts of outrageous effects and downright bizarre editing, this often brings to mind directors like Shuji Terayama (Emperor Tomato Ketchup) and Toshio Matsumoto (Funeral Procession of Roses). While there are some more straightforward "horror" elements -skeletons, an evil kitty -most of them are downright silly, and remind me somewhat of American "classic" b-movie cheesefest Spookies than any serious work of horror. It is NEVER scary, and gets by mainly on absurdity and cheese.

So, why is this film getting 5 stars? Why is it "worthy" of a Criterion release? Well, opinions will differ, but I found this movie absolutely brilliant, one of the most entertaining I have EVER seen, with brilliant scene after brilliant scene of surreal absurdity. This film is downright INSANE, but it's charming. It's one of those films that you'll watch and say, "Okay, I HAVE TO show this to every single one of my friends now!" Infinitely rewatchable (I've probably watched my Japanese copy 20 times in the past 5 years), hilariously madcap, and endlessly inspiring. There is violence here, but it's all so silly... this is about as much a "horror" film as Riki-Oh is a "kung-fu" movie; it has all the "cool" elements of a genre film, but it's really just an excuse to cram as many insane scenes into a film as possible.

Oh, did I mention a piano eats a girl? ... The effects are what really make this film a sight to behold. They're actually surprisingly well-done, and even though I already own this film, I'm going to buy the Criterion edition just to see how they pulled off some of this stuff! Yes, as usual, the Criterion DVD is loaded with great special features, the best of which has to be the 1966 short film "Emotion" -without a doubt one of the greatest short films ever, and definitely my favorite of the "experimental Japanese New Wave" school (along with the aforementioned Matsumoto and Terayama). Honestly, "Emotion" is even better than the main feature -how insane is that? This is just one unbelievably value packed release, one that everyone needs!

So, yes, it is a very unlikely Criterion release, but kudos to them for taking a chance with this one. It is a film that needs to be seen -I can't imagine anyone NOT having a good time with it. And I really hope it sells well, because there just flat-out aren't many DVD companies releasing these kinds of crazy Japanese films anymore, since Tartan folded. Maybe, just maybe, if we're lucky, we'll all be able to see a Pastoral: To Die in the Country (aka "the greatest film ever made") release from Criterion sometime in our lifetimes....? Well, I can dream. But until that day comes, I'll be watching this one about once a month. Order it today!

Every once in a while you read about a film that it's indescribable and like nothing you've ever seen before. Usually that's hyperbole; it's just a bit offbeat. Not in this case. House (made in 1977) is genuinely like no other film I'd ever seen before, and I loved every minute. The closest in vibe to this film that I've seen is Funky Forest: The First Contact but that one's all over the place, and lacks the continuity of a single strange story like House. It's surreal horror, a hallucinatory and often hilarious supernatural thriller about Japanese schoolgirls who spend their school vacation visiting the aging aunt of their classmate. This is the kind of film you want to see in theaters if you have a chance but barring that see it at home, after it's out on dvd, with an open-minded crowd of friends who dig foreign, cult or arthouse films.

Gorgeous, as she's known, is irate that her father has decided to remarry, and so she invites her friends to stay in the aging and empty country house of her aunt rather than go with her father and his fiancee on vacation. We are introduced to each of her friends, all of whom have nicknames that describe their temperament and character: there is the beautiful Gorgeous, there's the apparently dreamy and gullible Fantasy, the brainy Professor, the always hungry Mac, the musical Melody, and so on. Along the way, on a magical train ride in which the animated fantasy background that shines through the windows of the train seems to resemble a film strip, she tells them how her aunt had once loved a man who promised to come for her after the war, but never returned. When they arrive, their aunt seems a bit too eager to see them, and odd remarks lead to inexplicable occurrences, and pretty soon it's over-the-top scary silly supernatural surreal mayhem. The director seems to delight in retro-styled effects and sight gags, using stop motion and many other inventive techniques to create a fantastic realm of visual jokes and horror. Combining live action and animation, the film transcends kitch and schlockiness into a realm of cinematic magic, that draws upon Japanese magical traditions of Yokai and witches and vengeful ghosts, but also evokes the era in which it was made, and appears to be making fun of a certain kind of depiction of youth in cinema. Fun stuff, and exciting to see that Criterion is releasing it (not surprising given that Janus films is supervising the current critically acclaimed theatrical rerelease).

Here's what to expect on the 1-disc Criterion set:

-a new, restored high-definition digital transfer (with uncompressed monaural soundtrack on the Blu-ray edition)

-a video piece featuring interviews with director Nobuhiko Obayashi, story scenarist and daughter of the director Chigumi Obayashi, and screenwriter Chiho Katsura

-Emotion, a 1966 experimental film by Obayashi

-a new video appreciation by director Ti West (House of the Devil)

-the theatrical trailer

-new and improved English subtitle translation

-and an essay by film critic Chuck Stephens

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Video review by future world famous serial killer Christopher Mackshere.

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There is very little I could say about House to do it justice. It is such a unique film that anything I say about it will be misleading. Suffice it to say that in a world where the same movie is remade over and over and over House is something that appears to be completely original. It is also extremely entertaining. I am grateful to the Criterion Collection for bringing this outstanding film to my attention. If you are reading this page then your curiosity is already sparked. If you find yourself interested in watching an extremely absurd and funny horror/art film with great visuals, then you cannot go wrong buying this DVD.

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The people who are giving this movie bad reviews need to loosen up. This movie is great. The most amazing 70's visual effects I have seen besides Star Wars... If you are in to the "vintage 70's film look", Michel Gondry, Japanese pop art, 70's horror movies, Phsycedelic art, ect.., you will love this! And NO you do not have to be high to love this, you just have to have good taste.

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The Ugly Truth (2009)

The Ugly Truth"The Ugly Truth" represents something I never thought I'd see: A romantic comedy that both women and men will appreciate. Granted, it probably won't be for the same reasons. Women will like it because underneath it all, it's a fairly typical romantic comedy, the story of Girl Hates Boy, Boy Hates Girl, Boy and Girl Fall in Love Anyway. Men will like it because one of the main characters expresses much of what they think and feel on a daily basis. Everyone will like it because the story is engaging and the characters are not mere cardboard caricatures. You can actually invest in them, and you're able to care about what's going on. What could easily have been a routine date night movie is instead a surprisingly good movie that need not wait until date night. It's also genuinely funny--a bit raunchy, yes, but funny just the same.

Much of the film's success is due to the wonderful onscreen chemistry between Katherine Heigl and Gerard Butler. They continuously make us laugh, yet the comedy is not so broad that you can't believe them in their roles. They make a point of interacting with one another, not as comic relief but as real people. Heigl plays Abby Richter, the romantically challenged, neurotic, controlling producer of a failing Sacramento morning talk show. Butler plays Mike Chadaway, the chauvinistic host of a public access relationship program called "The Ugly Truth." He's unapologetically tell-it-like-it-is in matters of men and women. There's no such thing, he claims, as a sensitive, nurturing man who wants to connect at an emotional level. Men just want sex, plain and simple. And they only want it with attractive women.

Abby, who thinks Mike's rhetoric is appalling, is horrified when she learns that he has been hired to her station in an effort to boost ratings. They clash at every turn ... until he learns that she's interested in dating her next door neighbor--an orthopedic surgeon named Colin (Eric Winter) who just happens to be incredibly handsome. Sensing she's doing everything wrong to initiate a relationship, Mike offers to help Abby by having her test his relationships theories on Colin. She reluctantly agrees, and sure enough, Mike's methods work wonders. She dresses more provocatively. She learns to stop being critical and avoid discussing her personal problems. She learns to be the embodiment of both the saint and the sinner, or as Mike puts it, "The librarian and the stripper."

And that's when things start to get more complex. Abby is succeeding with Colin, but only at the expense of not being herself. On the other hand, could anyone love her as herself? She is, after all, known for bringing background checks and printed topics of conversation to blind dates. As for Mike, he has very definite reasons for believing that loving relationships are a sham. They're gradually revealed not only through carefully structured scenes, but also through Butler, who shows he can find the right balance between smug and sensitive. We see that Mike is the closest thing his young nephew has for a father, and even though he playfully gives the boy relationship advice, he's also quick to remind him that kids should never, ever watch his show.

Heigl also manages a balancing act with her performance, specifically between strength and vulnerability. Abby overachieves at work to compensate for a lack of a love life, which initially seems funny but steadily grows desperate. For reasons she doesn't care to admit to, she's falling in love with Mike, and he too is falling in love with her. But what about Colin? Is he with Abby only because of the façade Mike told her to put up? There's a scene between her and Colin late in the film that directly addresses this issue, and to my delight, it's handled in a way that avoids just about everything that would happen in the average romantic comedy. There are no shouting matches. There are no flying fists. There are no confrontations. There's only a quiet moment of realization that the truth is indeed ugly.

Scenes like these are wonderfully juxtaposed with moments of well written comedy. There are some very amusing moments between Cheryl Hines and John Michael Higgins as unhappily married news anchors who share the same desk and time slot. The film's single funniest scene takes place in a restaurant and involves Abby, an extremely stimulating pair of underwear, and a control device that ends up in the wrong hands.

I can say with complete honesty (and some embarrassment) that I wasn't expecting such a strong film. I certainly wasn't expecting a strong film belonging to this particular genre. What floors me is that two of the three writers of this film are Karen McCullah Lutz and Kirsten Smith. There are the same two that brought us "The House Bunny," one of the worst films of 2008. They certainly got it right this time around. "The Ugly Truth" is one of the best romantic comedies I've seen in a long time, a delightful and absorbing tale about the fronts people display. It's funny without lowering itself to the level of cheap gags, and this is in spite of the film's well-deserved R rating. Heigl and Butler convincingly pull off a romance, no small feat given the contrived nature of these kinds of films. At last, a date movie both the man and the woman can enjoy.

this is a very raunchy right to the point film which is extremely hilarious as long as you have a very open mind and are not at all prudish. gerry and katherine play off each other with great ease and are very comfortable in this very funny sex comedy about how men really think about sex and relationships according to mike,gerrys character, against kathys character, who is a very uptight conventional chick. the film is all about their inevitable clashes against their varied opinions on this topic and how they survive working together on a early morning chat show. i thoroughly recommend this film for an extremely comedic time for both men and women. it is not your usual chick flick and most people will be able to connect with this film and its morales, even though they might not want to admit it.

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I really enjoyed this film. Saw it first as a rental and enjoyed it so much I had to buy it. Critics are being very unkind to it and it is ending up on many lists of the worst movies of the year. This really dumfounds me. Out of all the movies out there and all the trash that exists this movie is being picked out as a target. Don't listen to any of them. This sweet, fun comedy is a twist on your standard romantic comedy and is a laugh riot. When I started watching it I thought it was a little crass but I quickly got over that. I was thrilled. A comedy that didn't follow the traditional formula. I found the plot inventive and pretty realistic. Yes, our main character played by Katherine Heigl is beautiful, single and looking for love. But she is looking for Mr. Right and not seeing men for who they really are. She is obsessive, compulsive and definitely speaks her mind. Then we have Gerard Butler who plays a crude man's man with a local cable show who gets a spot on the morning show she produces. He thinks women are looking for fantasies, phony and don't get men at all. And guess what, he speaks his mind as well. The chemistry between Heigl and Butler is hot and steamy from the beginning. Even their true dislike of each other burns up the screen. The way their friendship develops is very believable as he helps her get a man and this film is definitely a twist as he teaches her how to change her ways and why. The sexes are reversed here and I found myself agreeing with a lot of it and laughing hysterically at most of it. The ending was a great pay off and as I said whatever flaws this film has, the chemistry with Heigl and Butler makes up for any of them.

Is this film an intellectual look at relationships that is going to change life as we know it? Is it a film that will change how films and comedies are done for the rest of time? Of course not. This is a highly enjoyable romantic comedy that is inventive over the generic norm and definitely worth your time. And the blu ray version is exsquisite. Colors are vibrant and the clarity is amazing. I love it when the enhancement of blu ray makes even a comedy film levels above its dvd counterpart. So I say look beyond the negative vibe this film is getting. It is very undeserved. Give yourself a treat, especially couples, and get this film.

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Great comedy movie. Intended for mature audiences with the sexual nature of its humor. Katherine Heigl plays her dual role as a snobby career driven woman to the temptress.

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It's funny and pleasant to see with family or compagnon... Good actors... For all time...

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Ocean's Twelve (Blu-ray/DVD Bundle) (2004)

Ocean's TwelveI saw Ocean's Eleven, reluctantly, and fell in love. It opened the door for me to be able to tolerate George Clooney and Brad Pitt (although 12 Monkeys and Fight Club continue to be his best work). That being said, Twelve was NOT Eleven.

This does not make it bad, just different. The difference though being a rather large one. Instead of one tremendously clever caper, we have three blase ones with alot of down time in between. And herein is where I think alot of people torched this film. They wanted to see the exact same genius of the first script and instead got Ocean and crew palling around Europe. This film is by no means a mind buster, but it IS an enjoyable film with some rather entertaining times and the same type of story one would expect the writers to come up with for this crew.

All in all, not the best one out of the group, but I challenge anyone who bashed this film for not being as good as the first one to give me a series of films that consistently IMPROVED upon itself. There have been A LOT of letdown sequels out there, I would not go so far as saying this one was a letdown. Eleven was 5 stars........this one is four, for simply being a fun film as long as you can sit back and not start making Ocean's Eleven comparisons. Sure it bears the namesake, but it is NOT the same film. And honestly, it does a great job showing just how clever Terry Benedict can be as the villain. One of Andy Garcia's best roles, albeit short lived.

I got to apologize for reviewing the film itself instead of the product, but I honestly felt this was being unfairly represented by alot of the reviews. Hope this helps give some counterpoint. And FYI, the disk is great I simply wish it had a little more meat. Not alot in the way of extras

'Ocean's Twelve' has committed many typical mistakes when Hollywood studios fail to come up any new ideas, but still want to make a movie quickly. OK, let me tell you one by one:

A) THE DISJOINTED PLOT (or making an unnecessary sequel). Right, we don't need this. We already have slick, stylish 'Ocean's Eleven' so why make this one? Add to this question, what's the point of this new '12' anyway? George Clooney and other guys came back. Right, and Andy Garcia's (last time) humiliated casino owner came back, who wants his money back. So Ocean and his pals have to pull off another heist in Holland, in order to pay the cash quickly. So far, OK.

BUT. hey, anyone, can you summerize this? The film next introduces another (French) crook Vincent Cassel, and another retired crook, and Catherine Zata Jones's female investigator (from 'Europole', and she happens to know Brad Pitt's character ... how convenient), and many cameos from Hollywood, including Bruce Willis as himself. And Julia Roberts flies to the place when Ocean's men are in trouble, all the way from America. To prove what? I still do not know.

B) EUROPEAN LOCATIONS. And they went out of USA, to travel to such places as Rome and Amsterdam. That means there is no gorgeous, glittering feeling of Las Vegas, the town which no doubt helped create the stylish mood of the original. But anyway, the entire cast must have had fun.

C) SO MANY CAMEOS and references to other films. If you don't have good idea, get cameos. It's easy, you pay just a little (by the standard of Hollywood), the stars work only a day or two, and the audiences will be amused. That's what some people are thinking. So, besides the star of 'Pulp Fiction' you see Eddie Izzard, Robbie Coltrane, Jared Harris, Albert Finney, Jeroen Krabbe, Topher Grace ... should I continue? Plus, there are many film references, none of which are as amusing or intelligent as Tarantino.

Am I too harsh? Maybe or maybe not. But I am sure that what was good in '11' is all missing in '12.' Maybe you still call it a 'dream team' with Matt Damon, Brad Pitt, George Clooney, Don Cheadle, Bernie Mac. But they forgot one thing, and that's imagination. Perhap, just perhap, but Steven Soderbergh lost it, and something else got into his head instead.

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It pains me to see people put down such a well done film. I can't understand why people are so caught up in being so overly-critical about everything these days. Wah wah wah, this sucks, wah wah wah, horrible movie, wah wah wah...boo hoo. First off, this movie is great. Regardless of what movie you think they've tried to rip off, regardless of the fact you think the first was better, i don't care and I think you should broaden your small minded thinking.

This movie is very intelligent, the acting in it is unrivaled. The cast couldn't have been better put together and everyone plays their role so well in this movie. I particularly thought that Matt Damon was excellent. And of course, there's the one and only Brad Pitt who was exquisite as usual. Anywho, you can't go wrong with this star-studded cast.

This movie had me entertained one more than one level. It made me laugh, cry, scratch my head, think, and it put all the pieces together for me in the end so I didn't leave the theater throwing barrels. I thought the off-key humor in it was brilliant. The way it all came together in the end was just they way we all like to see it done.

This movie is a great movie. Great acting, smart, funny, great story, keeps you thinking. It's everything and more in what I look for in a good film. If you haven't seen it, listen to my review, see it, and decide for yourself, ignore all these cynical over-analytical critical "let's compare everything to something else and say it is bad because...blah blah blah" type people.

Thank you for your time.

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"Ocean's 12" is nearly as much fun as Steven Soderbergh's 2002 film "Ocean's 11". This is, of course the sequel to "Ocean's 11". The main problem with this movie is that it goes on a bit too long. Clockin in at 135 minutes, there are too many things going on and the last act is completely confounding. In a way, this movie reminded me of the recent "Ladykillers" remake, in that it has comically inept criminals doing things that they rally can not do. But "Ocean's 12" is less of a caper comedy like its predesecsor was, and more of an action caper. There are no amazing shootouts or daring car chases/races/or crashes, but there is a large amount of heists, some that are involved in mechanics or outrageous stunts. So, that said, I think that "Ocean's 12", while funny and quite entertaining, could have been shortened by 15 or 20 minutes. I thought that Catherine Zeta Jones' character was not that well established, and the writers (perhaps purposefully) left it to the audience to figure out why she was even there!

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Ocean's 12 is truly a great sequal. Those who did not like this film are only casual fans of Ocean's 11 and of cinema in general. I can understand they may have trouble with this film because their lack of film knowledge and their attention to the original may be lacking. This was so intelligent and funny, and the continuity of Ocean's 11 is carried through so well (things refered to in the first film are brought to fruition in this sequal...Linus's parents, Rule #1, etc...) There are so many inside jokes and references for film lovers as well (esp. the Miller's Crossing discussion and a certian actor revealed at the end, and the Bruce Willis/Hudson Hawk connection, plus others). Sure sometimes one has to suspend disbelief, but hell, this is a fictional movie, not a biopic! Also the style and music of the film is that of a great european 60's 70's heist flick (to fit in with the theme). I also love that each character has an idiosynchrasy of thier own (most carried over from the last film, some comedic cliches). The idea of a rival thief is also quite novel, funny, and adds a good twist. It is sad that people see this as a poor sequal, obviously they just do not pay attention to the little details, those things that make films truly great. If you really allow yourself to think of all the meta-references and continuities, then you may actually see how rich this film really is! Please, watch it again...

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