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AFTER A YOUNG GIRL, HER BROTHER AND HER MOTHER ALL GRIEVE FOR THE LOSS OF THEIR FATHER[HUSBAND] WHO WAS KILLED IN A CAR ACCIDENT THEY WERE ALL INVOLVED IN, THE GIRL DECIDES TO WRITE A NOVEL 10 YRS. LATER AND AS A WAY OF EASING THEIR PAIN AND REUNITING WITH HER FATHER SHE REVERSES THE OUTCOME OF THE NOVEL SO ONLY THE FATHER SURVIVES . IN HER NOVEL HE THEN WRITES A NOVEL REUNITING THEM ONCE AGAIN. IT REALLY ISN'T CONFUSING, IT'S A HEARTWARMING STORY OF LOVE + FAMILY

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Dark Horse (2011)

Yeah I said it. I enjoyed this more than The Master which I saw on the same day as this. The Master was beautiful in many ways but this movie leaves you with so much more. Justin Bartha deserves an Oscar nomination for bringing this miserable character to life with out making him annoying or any more ridiculous than he needed to be. Donna Murphy was also incredible and deserves all the supporting actress awards that will be bestowed upon others.

No one makes movies like Todd Solondz. One of the only true independent filmmakers out there. Shoe string budget, unconventional storytelling, great performances and respect for the audience. Check this out while you have the chance. I would love to see more films like this (that are only released in a handful of cities) receive the accessibility and cost effectiveness of the digital format. Doesn't replace seeing it in the theater but if you live in bum-f*** Utah this might be your only shot.

There is nothing like getting two dysfunctional people together to create a successful quirky indie. What I liked about this film more than many of the others in this genre such as "Jack Goes Boating" or "Greenberg" is that I felt comfortable laughing at the plight of the main characters.

Abe (Jordan Gelber) works for his dad and lives at home with his parents (Mia Farrow/ Christopher Walken). He still collects toys and hasn't reached his maturity potential. He lives in the shadow of his successful brother (Justin Bartha). At a wedding, Abe meets Miranda (Selma Blair) a shy, overly medicated woman once married to Mahmoud (Aasif Mandvi). Abe is supported by his secretary (Donna Murphy) who becomes his imaginary conscience.

The setting takes place somewhere in New Jersey between Eagles and Giants country. The title "Dark Horse" is a reference to Abe. His dad likes dark horses. i.e. like the old days when the Giants would lose, but cover the point spread. Abe proposes to Miranda on their second meeting, which she ponders over in her medicated state which is apt for the tone of the film:

Miranda: "I want to want you."

Abe: "That's enough for me."

I liked the toy details and shirt selection of Abe. Indie movies pay attention to background details. Although I would have to ask Todd Solondz (writer, director) what real toy collector would remove the Gimli Toybiz figurine from its pack? The "Toys R Us" store logo is blurred out, apparently there being some legal issue. The film gave me a few laughs, worth a view for indie fans. Acting was great.

If you don't like Indie films based on quirky characters with little action, then this is not for you.

Parental Guide: F-bombs. No sex or nudity.

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Dark Horse is the latest film from Todd Solondz and is a markedly different animal from his previous films. It still maintains his misanthropic spirit but it's lacking much of the provocative material that so often brings attention to his work. That's not to say Dark Horse isn't provocative; it just shows Solondz at his most gentle and forgiving.

Solondz has long had a knack for great opening scenes and this is no exception. Abe (Jordan Gelber), an overweight and balding man, sits at a wedding next to Miranda (Selma Blair). He begins hitting on her, completely unaware of her disinterest. Following her outside, he asks for her phone number and seems oblivious to her obvious reluctance to give it. From here Abe goes home and we see he epitomizes arrested development. He lives with his parents (Christopher Walken and Mia Farrow) in a room filled with action figures, he works for his father but brings nothing to the company, he blames all of his problems on the failings of others; he hates his brother Richard (Justin Bartha), a successful doctor, feeling that he received special attention that Abe didn't. In one scene he reacts childishly after trying and failing to return an action figure that has a scratch mark on it. Despite her obviously medicated state, Abe attempts to court Miranda and eventually asks her to marry him. Meanwhile, whether real or imagined, Abe is often confronted by Marie (Donna Murphy) a much older co-worker at his father's company, who warns Abe of his potentially disastrous decision making.

Much of Dark Horse seems to function in and out of reality and fantasy. Solondz works this creatively to his benefit in one sequence where Abe goes to a store that is clearly Toys "R" Us, but the logo is blurred out (probably due to companies being skeptical of allowing their trademarks in his films). Essentially the film is a coming-of-age story told from Solondz's skewed point of view where, of course, no one actually comes of age. It's his most straight-forward, "friendly" filmmaking effort and the first to really contain a glimmer of hope. Solondz writes the most despicable characters and he seems to take glee in seeing how despicable he can make them. In Dark Horse he seems to like his characters and even sympathize with them. It's a testament to his own ability as writer/director and the acting of Gelber that Abe is made into a tragic character that we actually empathize with as the film progresses. Walken also impresses, in a more subdued role than he's inhabited in some time reminding us that he is an actor capable of subtlety.

While overall much different from Solondz's typical fare, it still solidifies him as an artist at crafting awkwardness and characters who are astoundingly dysfunctional in social situations. It's his most conventional film with many of his familiar themes explored without the dour characters and subject matter. Of course it's still peppered with his penchant for irony and finding the absurdity in real life. If it fails to be as brilliant as his other works it's because it's too simplistic; lacking in the dark complexities of his previous films. It's an impressive display of his range as a filmmaker, but falls short of being a masterpiece. Regardless, Dark Horse is a film that deserves the attention of those who have admired Solondz over the years and even those who gave up trying.

Read Best Reviews of Dark Horse (2011) Here

I liked this film. It reminded me of Solondz film "Storytelling." I like the characters and I like the way they all have faults, some of them more severe than others. It's too bad this film didn't get a wider thearical release. It only stayed in San Diego one week, and I couldn't make it that week. I'm looking forward to purchasing the blu-ray when it is released.

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AWESOME!!!!!!!! my favorite film of the year so so so so good i can't wait to buy it and watch it a million times!

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Management (2008)

This film was absolutely beautiful. It has that shy pre-emptiveness we expect from films which deal with tender topics such as love and approaching a girl. We all know that the chances of watching a Jennifer Aniston film and being completely bowled over are slim but this film does do that. I thought she was very good in the film and man, did the film have it's funny moments. Before watching this film, I saw Sunshine Cleaning and I quite liked the film. The one thing that is common between this film and Sunshine is Steve Zahn. Management, however, is the film that I liked more and I thought it had it's heart in the right place. At just 1 hour 20 minutes, this film never promises to conquer the world but it makes you go into guffaws.

This film has no flaws and unlike films like "You, Me and Dupree" this film never tries too hard to be cute. It's amazing how such films can be churned out even in 2009. I wish I had waited and seen this at the movies but that was not meant to be. I sneaked an advanced screening copy from some place and I'm sorry for that. There is wonderful chemistry between Zahn and Aniston. Girls, you will love this. Guys, you will not hate your girls for this. Genuine, free spirited and unabashed.

This movie really brought tears to my eyes. I thought it was going to be a comedy. Instead, it was a romance with very honest characters and an unusually realistic feel to it. I think this is the best role I've ever seen Jennifer Aniston play. Steve Zahn is someone I've liked but never saw him as a leading man.

The words 'leading man' hardly describe him in this movie. He is one of the two main characters (Aniston is the other) and he draws the viewer into his world. At first, you wonder if you really want to be in that world. Then, by the end of the movie, you feel like he could be your best friend.

I can't help but think of another movie, 'Being John Malkovich', that tries to bring the viewer into a world. Sure, that world is topsy-turvy but the point is: that movie doesn't succeed in doing that half as much as this movie does. And that movie was critically acclaimed. This movie has not gathered much notice but I predict it will gain a reputation and stay around for a long time. I've already thrown out my copy of 'Being John Malkovich'.

It takes 20 or 30 minutes to establish some things and it does this at a very slow pace. Stay with the movie it picks up quickly and you love the characters, you just can't help it.

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This is one of Jennifer annistons lesser known roles. She and Steve Zahn are a most unlikely romantic couple. This movie is a little gem in the morass of overhyped stuff that hits the markets these days. It's gentle, humorous and has unexpected moments.I guess it would be a chick flick since there are no car chases, but my husband has watched it three times.

Read Best Reviews of Management (2008) Here

Is this a romantic comedy? If so, they forgot the romance and the comedy. Aniston is dried up here, but I guess that was her character. Steve Zhan is the most likeable character, but that's not saying much. Woody Harrelson si simply a cartoon as a retired punk musician turned yogurt mogul. Someone must have thought this vehicle would fly, but it doesn't. It takes a weird turn halfway in, when Zhan starts jumping out of airplanes and turning into a Bhuddist monk. Check this one off on your list of Jennifer Aniston date movie flops.

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I can understand why some people didn't like this: it is unusual, not your standard Rom Com. But here is what I loved about it:

extremely well acted: the main characters have a sweetness and muddledness that evolves during the course of the movie, and does so in a way that is both moving and convincing. And, while at the beginning it was hard to believe that the two characters could grow close, by the end (or really the middle), it was very believable. I loved both Zahn and Aniston. and the supporting actors were funny (woody herrelson) and good (everyone).

the story is romantic but not in a usual way. it's paced more slowly, which I liked a lot once I got used to it.

it has a sweetness that derives from the Steve character (played by steve zahn), and actually from the other characters too.

if you like independent movies, with their unusual pacing, then definitely try this one.

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Sideways (2004)

It's always dangerous when you are late in coming to a small movie that has unexpectedly hit the big time -your viewing enjoyment may be hampered by the crushing weight of expectations. It's wonderful when you can be among the first to see small-budget classics like Stanely Tucci's "Big Night," but I didn't get to see "Sideways" until after the Oscar nominations, the critics' Top 10 lists, and so on. How could "Sideways" possibly live up to these awesome credentials?

Well, "Sideways" does live up to its billing, and it does so through one simple virtue -truth. "Sideways" is an extremely funny and insightful examination of two men struggling with their mediocrity -one who is all too aware of his shortcomings, and another who uses a pathetic Peter Pan syndrome to keep at bay the harsh glare of reality.

The self-aware guy is Miles (the lovable schlub Paul Giamatti), a recently divorced middle school English teacher who's having a difficult time getting his novel published . . . or even explained. Miles is awash in bitterness, but he knows deep down that he's a sweet guy once you get past the sour layers (of which there are many). The ignorant guy is Jack (Thomas Hayden Church), Miles' freshman roommate from San Diego State and a mildly successful actor. Jack is one of those guys who should be thankful for the successes he has, but is incapable of doing so because by accepting a given success, he is placing a ceiling on his dreams.

The "plot" of "Sideways" revolves around Jack's impending marriage. Engaged to a rich beauty and walking down the aisle on Saturday, Jack gets escorted by Miles for a week of freedom in the California central coast wine country. While wine, for Jack, is a means for getting drunk, it is a religion for Miles. Of course, it's obvious to anyone who spends five minutes with Miles that he uses his mastery of wine as a defense mechanism ("I appreciate great wine, so I must be worth something") thanks to the witty script, "there's just like the faintest soupçon of like, uh, asparagus," has entered our lexicon of pretentious criticism. Miles can use his focus on wine to avoid meeting people who could possibly reject him.

That's difficult on this trip, because Miles has met his soulmate, Maya (Virginia Madsen), who is a waitress at a wine country restaurant. Miles and Maya share a devotion to wine, and Miles is continuously surprised at the depth and character of this woman. The question of whether Miles can break out of his various layers of emotional armor to forge a connection with this delightful woman dominates the movie.

Unfortunately for Miles, Jack is as shallow as Miles is deep. In a classic self-destructive move, Jack gets involved with Stepanie (Sandra Oh), a vibrant single mother and good friend of Maya's. A pell-mell romance ensues, with the ever-so-slight complication that Jack hasn't told Stephanie about his impending marriage. Watching Jack skirt emotional ruin while selfishly justifying his caddish behavior is a gruesome delight.

Through it all, the script for "Sideways" puts believable, memorable lines into the mouths of these talented actors. Long narratives about wine reveal surprising details of the speakers, and each character receives a separate, distinct voice (this isn't a Quentin Tarantino movie where all the actors sound like Saint Quentin, or a George Lucas movie where all the actors sound like idiots). A "talky" movie, "Sideways" never runs out of steam.

There is plenty of humor in "Sideways," but most of it is reserved you will chuckle more often than laugh outright but there are a few gut-busting moments, as well.

"Sideways" is an attractive movie, but it is shot with a realistic eye -the California wine country looks great, but this is not an "eye candy" movie like "Under the Tuscan Sun," which looked sumptuous but had little else to offer. "Sideways" gets the balance of visuals and substance just right one can easily imagine Miles liking his own movie, and that is high praise.

I really enjoyed this movie. It's funny, awkward, and touching. It's got a *great* ending. But certainly it's not for everyone--this is a character-driven film--that is, the plot is about changes taking place within the characters' emotions, relationships, and understandings of themselves. If you're looking for high drama, big action, stunning cinematography--look elsewhere. But if you're interested in a small-ish film about real-ish people, real-ish situations--and genuine humor, give sideways a try.

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I realize this movie has come and gone but over the last year I've really grown to love it and after reading some of the reviews that this movie was so poor I felt compelled to give my opinion.

First, what's with the "boring" film thing, if you want exciting I don't know, rent something that's supposed to be exciting with explosions and Bruce Willis. Or if you find it morally ambiguous, consider what movies the director traditionally makes, Election, About Schmidt, these are somewhat dark, slow, depressing movies, rent something with Larry The Cable Guy if that's your thing; point is a little research prevents bad movie choices.

At 28 what I like about this movie is that it recognizes that life is messy and complicated. Considering my limited life experience I recognize that getting older doesn't automatically make someone perfect, responsible, and ethical. Cheating on spouses is not for me, but I've known couples (one of which many would describe as a good couple) who've cheated on each other. I'm not saying this is right but the point is I think people should be able to see some aspects of this story that are similar to their lives. Have you ever had a hard time getting over someone, or has one of your friends??? Ever know anyone who's unable to admit about a problem or won't admit they are in a rut?? I think lots of people feel like this, including myself; the point is there are those moments that give you hope. I'm speaking specifically about Miles in this movie, at one point in time he was much better, (though weak, he did cheat on his wife) Jack describes an entirely cheerier person. Miles reluctantly goes on this trip and is almost literally forced to recognize Mia as prospective relationship; this is ultimately positive, a reminder that opportunities for happiness are all around us if we choose to acknowledge that we are unhappy, in ruts, and are brave enough to follow them out. I know Miles does some despicable things, but somewhere he knows there is a person he wishes he could be, someone who does not just settle down, have a family, and eventually be married 50 years to their fat friend who they argue with constantly and live in there own worlds of denial. I feel I have hope for people in general; I look at the characters in the movie and think they want to be happy and hopefully they deal with the problems in their life.

Read Best Reviews of Sideways (2004) Here

The Film

What a great film. Sideways is one of the few movies based on a book that improves a good deal over its source material. And it is absolutely hilarious. The reason I like Sideways, for better or for worse, is I know both Jack and Miles too well. At one time or another, I've walked in both of their shoes. Alexander Payne reaches a zenith of sorts with his quiet eccentric style. The film blends friendship, the road trip and a party flick. The wine provides an interesting tenor to boot. Paul Giamatti and Thomas Haden Church are completely irreplaceable in their respective roles. They're sort of cosmopolitan R2D2 and C3P0 roadies.

The Blu-Ray

There's been a lot of complaints over perceived Blu-Ray quality over the standard DVD. I can tell you, the Blu-Ray is better. On a large 1080p screen, there is a noticeable difference. Cinematographer Phedon Papamichael created a unique look for the visuals to give the film a signature feel. All those smudgy light plumes, and glowing highlights come from diffusion and slight overexposure folks, maybe even a shot of digital grading to punch the highlights. None of those things lend themselves to the sharpest end products the end product is a vintage style soft image. The Blu-Ray IS indeed better. There is no way i would choose the DVD over this. If you don't have a big enough 1080p screen for it to matter, however, the DVD will probably suffice. But come on, at $10 for the BD, why choose the DVD?

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The medium of the cinema can be entertaining as well as educational, and when it's done well, a film can be both. Such is the case with "Sideways," directed by Alexander Payne, who also wrote the screenplay, which he adapted from the novel by Rex Pickett.

Jack (Thomas Haden Church), an actor whose "star" peaked some eleven years earlier and who now ekes out a living primarily doing commercials, is about to be married. With one week to go before the big day, his best man/friend/former college roommate, Miles (Paul Giamatti), has cooked up a trip to California's wine country, where he proposes a week of friendship, good wine, good food and golf as a send-off for Jack into that most blessed state of matrimony.

As is often the case with the hand that Life deals us, however, the week does not quite go as planned, for a couple of reasons: First, though Miles proclaims this week to be about Jack, Miles is battling his own demons of depression, which have plagued him for going on two years now, ever since his divorce from his beloved Victoria (Jessica Hecht). In addition to which, although he makes his living as an Eighth-Grade English Teacher, Miles is also an aspiring novelist, who happens to be waiting for a call from his agent, who has a publisher interested in the novel Miles has been working on for more than three years. So there is an ulterior motive for Miles at work here; a wine connoisseur, he's taking Jack into country that is not only familiar to him, but is without question a "comfort zone" for Miles, who desperately needs a temporary respite from his own cares right now.

The other problem is that Jack has an inflated ego and an overactive libido, a potent combination that quickly dictates an alternate plan of action for the week. Jack, it seems, is bent on sowing every last wild oat that remains, active or dormant, within him, before his impending nuptials scheduled for the following Saturday. Soon he is involved with Stephanie (Sandra Oh), who works pouring samples of wine for visitors at one of the first vineyards to which Miles takes Jack on their tour.

Jack then successfully devises a plan that gets Miles involved with Maya (Virginia Madsen), a waitress at one of the restaurants Miles frequents on his visits to this part of the world. Maya also happens to be a recent divorcee who is working on her Master's in Horticulture at one of the local colleges, as well as being a wine connoisseur in her own right and a friend of Stephanie's to boot. All of which sounds like the makings of a good time for all, with one exception: Jack conveniently fails to tell Stephanie that he is about to be married.

Bad move, Jack...

In "Sideways," Payne has created a highly entertaining and emotionally involving film with characters and situations to which a broad cross-section of viewers will readily be able to relate and identify. Payne has an eye for nuance and subtlety, which makes his filmessentially a character studya succinct examination of the human condition.

Subtlety and nuance is exactly what Paul Giamatti brings to the role of Miles, as well. It's a performance that is so real it's almost excruciatingly so at times, but it makes Miles someone you can empathize with. Giamatti creates a sympathetic character you can't help but root for on this vast wilderness of a stage we call life; it's a performance that should easily have earned him an Oscar for Best Actor.

Haden Church does an exemplary job, too, as Jack. He imbues his character with such believable self-centered shallowness that you want to laugh at him and hit him at the same time. The rub is, Jack knows what he's doing, but simply can't help himself; so in the end you may find yourself sympathizing with him anyway, because Haden Church presents Jack as someone who just does not possess the intellectual capacity to do otherwise, which somehow makes you want to let him off the hook. You realize that this is just Jack honestly being who he is. And it takes a good performance to get you as a viewer to that place.

The striking Virginia Madsen does a good job, as well, as Maya, creating a character that is a perfect counterpart to the Miles created by Giamatti. And Sandra Oh, currently riding a surging wave of popularity due to her role on televisions "Grey's Anatomy," brings some definite pizzazz to her role of Stephanie, successfully displaying her character's spirit, while at the same time exposing a decidedly vulnerable side of her.

The supporting cast includes Missy Doty (Cammi), M.C. Gainey (Cammi's husband), Patrick Gallagher (Gary the bartender), Marylouise Burke (Mile's mother), Alysia Reiner (Christine) and Stephanie Faracy (Stephanie's mother).

A film that lends itself to repeated viewings, "Sideways" is one of those gems that makes you appreciate not only the artists involved, as well as the art of filmmaking, but the medium itself. I like this movie more every time I see it.

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John Dies At The End (2012)

This movie is losing a star because of how poorly adapted it was. We all know that adaptations are iffy and even hardcore fans of something will accept before viewing that a movie will leave parts out, some of those parts their favorites. But many very important character developments were left out as well as very chilling and mind-blowing elements. The first hour was a wonderful experience, even with the few minor changes. The last half hour was rushed and confusing, jumbling up several sub plots in a very lazy way.

~THERE WILL BE SPOILERS. SPOILERS WILL BE MARKED WITH A STAR~

I'll start out with the PROS:

-Great casting, great acting. Dave and John were portrayed just as they should have been and Chase Williamson's facial expressions and line delivery were especially good. John was just as ridiculous as he should have been and his whole demeanor was very "book John". Doug Jones is one of my favorites and I loved that he was Robert North (changed to "Roger" in the film for some reason). I love Clancy Brown and Paul Giamatti in general but Paul Giamatti was a perfect Arnie. Also, Tai Bennett as Robert Marley was AMAZING. Dude deserves serious props for his delivery of "the speech" to Dave. That guy needs to be cast in EVERYTHING. It's very clear to me that many of the actors read the book and studied their characters carefully. The Justin White, The Shelly and Detective Appleton were all very good too. Overall, the acting in this film was really, really good and I have zero gripes with the talent.

-The special effects were at times a little campy (towards the end of the film, maybe the budget was getting tight) but that didn't take away from the experience. The Meat Monster was NOT campy at all and looked just as ridiculous and frightening as it should have.

-Some great moments and lines were kept in the movie, including the Bratwurst scene and the Korrok trolling scene.

CONS:

-Some of what has been left out is totally unacceptable and takes AWAY from what most of us love about the story. No shadow people? Not even a mention of them or an appearance? They only orchestrated almost every event that happens. The shadow people are genuinely frightening because of what they can DO. The shadow people, in my opinion, are the whole entire reason Wong's book is so frightening. The shadow people are what I see out of the corner of my eye when it's quiet and dark. This movie left out the most haunting aspect of the story.

-Marconi felt like an afterthought in the movie. He destroys the Meat Monster and then he's gone from the entire movie until the black tube that takes them to the other dimension. He's gone because the entire Vegas scene is completely left out. Shitload is still there but he's poorly combined with another subplot involving the Mall of the Dead, which is combined with another subplot involving Amy.

-Speaking of Amy, this film continues the trend of "cliche, pointless love interest" female character. Amy is just "the girl" in the movie. This is no fault of David Wong. He is very good at writing realistic, in depth, likable characters and especially Amy. Amy is a very well written female character. She is a realistic female with a complicated past and motive. David Wong impressed me so much with how well he wrote this female character. Most women can't even write female characters as well as David Wong. Amy's back story is completely ignored, she is just missing a hand with no explanation. She's combined with the Jennifer Lopez character which I understand and accept but she's also made into a totally different kind of person than she was in the book. Her brother, Big Jim, is omitted as well.

-The character development overall is very, very lacking. The actor's themselves did a great job but for someone who hasn't read the book and doesn't know Dave or Amy's past or doesn't know how alcoholic John is actually an extremely decent and good person, I can see how they'd find it very hard to care about these characters or what happens to them.

-Amy and Dave's relationship is hollow and forced. Again, this is a character development and adaptation issue. Many events that were cut help build the trust and bond between Amy and Dave and when they suddenly end up together in the book, it makes sense. **In the movie, Amy is just some girl with a ghost hand whose dog Dave ends up getting killed and she's suddenly into him.**

-**So, the dog's name and gender is changed. Not a deal breaker for me but considering how they end the movie, I don't see how it's even possible to make a sequel. Molly/Bark Lee is central to almost every event that was left out of the book and EXTREMELY central to the actual book sequel, This Book Is Full of Spiders.**

-In the movie's world, there is no reason why the people of Shit Narnia should worship John and Dave as heroes. All of the events that take place that make them heroic and admired are completely omitted. Anyone who hasn't read the book will be thrown off completely as to why the people of Shit Narnia love John and Dave so much.

-Korrok was kind of weak as an ending villain. Combined with the lack of shadow people and the cutting out of huge events (including Amy's chatlog), Korrok was not menacing and his immense power was barely portrayed. **The danger of his people in Shit Narnia crossing over to "Dead World" was not obvious, so why should we care if John and Dave blow him up?**

-NO monster-Dave?! Really?! I'm happy the Arnie Blondestone twist was kept but the biggest twist of the story is completely left out?!

The movie's version of the story is fine on it's own, nothing special, but entertaining and interesting. A few plot holes since the subplots were so shoddily thrown together. David Wong's story is amazing, blow-your-mind awesome, plot twists you can't even imagine and horrifying situations you will wish you couldn't imagine. It is genuinely frightening, heart warming, supernatural and hilarious all at once. I feel like Don Coscarelli just took all of the silly elements from the book and skipped all of the existential crises and back story that makes you love the characters and root for them. I think this would have been better as several movies with just the Vegas and Shitload story as the first movie. They tried to jam way too much into one film and even if there was uncertainty about there ever being the funds to make a sequel, the story would have been done more justice with just the Vegas plot as the movie.

Don Coscarelli will have my forgiveness if there is a director's cut of this movie with tons of scenes cut out that have shadow people, Monster-Dave and backstory included. I know there are limitations on lower-budget films but character development should not have been sacrificed just so the entire book could be jammed into one package. As a hardcore fan of the book and it's sequel, I'm very, very let down.

HOWEVER, if you're a fan of David Wong and you want the possibility of a miniseries or reboot, I suggest seeing this movie anyways. Rent it online, see it in theaters, buy the DVD. PAY for it, don't pirate it. Let's show our support for David Wong as fans, so that we can reap the benefits of more work from him. The fact that his book went from short story online, to full novel, to published on a small scale, to published on a large scale, to MOVIE is pretty amazing in general. I think we should all do our part to help him reap the benefits of this, even if Don Coscarelli kind of butchered his story.

I'll begin by admitting that I'm an unapologetic David Wong fan-boy; I own both the JDatE novel and the sequel in hardcover, and I've been following the progress of this film since day one of the announcement. The release of the film has been on my mind for months, and I watched this tonight with my heart in my throat.

Is it as good as the book? No.

It's also not as long. And it's in a completely different medium. And there is absolutely no way on earth that the film could EVER have looked and sounded exactly the way that I imagined it. The film is quite altered from the text in some places, and yet beat-for-beat in others ... and sometimes, the changes were jarring. Many of my favorite lines and scenes from the book didn't make the cut, and some of the changes were inexplicable to me.

But for fans of Wong's writing, this a damn good adaptation: created by people who truly love the source material ... even if, in some instances, it seems like they don't truly "get" it, at least in the same way that I do. That's not much of a complaint; I suppose that it's "praise by faint damning" my issues with the film are, given the circumstances, a wash.

I only wish that this amazing novel could have received the full 10-hour "Game of Thrones" HBO miniseries treatment. Since that simply wasn't going to happen, I accept that this fun little flick is a faithful beginner's guide to the weird writing of David Wong.

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As a fan of the books, I applaud Chase Williamson and Rob Mayes for nailing my interpretation of the characters spot on. I would have actually enjoyed seeing them play out some of the more outstanding and righteously entertaining scenes from the book though. I'm a little disappointed at how mangled the adaption is, but in and of itself I think it holds its own. It needed more time and a bigger budget to really have the same weight and presence as the book, but then again I'm not sure anything really could have portrayed this modern-day masterpiece on film and still do it all due justice.

Overall though, I'd just as soon go read the book again rather than rewatch this. It isn't awful by a long shot, but neither is it as fantastic as some of the other reviews are raving. It's a decent B horror flick. The movie is too rushed and the omission, renaming and mishmashing of characters from the book reaaaaaally takes away from it over all. I can't really believe that more people aren't disappointed by this. The book explores some incredible concepts and propositions to think about that are only briefly alluded to in the film. This caused several comments to have sketchy context and created a sense of things not being tidied up and settled by the credits.

tl;dr: Book was fantastic. GO BUY IT AND READ IT RIGHT NOW SO YOU'LL BE READY WHEN THEY SHOW UP. Movie not so much, but still entertaining. Don't watch it expecting a technicolor, holographic psycho disco-haunted house or anything else equally absurd. Watch it with the understanding that it's a compressed and distorted version of the book that still offers laughs but maybe not so many shivers.

Read Best Reviews of John Dies At The End (2012) Here

"John Dies at the End" is based on the novel by David Wong (a pseudonym for author Jason Pargin). It's director Don Coscarelli's ("Phantasm," "Bubba Ho-Tep") first feature film in ten years. The horror comedy did make the rounds at certain film festivals in 2012, but is getting a limited theatrical run in certain markets in 2013 and is already available on demand. If you've never read Wong's novel, you don't really know what you're getting yourself into. Reception thus far has been mostly negative labeling the film as incredibly bizarre without much of a payoff, but that isn't entirely accurate. Speaking as someone who's a stickler for solid writing in cinema, this is a rare instance where a film can still be pretty enjoyable without everything making sense.

Dave (Chase Williamson) is sitting in a dimly lit Chinese restaurant telling his unbelievable story to a reporter named Arnie (Paul Giamatti) and it's a doozy. After Dave is able to analyze everything about the change in Arnie's pocket without seeing it and knowing every detail of the dream Arnie had the night before without Arnie even bringing it up, Arnie is eventually able to come to the realization that this is no normal story. When Dave was still in high school, his friend John (Rob Mayes) was in a band. At a party that John's band was playing at, Dave met a Jamaican guy named Robert Marley (Tai Bennett) who not only knew everything about Dave but seemed to know every detail about everything before it happened. That is how Dave and John were introduced to a drug known as "soy sauce," a black liquid which "opens their minds to s*** they've never seen before;" those are the words of Robert Marley. Overloaded with heightened senses, Dave and John are now able to communicate and interact with creatures that aren't from this world but have bigger problems to worry about like how to defeat a monster made of refrigerated meats or figuring out how to throw a headstrong detective (Glynn Turman) off their trail. Arnie has the story of the century on his hands as Dave's story proves to be a prime example of truth being stranger than fiction.

The erratic atmosphere and disorganized sense of humor makes itself apparent right from the very first frame with Dave's story about whether an axe is still the same axe if its had its head and handle replaced while killing a skinhead. Its messy pace takes some getting used to. The beginning of Dave's story where he and John try to help a girl named Shelly (Allison Weissman) deal with an abusive boyfriend that died two months prior is bizarre. Not only because of the subject content, but also because the chemistry between actors Chase Williamson and Rob Mayes and their desire to help those who've had problems with the paranormal is eerily similar to Jensen Ackles and Jared Padalecki as Sam and Dean Winchester on "Supernatural." As soon as you think that though, the film seems to steer in a completely different direction as Shelly explodes into snakes, a doorknob turns into male genitalia, and that refrigerated meat manifestation appears.

That's about when all of these recognizable faces start appearing; Clancy Brown as TV psychic Albert Marconi who's a lot like John Edward except Marconi actually knows what he's talking about, Angus Scrimm in a small role as a priest, and Doug Jones portraying a man from another dimension named Ryan North. You'll actually be left wanting more of Arnie (Giamatti) and Ryan North (Jones). Paul Giamatti is still able to steal the spotlight even though he's only a supporting actor here. His line delivery is just the perfect amount of over the top disbelief when Dave shows Arnie what he has in his car and Arnie's line about Atlantic City is laugh out loud funny. The film is literally overflowing with sarcasm. There's so much of it that you feel like you may have missed some of its wit in just one viewing. When you're not laughing about how ridiculous the film is its humor is sure to circle back around to make sure you laugh at least once during the film's 90 minute duration.

After you settle into the film's use of controlled insanity (it's like trying to throw a saddle on a tornado before attempting to ride it), you get used to its crazy pace and begin to enjoy it. The film is particularly pretty awesome until Dave and John go to another dimension and meet Korak, then it's just bat s*** insanity. The horror comedy gets even weirder than you'd come to expect from the first hour. Nothing about the film is predictable, so there is that to fall back on. But people who don't already hate the film will really hate it by the time the last twenty or so minutes come around.

"John Dies at the End" is really freaking weird. It's along the lines of Quentin Dupieux's "Rubber," but really pushes the boundaries of absurdity. With its flying moustaches, severed limbs with a mind of their own, having conversations with bratwursts, and a dog driving a truck through a house that's on fire, it's safe to say that "John Dies at the End" will go well over many heads and won't be appreciated and that's fine. Just remember that you don't choose the soy sauce. The soy sauce chooses you.

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No, it's not the book (which you will also enjoy), and maybe it's not for everyone. But if you like 'The Hitchhiker's Guide to the Galaxy' & 'Evil Dead II' —I can pretty much guarantee you will love this movie as much as I do. It's the same director who did 'Bubba Ho-tep'.

How can you not enjoy a movie that not only has a meat monster, but also a killer mustache, a guy talking on a bratwurst, alternative universes, and a heroic dog?

I say give it a go. I don't think you'll be sorry you did. Bonus: this is good on weed.

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Jay and Silent Bob Strike Back (2001)

This movie was a blast, but you know that already. Read on for the

details of this fully-loaded DVD edition:

Feature Commentary Track

w/ Kevin Smith, Scott Mosier and Jason Mewes; Deleted Scenes

with Intros by Kevin Smith and members of the View Askew family; -

Jay & Silent Bob's Secret Stash w/Intros; Gag Reel w/Intro;

Internet Trailers w/Intro; TV Spots; Still

Galleries; Storyboards; Behind The Scenes Featurette;

"Morris Day and The Time Learnin' the Moves"

Featurette;

Afroman "Because I Got High" video; -

Stroke 9 "Kick Some Ass" video; Comedy Central's Reel

Comedy special; Cast and Crew Filmographies; Guide to

Morris Day and The Time; Some DVD-ROM goodies Widescreen

(2.35:1) Enhanced for 16:9 Dolby Digital 5.1 Surround Sound -

Special DVD Mix French Language Track; Spanish Subtitles

I've always heard that if you look beneath the grimy setup you'll see the beautiful interior. Well that saying is not dissimilar to the horrors of the summer movie season 2001! Some of the most anticipated flicks of the summer are huge dissappointments (ie. Scary Movie 2) and some of the best moves, the general audience are too ignorant to set foot in (ie Hedwig and the Angry Inch). Well thank god we can still depend on the rapier wit of Kevin Smith. the King of Curse Words and verbal fluency. Has given us the most entertaining installment in the View Askewniverse. Well I know it ain't saying much but "Jay and Silent Bob Strike Back" is the funniest film of the summer!!

This film has all the things that make a screwball comedy perfect. Wacky Characters, Funny jokes both verbal and physical, Good storyline, great comic timing, and of course, a monkey.

Many people were afraid that Jay and Silent Bob would be unable to handle a movie on their own. Well not only did they succeed they went through the roof!!! Kevin Smith kept the jokes piled, one on top of the other and each one different and original. Though I loathe bodily function jokes, Smith managed to make them appropriate and not over use them, unlike the comically declined Wayans Brothers, who seem to think making the characters fart is like printing money. Smith on ther other hand keeps you on your toes awaiting what's gonna happen next.

"Is Jay Gonna Do What I think He's Gonna Do?" "If Silent Bob Speaks What will he say?"

Questions like that were popping in my brain because of the aggressive spontaneity of the comedy. But another thing I loved was all our old friends from the View Askewniverse (Clerks, Mallrats, Chasing Amy and one omnipotent female from Dogma.) Dante, Randal, Brodie, Holden, Banky, and even Willam the idiot Man-child. All performed once again be the same View Askew alumni and all played to perfection. And to go with them there's also stellar performances by many new faces, like Shannen Elizabeth as Jay's love-intrest Justice and also Eliza Dushku, Ali Larter, and Jen Schwalbach (Mrs. Kevin Smith) as the evil villainesses. And including great cameos by George Carlin, Marc Blucas, Seann William Scott, Jason Biggs, James Van Der Beek And God knows how many more. (She does know)

I think Every self respecting View askew fan Is required by cinematic Law to get up off their butts and see this flick. And all those poor schmucks who think The Wayans Brothers actually care about originality, NEED to watch this movie or I'll Beat the ever lovin' tar outta them.

Now I can say there were 5 good movies this summer instead of 4.

And Oh Yeah, To Jay and Silent Bob: Snooch to the Nooch and Good Bye My friends

Buy Jay and Silent Bob Strike Back (2001) Now

a lot of cursing if your sensetive to that but the rest is so fuuny (especially the scooby doo part!) best line

Jay (rapping)30 bucks little man, put that sh** in my hand!

Read Best Reviews of Jay and Silent Bob Strike Back (2001) Here

Who'd have anticipated it? I grew up never needing to be told "just say no to drugs". I always focused on serious subjects when contemplating what movies I'd make given a chance. And now I find myself in a world where the most innocent cinematic diversion are often silly farces about potheads. The riotous hoot "Jay and Silent Bob Strike Back" is a prime example. I wasn't sure about it all the way through. Ali Larter was recently one of my favorite actresses. At least she doesn't take such a disastrous fall herein as Kirsten Dunst did in "The Virgin Suicides". Refreshingly, Ali's character Chrissie admits to being a "bad girl cliche". She gave me pause by repreating a frequent movie assertion (hopefully strictly an urban legend) about what girls don't do. But she gives a new twist, belying the claim at a point where she nearly dooms herself and co-consrirators thereby. Hence one could make a rhyme about her role: "Ali Larter plays the ......" All in all, Jay and Silent Bob Strike Back" is one of the most surprising bits of comic relief I've seen lately.

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First and most importantly, you have to be very well prepared to watch "Jay and Silent Bob Strike Back" if you want to have any hope of enjoying it to its full potential (assume, for the sake of argument, that this is both possible and desirable). Not only do you need to watch all of writer-director Kevin Smith's earlier films (to wit, "Clerks," "Mallrats," "Chasing Amy" and "Dogma"), but you also need to have seen "American Pie," watched enough "Dawson's Creek" to know why Dawson should drown Pacey in the creek, and at least recognize every film Ben Affleck and Matt Damon have made in the past decade (know the title and a one line synopsis of what the film is about).

You need to do this for two reasons. First, it is the only way you can get all of the in-jokes in this film, which is heavily self-referential vis-a-vis the Smith oeuvre. In fact, you are better off using one hand to tick off the names of all the people from Smith's earlier films who are NOT in this movie (Stan "the Man" Lee immediately springs to mind). Second, you will need all this knowledge to be able to explain to the person next to you why Ben Affleck sometimes is playing himself, sometimes is playing somebody else (Holden McNeill from "Chasing Amy"), and sometimes is playing himself playing somebody else (Chuckie from "Good Will Hunting II: Hunting Season").

"Jay and Silent Bob Strike Back" is another one of those films where two guys go off to Hollywood to stop tinsel town from ruining their good reputations with a film. Jay (Jason Mewes) and Silent Bob (Kevin Smith) have always played small but pivotal roles in Smith's films (e.g., the "Chasing Amy" speech in "Chasing Amy"), but this time they not only get to be ABOVE the title of the film, they get to be IN the title of the film. Now, I will readily admit that I have always been one of those who could take Jay and Silent Bob in small doses, which probably explains why my favorite bits in this film usually involve other characters. However, I will admit enjoying Jay's attempt to find a nonderogatory term for women.

I have the feeling that this film is the swan song for Jay and Silent Bob. I mean, now that they have achieved titular glory, how can they go back to being the two man Greek chorus of Smith's prolonged "New Jersey Trilogy." Besides, with the appearance of virtually everyone who every appeared in a View Askew production (always good to see Joey Lauren Adams whether she is playing Alyssa Jones or not), you get the feeling the entire film is setting up a "Revenge of the Jedi" curtain call. Maybe Kevin Smith is turning a giant corner and about to start a new chapter in his life. Hey, it could happen. But I really get the feeling we have seen the last of Banky, Brody and the rest of the boys. Besides, Silent Bob speaks TWICE in this one, surely one of the signs that the end of days is nigh.

Like most View Askew productions, "Jay and Silent Bob Strike Back" is rated R for nonstop crude and sexual humor, pervasive strong language, and drug content (Actually, I did not know that the MPAA could use a word like "nonstop" in its description of a film, but certainly the term applies to everything on their little list here). So just remember to go back over Smith's earlier films before you screen this one and save yourself a lot of headaches and avoid watching it with anyone who is going to demand you justify your enjoyment every other expletive out of Jay's mouth.

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How to Marry a Millionaire (1953)

This movie is half a century old and followed The Robe as the second Cinemascope feature. It's visually beautiful in the DVD widescreen version, evoking the thrill of first seeing Cinemascope in 1953 (which I'm old enough to remember). Though the story and humor are extremely dated and so many of its stars are now dead, the photography and sound are both so breathtakingly clear and beautiful, it makes one realize how advanced the technical side of filmmaking was that long ago. It's amazing how cinematographers of that day were able to adapt so quickly to the much wider screen and take full advantage of its sweep even during scenes filmed in close quarters, such as those on the airliner (which was a propeller plane, by the way). It's true that Lauren Bacall, though lovely in the film, looks much older than the "25" she's supposed to be. (I saw Ms. Bacall in person pitching her bio at a bookstore 45 years later and she looked un-surgically young and beautiful, so go figure.) While the movie is not great in terms of content or performances, it's worthwhile because it's a beautifully restored piece of movie history that recaptures a more innocent (?) age and preserves an important part of the Monroe legend.

HOW TO MARRY A MILLIONAIRE was the first non-musical comedy to be released in the CinemaScope ratio. The film was released in 1953, which proved to be Monroe's breakthrough, watershed year, with the success of MILLIONAIRE, GENTLEMEN PREFER BLONDES and NIAGARA cementing her place as one of the top box-office attractions of 1953.

MILLIONAIRE is one of Monroe's most delightful offerings. She plays the visually-challenged Pola, who, along with Chotzi (Lauren Bacall KEY LARGO, THE BIG SLEEP) and 'Loco' (Betty Grable MOTHER WORE TIGHTS) rents a Manhattan penthouse in the hopes of snagging rich husbands.

Of course, Fate often hands you things totally unexpected, and soon the girls realise that money can't be a substitute for happiness. There are plenty of pin-sharp observations about the opposite sex, a good 50-odd years before "Sex and the City" decided to make a whole TV show about women in the Big Apple.

Marilyn, Lauren and Betty make a colorful trio, and the CinemaSope picture is indeed a treat to the eyes.

The DVD includes restoration comparisons and trailers. Available separately or as part of the Marilyn Monroe Diamond Collection.

Buy How to Marry a Millionaire (1953) Now

Lauren Bacall, Betty Grable and Marilyn Monroe star in a Broadway play adaptation, as three New York models who together rent a Sutton Place apartment in order to attract rich husbands. Their plan appears to go awry when after a few months they are forced to sell the furniture in the lavishly appointed pad for living expenses.

The girls fortunes appear to turn when Bacall meets elderly Texas cattle baron J.D. Hanley played by the debonair William Powell. Grable gets lured to Maine by wealthy but married Fred Clark but winds up falling for and marrying penniless forest ranger Rory Calhoun. The visually challenged but super sexy Monroe winds up on the wrong plane when going to meet her prospective beau in Atlantic City. She winds up enamored with and marrying tax cheat and previous owner of their apartment David Wayne, who is equally blind.

Throughout the film Bacall is pursued by a Tom Brookman played by Cameron Mitchell. She dismisses him as being a poor gas station attendant. Bacall and Powell are all set to be married but at the last moment she can't go through with it. Mitchell, who Bacall really cares for, stands in for Powell and marries her. They are all shocked when they learn that Mitchell is actually worth 200 million.

The gals have their plans dashed but wind up marrying for the right reason...........LOVE.

Read Best Reviews of How to Marry a Millionaire (1953) Here

First of all, this movie is still hysterical. It is a work of art. Although Marilyn got top billing, she's clearly out-performed by both Lauren Bacall and Betty Grable.

Let me, for a brief moment talk about the "Diamond Collection" version of How To Marry A Millionaire. When you think of remastering, especially older films made on Cineascope or Technicolor, you think of rich, vibrant-colored stories in particular the Rogers and Hammerstein collection. Excellent. You, especially, think of the remastered Disney Collection. Excellent. Both of which, were competing genres at the time Marilyn was making a name for herself. You might even throw the remastered "The Wizard of Oz" (1937) in the fray. And yet, this "Diamond Collection" is barely passable as a DVD version. This isn't a distinct restoration. The images, even in the special feature section "Restoration Comparison" shows how little the previous version and the film version hasn't had much improvement with this collection. Don't get me wrong, the sound reproduction is superb, but this is comedy and a lot depends on visuals.

Recently, I started to repurchase the Disney collection-their "Platinum 2-disc" set. Cinderella, Peter Pan. And, there is a profound difference between the last version and this deluxe version. The Sound of Music, the same thing.

This isn't to say, it's not worth watching, but there's little to no improvement in picture quality. And, that's too bad, the technology is already here and their apology for "grainy film loss" is no excuse for not investing in a better color transfer system.

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Other reviewers do a fine job summarizing the plot and the reasons for viewing this film, so here's an overlooked morsel to savor: the opening orchestral number is the ultimate inside joke.

The number Alfred Newman conducts had been used as the title theme for the Oscar-winning movie "Gentlemen's Agreement" a half-decade earlier. While the plots of the two films are light years apart, the title of the earlier one (which had to do with anti-Semitism) addresses one of the final plot twists in "How To Marry..." In essence, the orchestra's opening performance represents a droll set-up to this delightful movie's windup, but so subtly that only Hollywood insiders would be aware of what was being done.

Funniest bit in the movie: a very lecherous Fred Clark foiled by a bridge tolltaker.

Innocent playfulness with a great Fifties cast and well worth a view.

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