Swing Girls (2008)

This movie, about a group of high school girls who get forced into creating a jazz band, is excellent. They end up loving music which, as it happens, fits their preparation of for the movie. The director didn't want to dub in professionals playing (though the girls did dub themselves in the studio). He chose girls (and one boy) who had never played these instruments. Many never played any instrument. They started learning 3 months before filming began and continued during the filming itself. Their final concert performance was filmed about 6 months after they started learning to play. Really quite amazing. The director felt that this experience would carry over into the movie's realism and I think it did.

I don't have the blu-ray version myself, but surely it must have better quality than my version.

Highly recommended. An excellent "feel-good" movie without faking the playing.

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That Touch of Mink (1962)

Nice romp with Rock Hudson and Doris Day. These two had "That Touch" when it comes to romantic comedies. A nice, easy to watch movie. Just sit back and enjoy the fun.

I love this movie and I am so so very happy that they are re-releasing it to DVD! I cannot wait until July 30th!

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Heavy Traffic (1973)

I remember very well the effect this film had on me right after leaving the theater; everywhere I looked on the drive home, people looked like cartoons. In Heavy Traffic, animation artist Ralph Bakshi presents us with a look at life in the early 70s (late 60s?), city style .... and this city is gritty, not entirely pretty ....

Michael Corleone (not the only reference to other popular films of the times) scribbles away at his drawing board while his Catholic father and Jewish mother wage Armageddon outside his door. He finds comfort and release seeing the world as an absurd, psychotic cartoon. Pretty much a loner, his main connection to the outside world is a black bargirl named Carol who works right downstairs from him and slips him drinks for his entertaining sketches. An unfortunate incident with a drag queen associate costs Carol her job, and she and Michael end up out on the streets together, since he can't seem to make ANY sort of job situation come together. They form a sort of hustling alliance, with him as her pimp, and they nosedive into dark urban realms of the quick buck and the inevitable personal compromises involved.

All this is interposed with images of live city backdrops and numerous references to a pinball game. Ralph Bakshi's animated vision is a moving work of underground pop art which, despite limitations, was a groundbreaking achievement that pushed the frontiers of American animation thousands of miles. I can see the influence of this film (and Bakshi's work in general) on the likes of Matt Groening, Don Bluth, and yes, even parts of Who Framed Roger Rabbit.

Heavy Traffic is dark, rude and dangerous. At times it has an almost experimental feel, moving at a stream of consciousness pace more than any conventional narrative. Its portayal of characters is raw and extreme, has an exaggerated sort of believability to it. It also has the feel of a semi-autobiography, with its portayal of a creative misfit struggling against the odds for survival, if not personal validation.

This very personal work goes places other animations of the time wouldn't even consider, was rated X at the time of its original release, and was re-released very shortly afterward in a lightly watered-down R-version. The recent DVD release appears to be a restoration of the original artwork, is a nice clean print, despite the full-frame format and mono soundtrack. It would be nice to see this touched up with a slightly refurbished soundtrack (it IS animation, after all); at the same time the compressed sound lends to the quaint sort of 70s feel to it, creating an air of nostalgia rivaling that of The Iron Giant. And these guys weren't even trying!

My appreciation for this special film has not diminished over the years; indeed, I understand it a bit more as an adult. It captures the dark, skewed out, surrealistic beauty of the urban underbelly, delivers some nasty bellylaughs, shows us the world as an oversized cartoon arcade game, and reminds us that all we can do sometimes is just keep playing that game. Even if we do end up getting our head blown off by a paraplegic midget on a skateboard. This stuff happens .......

Heavy Traffic will likely never receive the attention or respect it deserves as a piece of honest to goodness Americana. Like most of Ralph Bakshi's most personal work, it is rough hewn, obscene (though never pornogaphic) outrageous and damn honest. Along with Coonskin and Fritz the Cat, Heavy Traffic is about life in the 60's (in fact, taken together these three films form a kind of animated triptych). All three films are about revolution of one kind or another, personal or social, contain plenty of poetry, both visual and narrative and are more about life as we know it then the fantasy of life as we might wish it to be, which seems to be the standard for most animation today. Let's hope that eventually Ralph will get his due as a pioneer of animation.

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"Heavy Traffic" is a masterpiece of animation, despite the flaws it has. It dares to tackle with more complex human emotions and issues, far more than had ever been done since the Golden Age of Animation. The story deals with the trials and tribulations of young Michael Corleone (yes, that's his name), a 22 year-old Half-jewish, Half-Italian aspiring cartoonist. He lives with his parents, Angelo and Ida Corleone, whose relationship make Al and Peg Bundy look like Ozzie and Harriet. The film also talks about life in 1973 New York (tough place to be).

First off, there is a lot of great animation in here, although it lacks precision and professionalism , although I chalk that up to lack of funds for pencil testing and Bakshi's relative inexperience with feature animation. However, the animators do manage to get the personality of the characters across quite well. The characters in this film feel real, although they have caricatured appearances, but in some ways, the cartoony drawing style of the movie enhances the emotional realism of the characters. They're both lovable and deplorable at the same time, which makes them feel like real people. You'll never see Mickey Mouse or even Bugs Bunny do any of the stuff they do in this movie. One of the most interesting aspects of this movie is that it prides itself on being a animated movie. A lot of animated films have followed the Disney pattern of trying to disguise the animated factor by following a live-action pattern (trying to emulate live-action). This film tries to do what can only be done in animation. As such, there is a lot of surreal moments loaded with symbolism, although you will have to watch it a few times to get them. A key strength to any Bakshi film, but particularly his early ones, is collage of different styles. The characters are sometimes traced over live backgrounds (actual photographs), or the animation takes a whole new turn and transforms into something like the brilliant Maybellene sequence (set to the classic Chuck Berry song). Bakshi in those days was all about forging ahead and trying to create something new.

However, despite its brilliance, this film has a few rough patches. There are many good parts to this movie, but it's only after multiple viewings that the film connects as a whole. This shows a lack of clarity in storytelling, which isn't surprising since Bakshi tended to improvise as he went along. Although it adds a sense of adventure for production, it doesn't help create a coherent film. Also, did we really need to see Ida's breasts or have the gag about Angelo crapping his pants. I could have done with out those.

Aside from these minor complaints, "Heavy Traffic" is a great movie that is lightyears beyond Bakshi's previous film, "Fritz the Cat". This DVD does no justice to the films. We need a DVD commentary from the man himself, along with the animators who worked on this. Thank you for reading.

Read Best Reviews of Heavy Traffic (1973) Here

It is about time that studios started looking into their back catalogues and releasing some old gems especially animated ones. This is a surreal reality cartoon from the genius Ralph Bakshi, a blighted but brightly lit urban landscape filled with far out characters. NOT FOR KIDS Now if we could get them to release all of Bakshi's work

Wizards Fritz the Cat Fritz the Cat 2 Streetfight Lord of the Rings I would especially love to see the short lived but spectacular Mighty Mouse series he did put on dvd! Even todays animated laugh fests on tv don't compare to this mans work.

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What is to be highlighted: The highest quality of this truly classic surrealistic piece. I take it as a qualifying American answer to such European surrealistic classics as Luis Bunuel's "The Discreet Charm of the Bourgeoisie." Each absurd of our life, pictured there, is blown-up to a quite visible and sensible proportion. It is my opinion, that "Heavy Traffic" even surpasses "Fritz the Cat," regarding such qualities as range and depth of depicted ugliness of the "dark side" of human nature.

Also important is than not everybody appreciates surrealism. Therefore, this item is not for everyone, and especially is unsuitable for not mature audience (because of quite credible quality of certain graphic scenes).

I find as no surprise that some of the most notorious faces from "Heavy Traffic" can be spotted in recent times in many places, take "The Simpsons" as example.

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High Time (1960) starring Bing Crosby, Fabian, Tuesday Weld (2012) (1960)

Blake Edwards' 1960 Fox comedy HIGH TIME finds Bing Crosby's hamburger-restaurant chain entrepreneur deciding to head back to campus and get his college degree. As the elder statesman on campus, Bing quickly becomes popular with his roommates (including Richard Beymer and Fabian), romances a French teacher (Nicole Maurey) and finds the time to dress up in drag and croon a future standard in the process.

Though written by Edwards' frequent collaborators Tom and Frank Waldman, "High Time" doesn't have a whole lot of slapstick antics (there's just that one bit where Bing crossdresses as part of a fraternity initiation something that's never as amusing as it sounds). The movie is sweet and goes down nice and easy as a product of its era, but it also feels flimsy like a book for a musical without any songs. Yes, Bing does briefly croon "The Second Time Around," a lovely Sammy Cahn-James Van Heusen tune written for the film, but the movie really could've used some more musical interludes seeing as most of the film is comprised of basic, albeit peppy, montages. There's not much in the way of drama or character development here just a series of self-contained scenes set over the course of Bing's four years at an ACC institution dubbed "Pinehurst College" (standing in for Wake Forest, where the film was reportedly supposed to be shot until the production decided to stay closer to home in California).

The supporting cast has its charms: Gavin MacLeod has some fun early on as a manic science teacher, a pre-"Batgirl" Yvonne Craig plays an intrepid school journalist, and Tuesday Weld brings her warm smile as the gang's resident gal pal, but there's no real pay off to their (or any other) roles, with the movie settling for a cartoony treatment of the subject matter without much development or even laughs (in fact, Rodney Dangerfield would have much more success in the latter department in his similarly-themed 1986 hit "Back to School").

Now, although it probably sounds as if I'm being a bit harsh on "High Time," I still enjoyed the film. Edwards' direction utilizes some visual flourishes that would come to characterize his later comedies, and Henry Mancini's wonderful score is so infectious that I was humming the main theme for some time afterwards. All it needed was a few good musical numbers to put it over the top.

The 1080p AVC encoded, Fox-sourced HD transfer is perfectly acceptable on balance the elements are certainly in better condition than "Demetrius and the Gladiators," another Fox Cinemascope TT release, yet the image has some obvious digital filtering applied and doesn't appear nearly as vibrant as TT's recent Blu-Ray of "Bye Bye Birdie" (the colors also don't leap off the screen as they do in TT's counterpart release this month). The DTS MA stereo sound is just fine, with a stereo isolated score track of Mancini's score also available on a separate channel. The original trailer and Julie Kirgo's notes put the finishing touches on another Twilight Time 3000-copy limited edition Blu-Ray.

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The Adventures of Priscilla, Queen of the Desert (1994)

1994 was a big year for Aussie films. PRISCILLA and MURIEL'S WEDDING came out at the same time, and both earned a cult following because of their over-the-top themes. Also, an ABBA revival was happening at that time, and these films featured ABBA music.

PRISCILLA has many funny moments, but what makes it so special is the fantastic scenery and colours truly showcasing Australia's beautiful outback. Overall, the film is a pleasure to watch again and again. It tells the tale of three drag queens who set out across the Australian outback in an old bus affectionally titled "Priscilla". Along the way, they become involved in many outrageous situations.

DVD SUMMARY Originally released as an awful blotchy pan/scan DVD in Australia, the film recently received the treatment it deserved for its 10 year anniversary! Yes, it was recently in it's correct aspect ratio (2:35) and given an anamorphic transfer. While this new transfer is still not 100% pristine (white flecks here and there), it is still a huge improvement on the original DVD release. It's fantastic to see this film in all its widescreen glory after all these years. The colours and scenery will blow you away. The soundtrack has also been remixed in DTS and 5.1 surround sound. This 10 Year Anniversary also contains lots of special features, which is amazing for a film of its age.

The bad news is that the new DVD (in pink packaging) is only available in Australia. I recommend overseas buyers getting hold of this version over the current American DVD. The American DVD is only letterbox transfer (ie. not anamorphic) and doesn't include the special features.

A film like this sinks or swims with the casting of the leads, and luckily, all three main actors are absolutely superb. I have to confess that I hadn't really liked Hugo Weaving before seeing this film. I disliked his role as "Agent Smith" in THE MATRIX, and barely noticed his "Elrond" in THE LORD OF THE RINGS. But I liked him enormously in this one. Of the three leads, he was probably the best and most enthusiastic drag performer. I had previously seen Guy Pearce in L.A. CONFIDENTIAL, RAVENOUS, and MEMENTO, but I have to say that this is probably his finest performance. I have always been a Terence Stamp fan, and I have to say that, unlike the other two actors, he makes a dreadful looking transsexual. Nonetheless, the quiet self-possession and dignity with which his character conducts herself helps Stamp dominate most of the scenes in which he appears. Interestingly, although he plays a post op transsexual, he continues in his performance to speak in a relatively deep, masculine tone. One of the most enjoyable things about the film is seeing the way that the three performers gradually change in the way they interrelate with the others.

The most brilliant thing about this film is that at no point does it succumb to the slightest tinge of self-parody or irony. The director as well as the three leads all take their characters with the utmost seriousness, so that the film ends up not being a film about drag queens, but about three individual who just happen to be drag queens, a subtle but crucial distinction.

Most of all the film is fun. There are many, many over-the-top moments, and not every one succeeds, but most do. The script is superb, the scenery striking, and the music fun, even if most of the songs are, in one sense, outright wretched.

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Terence Stamp, as a Transexual...need I say more? OK...I will: "Priscilla, Queen of the Desert" is a wonderful, frollicking (or is it "frocking?") Adventure. Terence Stamp (of "The Hunger") is fabulous as an aging transexual, with bitter views and a sarcastic, biting sense of humor. His fellow(ette) travelers are performers, en route to the show of their lifetime, across the desert land of Australia....bickering and cat-fighting the entire way. Some of the banter is obviously a politically incorrect portrayal of gay men--the lines are often inspired by the worst-case scenario of gay men bickering--yet, I've met a few of those guys, in real life...so, the PC people will need to suspend their sense of appropriateness and enjoy the entertainment. This is NOT just a movie for "gay culture," as some people think. Straight couples enjoy the film and there are many hilarious scenes that couples can appreciate, together. There are some very Dramatic episodes that make the film more than a Comedy and aspire to give you an understanding of the sub-culture and humanity of the characters (despite personal prejudices). Besides, let's put the Anthropological Dissertation aside and get down to the core of the matter.... "Priscilla, Queen of the Desert" is a great movie!

Wait'll you see what one Lady likes to do with Ping-Pong Balls ; )

Read Best Reviews of The Adventures of Priscilla, Queen of the Desert (1994) Here

"Priscilla" is now approaching its 10th anniversary. Rather than comment on the movie itself, I'd like to pay tribute to the amazing triumverate of actors at the center of the story. Because as time goes on, it becomes more and more notable that these three appeared together.

Hugo Weaving ("Tick" / Mitzi) Later becomes Agent Smith in "The Matrix" and Elrond in "Lord of the Rings"...i.e., only becomes a central figure in two of the largest franchises in movie-making history.

Guy Pearce (Adam / Felicia) Later becomes Leonard Shelby in "Memento" (and robbed of an Oscar nomination) and Ed Exley in "LA Confidential" (thought he was better there than Russell Crowe). Plus, he's a legend in Australia for his 1986 1990 part in the TV series "Neighbours" (where, most notably) he suited up next to Kylie Minogue).

Terence Stamp (Ralph / Bernadette) Finest actor of his generation? Perhaps. Later becomes Wilson in "The Limey" (don't miss that), Terry Stricter (founder of Scientology-like 'Mindhead' in the under-rated Steve Martin-penned 'Bowfinger'). Also famous to US audiences as General Zod in the Superman series. Career began as 'Billy Budd' back in the 1962 (!) Peter Ustinov classic.

Also here: Bill Hunter, outstanding as usual, as Bernadette's beau "Bob." To me, Hunter was the high point of "Strictly Ballroom" (as Federation President, Barry Fife). Wow, what a great actor.

It's wonderful to see this collection of actors, especially in such risk-taking roles. Especially Stamp, whose career has been hallmarked by intensely masculine roles. He has talked at length in various venues (e.g., 'Fresh Air' with Terry Gross) about his trepidation of playing Bernadette & the freedom he felt once he pulled it off.

So, if you've never seen 'Priscilla' before or don't think it would be your cup of tea, hopefully, I've given you four reasons here to rent or buy it today.

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I think I am probably the only person so far who could write an honest review of this movie. I was born and bred in Sydney, Australia (where "Priscilla" begins), I am a proud, openly gay man (not a drag queen unfortunately....couldn't afford the frocks!) and I have travelled to the country towns that the characters in "Priscilla" visited on their way to the Outback. Firstly, let me say that the movie is absolutely correct! Sydney's Oxford Street (the gay area in Sydney) is choc-full of drag queens and drag acts. Guy Pearce, Hugo Weaving and Terence Stamp should have won awards for their portrayals....they were spot on. In fact, they were better than the acts on Oxford Street. When they were rehearsing for "Priscilla" they all frocked up and blended in with the Oxford Street crowd....and none of us knew! The hostilities these three drag queens face from heterosexuals on their journey to Outback Australia is all true. It actually happens. This is a damn tough country. It's where men are men and the sheep are nervous! I visited Broken Hill (briefly thank God) and was stared at and harrassed for "looking different". I felt very uncomfortable. It's another world out there, a world which I don't really want to visit again. The scenery is very beautiful, but the people (most) are narrow-minded in-breds. The Palace Hotel in Broken Hill really does exist with those horrible murals on the stairwell. And the little Greek man who manages it in the movie actually runs it in real life! I met him. It was like stepping into the movie itself! "Priscilla" was loosely based on a true story. Three Sydney drag queens really did travel by road into the Outback to do a show. Naturally things would be exaggerated for the screen, but when aren't they? I give this movie 6 stars (but there are only 5 to give) for bringing out the message that it's alright to be different....be who you are....and be proud! "To Wong Foo", you tried hard to be a "Priscilla" clone, but you failed miserably. Next time make a film with depth and heart instead of what the Hollywood moguls think gays and drag queens should be like! Footnote: The Imperial Hotel that "Priscilla" opens in really exists as well. It is a gay venue that has now become a tourist attraction because of the success of this film. They even have a cocktail bar there called....wait for it...."The Priscilla Bar". Planet Hollywood, Sydney has the stiletto shoe that Guy Pearce sits in on the top of the bus. Come for a visit Down Under....but don't forget to bring your wigs and frocks!

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No Reservations (2008)

A lot of people seem to be saying, "Don't watch this awful remake! Go watch Mostly Martha, the original!" I say, by all means, watch Mostly Martha, but don't bypass this version.

It's true that if I had watched this without having seen the original version, Mostly Martha, I would probably have liked it even better. This American version is really too close to the original, right down to the appearance of several characters (Leah, the sous-chef, for instance). For this reason, if you try to compare the two, it comes off as a half-hearted reproduction, Mostly Martha's reheated leftovers.

In many ways, it does lack some of the heart and depth of Mostly Martha. The characters are not as deep and intense, so their relationships aren't as meaningful to the audience. Kate is not quite as tightly wound as Martha, not quite as isolated--so her sudden inheritance of a child and the infringement of a stranger in her kitchen are less difficult and less meaningful. Zoe is much happier and lively than Lina ever is, and is not as scarred by her mother's death, so her struggle to accept Kate is again less meaningful. Nick, I felt, was outstanding--he was different from Mario, but equally effective. I actually preferred Nick, in fact, as I found Mario bordered on annoying at times, while Nick was more appealing all the way through (and Aaron Eckhart is certainly better looking!).

So why did I give it four stars? Well, I'm a sucker for a good romance. I feel that if I hadn't seen Mostly Martha, I would have given it four stars as a good romantic comedy. That is what is, and that is, I think, all it tries to be. It is fun to watch, the characters are sympathetic, the acting is excellent, the chemistry between Zeta-Jones and Eckhart is wonderful, and the plot is engaging, if predictable.

I also don't mean to say that No Reservations loses all the heart of Mostly Martha. I think it retains it pretty well, while simply lightening up the plot a little. Overall, I actually prefer this version in many ways. I preferred the story without the presence of Lina's father, who to me interrupted the story considerably in Mostly Martha. And if the characters here are a little less intense, they were easier to relate to, for me at least. I found the romance between the leads more convincing here, and the ending considerably more satisfying than Mostly Martha's. Kate and Nick, by the end, actually seemed a little more human than Martha and Mario ever did, and if the ending is predictable...well, some of us like happy endings!

No Reservations may not fill you up with emotion like Mostly Martha, so don't coming looking for a full-course meal. This a essentially romantic comedy, the soufflés of the movie world: light and fluffy and delicious.

There's a light, good-hearted nature to "No Reservations" that's quite pleasing, if a little predictable. This is just as much a story of life as it is a story of romance, and we all know the formulas such films follow: a person's world is rearranged when someone new enters his or her life, and the laughter, tears, and conflict will be plentiful. I expected nothing less from "No Reservations," which is probably why I was able to enjoy it. This is a charming, funny, touching film that casts away any qualms about being formulaic, which is a good thing for anyone in need of romantic escapism. I don't dare question how realistic the events of the film are; this is not a film that bothers with realism, but rather with the idealism that life is supposed to work in a specific way. At times, it's a welcome diversion.

The plot concerns Kate (Catherine Zeta-Jones), the executive chef of an upscale New York restaurant. We immediately get the sense that hers is a very organized, controlled world; while not explicitly critical or demeaning, she is fiercely protective of what she's worked so hard for, namely her position at the restaurant. Here's a person that's strong on the outside but deeply insecure on the inside, exemplified by her inability to receive criticism (never complain about the food she prepares; you'll definitely regret it). For these reasons, she's ordered into therapy. She pretty much dominates her own sessions with incessant discussions on food preparation--appetizing, yes, but not exactly enlightening. Her therapist (Bob Balaban) is initially unable to ask any questions or give any advice. Clearly, she's afraid to let anyone examine her personal life.

Her world is turned upside down when her sister dies in a car accident, leaving behind a daughter, Zoe (Abigail Breslin). Because there's no father in the picture, Kate is now faced with the responsibility of caring for her. But will she know what to do? A child has never been a part of her life; being a chef is the only life she's ever known. She knows virtually nothing about Zoe, not even her favorite color. Furthermore, Zoe has lost her mother, meaning she'll need the extra emotional support Kate may not be able to give. It will be an adjustment, and a tough one at that; not only is Zoe unwilling to eat, she's also unwilling to let Kate get close.

In this regard, she takes right after her aunt, whose defensiveness runs on high after a new chef is hired. Nick (Aaron Eckhart) is a man with a bright, free-spirited approach to cooking: he listens to opera; he actively engages the other chefs; he's charming and witty. Kate finds him threatening, and initially treats him as such by being cold, critical, and distant. But when she decides to bring Zoe to work with her one night, she notices how well Zoe and Nick get along. He even gets her to eat. Thus begins a strained friendship that the audience knows will progress into something more. Of course, that's exactly what the audience hopes will happen. Quite simply, Nick is fun to be around and Kate is not; their coming together allows her to lighten up and let someone in emotionally.

As the film progresses, the relationship between Kate, Zoe, and Nick develops, not necessarily as it would for a family, but rather as it would for a group of friends. I never once thought that Zoe would ever see Nick and Kate as parental figures, which is just as mature on Zoe's part as it is sad. Likewise, I never once thought that Kate saw herself as a mother, despite her growing love for Zoe. The dynamic between these three characters is complex, especially when a number of other conflicts are introduced. For one thing, Zoe fragile state causes problems at school. It also threatens to ruin everything Kate has tried to accomplish. Both are trying, but it's clear that a lot of emotional baggage remains.

Herein lies the film's major weakness: most of Kate's emotional baggage is undefined. We do get a couple of brief mentions, such as her mother's passion for cooking and her father's absence from her life. But none of this is properly developed, and that made her controlling behavior seem less understandable and more uncalled for. Still, I was taken by the dramatic tension between her and Nick; watching an uptight person letting their guard down is both entertaining and uplifting. And I was definitely moved by her attempts with Zoe, who's just begging to be hugged and soothed and reassured that everything would be all right. There's a moment when she watches home video of her mother; Kate sneaks in, sits down, and holds Zoe tightly. You can practically see the emotion dripping off the screen, which is probably why it's effective.

Equally as effective is the growing love between Kate and Nick--a love that can go in any direction but ultimately treads the expected path. I've seen enough cinematic romances to understand that this is appropriate, maybe even necessary. "No Reservations" is the kind of film we occasionally want to see, if not for plausibility, then for the satisfaction of temporarily disappearing into a fantasy. It plays on our personal desires, namely those of happiness and well being in the midst of a crazy world. At one point, Kate says, "I wish there was a cookbook for life"; I found this clever, despite the overuse of the basic message. If it's possible for me to appreciate this kind of dialogue--or even a film with this kind of dialogue--then I think it's safe to assume that it's possible for you, too.

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This romantic comedy is likable but extremely predictable. Catherine Zeta Jones plays a chef at an upscale NYC restaurant who has devoted her life to being a great chef. So much so that she doesn't have time for anything else. Her sister is killed in a car wreck on the way to visit leaving her with her daughter to raise as her own. Meanwhile the new assistant chef is a carefree guy who brings big changes with him. Can you see it coming? Catherine doesn't like him at first, but then....Yes you guessed it. The story is okay and the acting is good enough, but there is nothing new here. This is a good rental to watch with the girlfriend or wife.

Read Best Reviews of No Reservations (2008) Here

Like many reviewers, I choose to write about films or music that I like. Not this time.

No Reservations MIGHT have gotten two stars from me if I hadn't seen Mostly Martha -Catherine ZJ is easy on the eyes, though less so in htis movie... But this remake is slavishly true to its inspiration, even to the music, while lacking all real emotion or strength. And given that Mostly Martha is a remarkable movie, how could this movie ever have been made? Some sense of self-respect should have moved all involved in this version to petition to have their names removed from the credits.

Mostly Martha is funny at times, and tremendously powerful at others -it's a sympathetic portrayal of grief and compulsiveness, all shown with such restraint that its impact is intensified. Martina Gedeck, as she proved in Lives of Others, is a tremendous actress. And the little girl is really good.

So either see Mostly Martha and skip this, or never see Mostly Martha so this won't be so awful.

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I absolutely loved "Mostly Martha" and therefore was a bit sceptical about a remake to begin with unfortunately this version didn't even come close. It has none of the warmth of the original. And it totally lacked the intriguing dialog and relationship between niece and aunt. Although I liked all actors in other movies here they just failed.

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

This 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!

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

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".

Read Best Reviews of The Princess Bride (Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1987) Here

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.

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Dave (2012)

This movie is one of those gems that quietly grows on you -each viewing creating anticipation and appreciation for its wit and style. The casting is superb. Kevin Kline doesn't know how to give a bad performance. Frank Langella's brilliant characterization of the ambitious, power-hungry 'man behind the throne' is perfect, and a wonderful contrast to his long-ago role as the cad/seducer in Diary of a Mad Housewife.

This is definitely a movie to buy because it needs to be seen many times. The innumerable funny pearls in this movie alone are worth the price of the DVD. For Minnesotans, one of the slyest gags was Dave's gig early in the moview, imitating the President at the grand opening of Durenberger Motors in his home town. The movie was released around the time that David Durenberger (Minnesota's senior senator) was embroiled in an ethics scandal. A personal favorite moment was the scene where Dave (with the help of his accountant buddy played by Charles Grodin) pares the federal budget to save a homeless shelter for children -the cabinet members bemusedly participating just like a family sitting around the kitchen table wrestling with its own budget. Priceless.

How do you solve a potentially explosive scandal, solve all the world's problems, and get rid of the greed and corruption in the White House? Well, you make an affable liberal actor take the President's place of course!

Kevin Kline plays Dave, an affable temp agency owner who on his off-time likes to do small event impersonations of the President. As for his luck, he strikes an uncanny resemblance, a la the Prince and the Pauper, and is found by the Secret Service to be an ideal candidate for a decoy body while the President is off doing... confidential things.

However, when the real President has a stroke, his advisors don't want to set off a national emergency... especially with a liberal vice-president around to think about. Thus they move Dave in a la The Hudsucker Proxy as the new President... but of course, Dave has a warm heart and an inspiration to try his hardest at everything he does, so... he goes at his job with the energy, charisma, and skill that everyone wants from the most powerful man in the world, even warming the angry scowl off of Susan Sarandon's face!

Of course like most cathartic entertainment like this, it's not so much about the actual presenting of ideas on how to solve all the problems (some hints on where to start are made), but more a vehicle for opening up the minds of the audience to the possibility of TRYING to make the world a better place. You can't get answers from it, but dreams, so dream hard. Don't worry, Ving Rhames will grow to like you.

The true entertainment from this comes from Kline. His acting is wonderfully physical and involved, and bleeds a sincerity to the common man, the salt of the Earth, that keeps the audience cheering for him the entire way.

--PolarisDiB

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Though this film was directed by Ivan Reitman, it's the screenwriter's picture all the way. Gary Ross has made his reputation spinning stories of innocents caught up in the world of the not-so-innocent--or vice versa. With Big, starring Tom Hanks, it was a 12-year old magically transformed into a 30 year old man, contending with the world of grownups. In his latest film, Pleasantville, it's two hip, decidedly uninnocent teenagers zoomed into the innocent world of a typical 50s TV show.

In this, his middle film, it's the owner of a copy shop, Dave, called on to impersonate the president--a high strung cad who's just suffered a heart attack. Dave is a heck of a lot more innocent than most guys his age. Divorced, he busies himself with his work and sports, always hoping to meet the right woman.

What's groovy about this film is that it's a hip, comic American remake of the great Akira Kurosawa's Kagemusha. In that film--a powerful drama with no comedy at all--a grievously ill warlord tells his vassals to find a man who resembles him as closely as possible so the warlord can instruct the other man in the ways of ruling a region; if his subjects see him alive and healthy, they'll be reassured and spies from enemy regions will know he's still a force to be reckoned with.

The vassals find a commoner whose resemblance to the warlord is so striking, there's no one else who could do the job. He's told exactly what to do, how to stand, sit, and do all the other stuff a warlord should. The same happens in Dave--he learns what to do from the evil Frank Langella, the White House press secretary. As Dave, Kevin Kline strikes the perfect balance of innocence and determination to right the wrongs so clearly in evidence. And Sigourney Weaver does a more than credible job as the first lady who's charmed by this knowledgeable innocent.

Also here are Ben Kingsley as the just as innocent Vice President (contrast this with his absolutely astounding performance in the recent Sexy Beast as a nasty rotten gangster!) and Ving Rhames, always reliable, as the secret service man who's on Dave's side all the way.

Ross is one smart cookie. Taking Kagemusha and updating it to 90s America, mixing it with big dollops of comedy and a poignant love story, was a great idea. This film really works. Take a look at Ross' other films; they're just as great.

Read Best Reviews of Dave (2012) Here

"Dave" was a pleasant enough movie the first time I saw it, in 1993, with the good guys winning, and with superb acting performances by Kevin Kline, Sigourney Weaver, Frank Langella, Ben Kingsley, and particularly Ving Rhames and Kevin Dunn in supporting roles. In a very small role, Charles Grodin does his best work that I've seen him do, and has one of the outstanding lines: "Who DOES these books?" Langella is quite believable as the astute, scheming politico who has never been bested; Dunn develops his character's moral conscience as we watch him on screen; and Rhames balances perfectly his character's initial distrust of the faux-president with his growing admiration of--and loyalty to--the kind of integrity so many of us wish we could find in "the leader of the free world."

When I decided to see it a second time, I viewed it as a movie or literary critic would, and found that it held together structurally, it developed organically, and it balanced some pretty heavy duty themes with good humor and almost-perfect timing. We have nearly worn out the original VHS tape that we bought, watching it whenever we want a "feel-good" movie, especially after seeing or reading about too much national and international news. Each time I watch it, I see more complexity to the character development and to the plot intricacies (which at first seem to be pretty straight-forward but, upon reflection, are not quite so simple).

"Dave" grows on its audience, appealing initially because it does represent what so many Americans would really like our government to be like; but it invites repeated viewing because of its texture, its acting, and so many of its memorable lines. How often, for example, can you imagine laughing at, "I once caught a fish THIIIIIISSSS big!" In the context of this movie, however, it is funny repeatedly while contributing seriously to character development. And how touching is the simple statement near the end of the movie, "I woulda taken a bullet for you," spoken quietly though in turbulent surroundings.

Even the ending, sappy though it may seem to be, holds open a subtle promise for the future when it is viewed in the light of the early political career of the movie's Vice President. "Dave" has risen steadily to become one of my five or six favorite movies, with "8 1/2," "Inherit the Wind," "Rear Window," "Tootsie," and "Blazing Saddles." I heartily recommend it: for a good time, call "Dave." Really.

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Hollywood has long bashed politicians in its films. Usually, these greasy-palmed lechs are seen as no more than variations of Willy Stark from ALL THE KING'S MEN. But there have been a few notable exceptions: MR. DEEDS GOES TO TOWN, MR. SMITH GOES TO WASHINGTON, THE AMERICAN PRESIDENT, and now director Ivan Reitman presents Kevin Kline as the sainted president-imposter of DAVE. The plot is nonsense, of course. Kline is a businessman who bears a stunning resemblance to the real president who unexpectedly suffers a stroke. Frank Langella, who also bears an equally stunning resemblance in both looks and attitude to former Nixon henchman Bob Haldeman, recruits Kline to stand in for the president. Kline's imposture is so convincing that everyone, including the president's wife (Sigourney Weaver), is fooled. Langella sees Kline only as a buffoon, easily manipulated until he is ready to annoint himself as the new president.

The joy of DAVE is watching an updated version of the fish out of water routine. Kline is genuinely funny as he struggles to master the protocol needed to run the free world. What gives DAVE a touching resonance is the subtle transformation of Kline as the admitted fish out of water to a good-hearted human being who slowly realizes that the power of the presidency can do far more for America than merely enrich the one who sits in the Oval Office. Even the burgeoning romance between Kline as the fake president and Weaver who thinks him the real thing is touching. Director Reitman diluted the focus of interest with a deluge of cameos of famous politicians and Hollywood stars, all of whom do little more than add one moment of cheap laughs in a movie that tries hard for serious laughs about serious issues that range from who we are to who we might be. It is the totality of questions about the need to establish our moral center in our rightful identity that makes DAVE such a refreshing breath of air after the thundering blasphemies of that self-appointed crude politico Willy Stark.

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