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I Love You, Man (2009)

There is an audio commentary by director John Hamburg and actors Paul Rudd and Jason Segel. The three guys joke and banter with each other like old friends while heaping a lot of praise on their cast-mates as this track veers into a shameless love fest at times. They also point out acquaintances and crew members who have small roles in the film. They do tell some amusing filming anecdotes which somewhat salvages this commentary.

"The Making of I Love You, Man" is pretty standard press kit material as key cast and crew members talk about the characters and the film's plot. There are plenty of clips from the film along with behind-the-scenes footage.

"Extras" features 22 minutes of outtakes as we see the actors improvise various takes for a given scene that is pretty funny, especially whenever Paul Rudd is involved as he comes up with some amusing variations on dialogue.

Also included are six extended scenes that feature the cast riffing beyond what we saw in the film.

There are three deleted scenes which feature Peter going on a man date where he plays a game of rugby and gets injured. There is a scene where Peter and his brother talk about man crushes and friend sluts over bowling. And we see The State's David Wain as a wedding photographer getting Peter and his friends to do some silly poses.

Finally, there is a pretty funny gag real as cast and crew goof around on the set between and during takes. They also take pleasure in making each other crack up.

I hadn't heard anything about this movie before my husband dropped it into my lap today and said, "watch this. It's funny." He was entirely correct. I laughed out loud so many times that watching it was totally entertaining. The silly plot didn't even matter. This was more about the performances of some talented comedic actors than it was about the contrived tale of a young groom looking for guy friends to fill out his wedding party. What I especially appreciated was that it wasn't just base-level male humor, there was some base-level female humor in there too.

Fun to watch for couples who aren't easily embarrassed in front of one another. And BTW: How fun was it to see original Not Ready For Prime Time Player, Jane Curtin??? Great ensemble cast.

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This is a very funny movie, yeah its a bit of a guy movie, well maybe a lot guy movie, some of the humor is very crude. The good news, its not mean funny, the laughs are good natured. Jason Segel, seems to be getting better and better in films.

Peter Klaven (Paul Rudd, The 40-Year-Old Virgin (Unrated Widescreen Edition), Knocked Up (Unrated Widescreen Edition), The OH in Ohio, and Forgetting Sarah Marshall (Unrated Widescreen Edition)), is engaged to Zoe (Rashida Jones, The Office Television series). Zoe has a bunch of girl friends, Peter has no male friends. In fact, Peter is very creepy around guys; and is pretty darn clingy with Zoe (she really should have run and hidden when he served the hot chocolate to her girls night out). So Zoe kind of pushes Peter into finding some male friends and manning up. Peter's younger brother (Andy Samberg, SNL) is openly gay and advises Peter on how to get male friends. Eventually Peter runs into Stewart, (Jason Segel, How I Met Your Mother, Knocked Up (Unrated Widescreen Edition), and Forgetting Sarah Marshall (Unrated Widescreen Edition)), and they quickly become friends. The movie moves into a form of love triangle at this point. Along the way, a lot of funny things happen. I really enjoyed Jon Favreau being the butt of many jokes in this film. Jamie Pressley (My name is Earl) was just outstanding in her directness.

Please don't expect this film to be cinema, its just a good solid comedy, that will appeal to a mostly male audience. Jason Segel emits confidence in this film. After doing full frontal nudity in Forgetting Sarah Marshall, he seems to have nothing more to prove. Paul Rudd is good at being annoying early in the film Mr. Clingy, Mr. eveything is too nice. He does a good job transitioning to a more likeable, normal character later in the film.

There were a few good hommages to SNL and How I Met Your Mother (in the man cave, Stewart was frequently seen in front of Marshall amps). Funny, fake movie critic conversations. This is a pop culture / cinema literate film.

At almost 2 hours, the film is just about the right lenght. Technically, surround sound was well used. There were a couple of bad edits where reaction shots were cut off early or changed too quickly. Shots were good and steady, no stupid random handheld camera movement. Overall, nicely done. The director, John Hamburg, has done mostly television; however this effort is very nicely done way better than those credentials.

The movie is definately rated R, and is not for younger viewers. There is no nudity in this film. The R rating is for strong language and explict discussions about sex. No violence, unless you count Lou Ferrigno putting Jason Segel in a sleeper hold. The jokes are crude.

The DVD is packed with some nice bonus features. There is a commentary track with Jason Segel, Paul Rudd, and John Hamburg (I can only imagine that is very funny).

Three deleted scenes that gratefully were left out of the movie (a rugby game, gay bowling, and groomsmen photo session) they were bad.

Extended scenes were actually really great Rush fans, there is an extended version of the concert footage that is excellent; the discussion at ladies night is longer and cruder; the engagement dinner at the Chinese restaurant Stewart talks about his job; Tuxedo shopping goes on a bit longer (not so good); Peter and Stewart hugging in front of the fountain gets another story thread added; and additional conversation at the wedding about gifts.

Extras a bunch of short clips that were in the film, but pushing the joke a lot further a combination of extended scenes and out takes. Best watched long after seeing the movie, they kind of overplay the jokes.

A making of featurette forgettable.

A good funny movie. There are moments when Peter made me feel uncomfortable with his stupid comments, he says things that he regrets or says without thinking. But overall, the jokes work well.

Read Best Reviews of I Love You, Man (2009) Here

I think the previews of this movie made it seem better than it really is.

I expected more laughs out of it, but instead got BASICALLY the same scene at least 10 times.

Here's the gist:

A couple gets engaged, and the groom-to-be has trouble finding a best man because for about his entire life ALL his friends have been women. Desperate to find a group of guy friends to call his own ;P he gets into a few "man-dates" before FINALLY finding a guy that seems to have potential "bromance" material. The groom-to-be and this guy soon become the best of friends, but eventually this "bromance" gets to be a bit too much for his fiance to handle, and a conflict breaks out between the two friends.

While I wish this movie had more to the storyline, my boyfriend and I did get a few good laughs out of it, but this isn't a movie that I'd/we'd watch a second time in a row without at least a six months to a year time interval since the last time I/we saw it.

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When `I Love You, Man' first came out I rushed to the theater with my then best friend to see it. We had the type of relationship that was very rare I think; a bond that was unlike any I had with anyone else and, to be honest, one I never want to have again (the closer you are the harder they hurt you). Anyways, I'm not trying to be a downer, and I know that no one wants to hear this, but the reason I bring it up is this; when I left the theater that day I really, really loved this movie. I was ready to give it a five-star blazing review. Now that my then best friend and I are no longer speaking to one another I began to wonder if my adoration of this film was blinded love based on a personal connection I had with the subject matter.

It wasn't.

So that is why I mention my god-awful story of betrayed friendship, because in the end `I Love You, Man' still holds up, regardless of you current situation. It is genuine, charming, authentic, original and very, very funny.

The film tells of Peter Klaven; the `girlfriend guy'. He never really had steady friendships because he's not like most men. He's sweet and sensitive and emotional and caring and so he has a great track record with women, but when it comes down to selecting his bridal party (a guy that perfect can never stay single for long) he realizes that he has no friends. So, he embarks on a quest to find a best man, and that is when he runs into Sydney Fife; the complete opposite of Peter. He is crude and abrasive and a total womanizer and comfortable bachelor, but he possesses the same genuineness that Peter has. Each man compliments the other, helping them edge out their own personalities and become more complete individuals.

Why is writing this review making me so depressed?

Anyways, the film is littered with very funny scenes and a lot of well placed humor, but the heart of this film takes a tenderer and even more serious tone of true friendship and that act of finding oneself for the first time. The acting is very good all across the board, especially for this type of feature, but no one does as good a job at really reaching the audience as Paul Rudd. Rudd is flawless here, really grabbing hold of the awkwardness of making friends, of being yourself while constantly trying to impress another person. I know exactly what it's like to call up someone you don't really know but want to get to know (on a friendly level) and find yourself stammering through the most painfully awkward voice mail you've ever left.

I'm telling you; he really is OSCAR worthy here, and that is not something you say very often about performances in this genre of film.

Everything in this film feels so genuine because it is all so believable. I remember looking at my then best friend throughout the film smiling and nudging him, saying "this is so us" and it was; yet sadly it wasn't.

Friendship, and by that I mean TRUE FRIENDSHIP is a rarity today, and I'm thankful that someone finally broke the male bonding stereotype by making a film that is a true testament to the need for real friendship. This is a very smart film that mixes the funny with the heart without ever overdoing it and without ever straying from its objective. With a slew of nicely placed supporting performances (and a scene stealer by Andy Samberg), `I Love You, Man' is the complete package that will make you laugh and smile and, if you're me, cry.

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Miss March (Unrated Fully Exposed Edition) (2009)

This is a stupid, crass, moronic, juvenile ile and I loved every minute of it. There are at least 5 scenes that I have never seen before in a film. Add that to the Tucker guy being one of the funniest guys I've seen in a long time, and a rapper named Horsed*ck.Mpeg and you got yourself a party. don't confuse it for THE OFFICE now, it's not clever. Miss March is just plain laugh out loud funny. It's absurd. I highly reccomend it for those of you who like silly, leave your logic at the door comedies. Plus what other movie has the line: "Lesbians...break down that door!" Get it and laugh.

Oh and amazingly enough, Hef was very good in his part. It didn't seem forced or fake. I bet if I'd break into his den, he'd talk to me the same way!

but I couldn't help but laugh at the insane humor on display here. I suppose I'm just an immature teenager at heart sometimes (and I love The Whitest Kids U Know, well, at least the first 2 seasons).

I don't know if I can recommend this film, because it's obviously not for everyone......in fact I don't think it's for anyone really, except for me and my friends. So if any of you are reading this.....oh what the hell, you're gonna buy it anyways.

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Every once in a while a film defies all logic, has no business getting a four star rating and offers nothing new to a genre and yet it succeeds where so many other like films fail. 'Miss March' is so stupid that you can't help but laugh at the over the top gross out gags that propel this stupid film through it's running time like a torpedo propelling through water.

The cast especially Cregger and Moore play two childhood friends, one who is a sex crazed kook and the other a reserved guy waiting for the right time to lose his virginity to his girlfriend of 2 1/2 years. After one of them comes out of a 4 year long coma(don't ask!), the two embark on a cross country road trip and extreme wackiness ensues!

The film is full of raunchy ridiculous high jinks and nudity and shouldn't even be worth looking at, but I must confess that I haven't laugh so hard in a while. It's just stupid fun, but I think this film will only appeal to a certain crowd of people who like a little shock humor in their diet.

Read Best Reviews of Miss March (Unrated Fully Exposed Edition) (2009) Here

For those who watch the whitest kids u know... you know what i'm talking about... some people just don't understand this type of humor... i would seriously watch a few clips online to make sure you wanna buy it first... other than that.. I PERSONALLY LOVED IT... i own all the wkuk dvd's too... so i knew i'd like this movie.

Want Miss March (Unrated Fully Exposed Edition) (2009) Discount?

I can't believe this movie received such low ratings...it is soooo funny! Both my husband and I laughed our butts off. I say give it a try, it is kind of stupid funny, but hilarious none the less. I highly recommend it!

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Back to School (1986)

As the word reaches us that Rodney Dangerfield has died without waking up from his coma, we take this occasion to salute him by viewing one more time his comedy classic, "BACK TO SCHOOL." Adrienne Barbeau is in it, playing a trophy wife of yesteryear, grasping and unfaithful, she's only in it for the money any more. Thornton Melon runs a men's store called, "TALL AND FAT," and I would have liked to see a whole sequel to BACK TO SCHOOL that focussed on the day to day life of running this haberdashery. Anyway he's rich enough to be able to afford to hire Kurt Vonnegut, Jr. to write a term paper for him. Sam Kinison is in the movie too as the history professor--crazy and out of this world! And Sally Kellerman is more subdued than usual playing Diane Turner, the English professor who, in a memorable scene, makes Rodney analyze the meaning of Dylan Thomas' famous poem, "Do Not Go Gentle Into That Good Night."

Robert Downey Jr is in the movie too, he's always good for a laugh or two. And Keith Gordon plays the son, maybe his best part after the young son of Angie Dickinson in DRESSED TO KILL. But most of all the picture belongs to the one and only Rodney Dangerfield. Rodney, we will miss your attitude and your "I get no respect" whining. You always saw things the way the common man did. We salute you for your tremendous achievements. As Dylan Thomas said,

"And you, my father, there on the sad height,

Curse, bless, me now with your fierce tears, I pray.

Do not go gentle into that good night.

Rage, rage against the dying of the light."

This is one of those movies I can watch every six months because of the great humor and story Dangerfield stars in. Dangerfield goes back to college to be closer to his son and the funny one-liners and humor really come together in this funny and intriguing comedy. I also enjoyed Dangerfield's acting in which he has to earn the respect of his son at school and how he cares about father-and-son issues. I think Dangerfield is at his best here and it's unfortunate we haven't seen another film like this from him and I simply have to call this film a comedy classic!

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Coming three years after making a big splash with his first-ever starring role, in the 1983 Horror classic CHRISTINE, Keith Gordon returned in this, the 1986 Comedy classic BACK TO SCHOOL, starring one of the most beloved comedians of all time, Rodney Dangerfield.

The story actually begins in 1940, where young Thornton Meloni (Jason Hervey, who would become famous two years later as Fred Savage's older brother on the TV show "The Wonder Years") is being exhorted by his immigrant father to stay in school and not to take over his tailoring business. The kid ends up not listening to him and becomes a high school dropout, taking over the business and changing it to a "Tall & Fat Store" while taking the "i" off the end of his last name and making a fortune. The fifty-something adult Thornton Melon (Rodney Dangerfield) is having an awful second marriage to Vanessa (Adrienne Barbeau in full vamp mode), but is proud of his college freshman son Jason (Keith Gordon), whom he thinks is in a popular fraternity and on the school's diving team. Soon after arriving for a surprise visit, however, Jason admits the truth that he's not in a frat, is not popular and is, in fact, the 'towel boy' for the diving team. Jason wants to leave school because it's not going the way he thought it would. The tall, beautiful Valerie (Terry Farrell) won't even notice him, and his roommate and only friend Derek (Robert Downey, Jr.) is a complete weirdo with wild hairstyles that appear to change daily. Rich Dad has an idea: he'll enroll as a freshman himself and that will influence Jason to have a better time and to stay in school!

After pulling some strings, including donating a huge sum for a brand-new School of Business (it is, after all, not everyday that a well-respected university will take on a student who never finished high school, even someone as rich as Thornton Melon), fun-loving Thornton proceeds to throw his weight around, changing Jason & Derek's room into a plaza suite (complete with a hot tub), throwing awesome parties and even romancing his English professor (Sally Kellerman), much to the chagrin of her uptight boyfriend, Business professor Phillip Barbay (Paxton Whitehead), who would like nothing better than an excuse to drum the impudent Thornton Melon out of the university! Meanwhile, Thornton uses his considerable influence on Coach Turnbull (M. Emmett Walsh) to let Jason officially join the squad, which upsets the snobby star diver Chas (William Zabka) who suddenly finds himself competing for his girlfriend Terry, who begins to take a liking to Jason.

If this all sounds like too much plot for this 96-minute movie, let me just say that BACK TO SCHOOL makes very efficient use of its time (no slow points here), and equally good use of Mr. Dangerfield's comedic talents, that the plot itself is almost secondary to the one-liners Rodney uses in his usual self-deprecating way. Plus, the cameos are real fun, especially Kurt Vonnegut Jr. as himself, being hired to write a paper for Jason about--what else?--Kurt Vonnegut Jr.! The music is very upbeat 80's here (as you would expect for a movie of this type); however, it does mark the film scoring debut for Danny Elfman of Oingo Bongo who appears in the film (as themselves) performing their great classic "Dead Man's Party" (which, incidentally, had been on the soundtrack to WEIRD SCIENCE a year earlier).

Even if certain occurrences are patently unbelievable, such as the oral exam scene late in the film, BACK TO SCHOOL is so much fun to watch that it doesn't matter what happens, just as long as Rodney's and Gordon's characters win in the end and make us laugh while doing it. It is of definite interest to us Star Trek fans that Terry Farrell would eventually go on to play Lt. Dax on TV in "Deep Space Nine." Also, watch quickly for a cameo by Robert Picardo (who would join the aforementioned Jason Hervey two years later in "The Wonder Years" playing the dreaded Coach Cutlip, then later on joining Ms. Farrell in the Star Trek series in his wonderful role of the holographic Doctor) as the guy Thornton catches Vanessa fooling around with at a big party. Oh, and Sam Kinison is hilarious in a small role, playing himself as a shell-shocked History professor who never quite came out of Vietnam.

Everybody is great in this mid-80's comedy classic. Lastly, you have to love a Rodney Dangerfield movie that features a university dean by the name of Dean Martin (the always-wonderful Ned Beatty). BACK TO SCHOOL really takes us back to school on what a great film comedy should be. Add this one to your DVD library! Even with the lack of a lot of extras, it's still very much worth it.

HIGHLY RECOMMENDED

Read Best Reviews of Back to School (1986) Here

Before getting to the film itself, I need to say something about the Blu-ray transfer. Though you can find the BD for substantially less than the price shown, you should be aware of the problems.

The first is that the transfer is from a theatrical print. There's the occasional white speck -and a rather big white chunk missing (briefly) during the oral-exam sequence. There are also occasional density fluctuations, not surprising in a DeLuxe print (which uses the same IB process as Technicolor). Second, in scenes with very dark backgrounds, the dark areas break up into squares -not unlike poking your nose near a window screen. IMPORTANT It turns out that this is a side-effect of having Sharpness turned up all the way, and is not a flaw in the transfer. See my review of "Highlander" for a detailed discussion.)

On the other hand, the image is sharp and detailed, with no grain reduction. However, in the scene near the end where Jason is kissing Valerie, the grain on his over-lit forehead "pops" in a way that looks like an encoding artifact. In short, the transfer would have been better had the composite negative been used. But it's "good enough" that I can reasonably recommend it without feeling you're going to be badly disappointed.

The film itself is one of those "guilty pleasures" one needn't feel guilty about. It's one of those rare comedies that's actually funny -and from beginning to end. Dangerfield is funny simply standing there -his face was its own caricature. The casting is well-nigh perfect, with actors you'd never expect in such a low-budget film. Sally Kellerman and Ned Beatty are standouts, with the latter demonstrating that he can pull off just about any role. (Read the cast list and be prepared to be surprised.)

The writers aren't afraid to steal. The Melon/Turner/Barbay triangle parallels the MacMurray/Olsen/Reid triangle in "The Absent-Minded Professor", and even the opening visual gag of that film is taken. They also swipe the Marshall McLuhan gag from "Annie Hall".

A "great" film? No. Just a very entertaining one that, for this viewer, has not worn out its welcome.

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Don't you just miss 80's movies like Back To School? A film starring one of the funniest men on the planet (Mr. Rodney Dangerfield) with an ensemble cast of famous names unto themselves, has got to have SMASH MOVIE written all over it, and it does! A simple premise: Thornton Melon (Dangerfield) has become a wealthy millionaire even though he dropped out of high school, and now his son, Jason (Keith Gordon) wants to drop out of college, so in order to keep him from leaving, Thornton decides to go to college too! There are so many hysterical moments I just can't print them all. But some favorites are the big scene with Sam Kinison as the crazed history teacher, Professor Terguson ("Good teacher. He really seems to care. About what I have no idea".), Thornton doing the Triple Lindey swimming dive (with Derek[Robert Downey Jr.]distracting the rival diving team with loud noise and reflecting light to the face), Thornton's rendition of "Twist And Shout" at a local bar, and of course, the party in Thornton's dorm room, with Danny Elfman's band, Oingo Boingo and a killer hot tub, complete with BUBBLES! ("Now that's what I call marine biology".) But a truly winning comedy can't be completely great without heart, which is what this film has. Keith Gordon (John Carpenter's Christine), who is sorely missed in the acting world since he changed his profession to directing, is great as Thornton's son, Jason, who loves his father a lot but feels like Dad's always trying to do too much to make him happy when all he wants to do is live his own life. Terry Farrell (TVs Star Trek: DS9 & Becker) makes a good love interest for him too. I always knew she'd make a name for herself one day. Of course you can't make this sort of film without the bad guys and both father and son have each of their own: William Zabka (who we all should remember as bad boy Johnnie from The Karate Kid) as Chas, the snotty swim diver, and Paxton Whitehead as Philip Barbay, Thornton's economics professor are both out to give our duo a not so sweet time at college. But with Sally Kellerman as the funloving literature teacher, Diane, helping Thornton with reading (and biology) just made things a whole lot more fun. This film has such a great mix of comic chemistry and one-liners that you may miss after the first viewing from laughing so hard. But it's also a movie that just makes you feel good when it's all over.

The DVD isn't much on special features, only a trailer, which has a scene not in the film of Thornton and his bodyguard, Lou (Burt Young of the "Rocky" movies as Paulie) looking at a college sex book ("Well, they left out the most important thing...where to get it"). But at least they give you a letterboxed version (1.85:1) as well as a full framed version. But for the asking price, this disc is worth it. Maybe someday they'll get the gang together and make a documentary and audio commentary. Until then get this DVD. I haven't seen the picture look this good in years. The VHS pales in comparison.

So, if you're tired of all the bland humor that seems to be coming out of the Hollywood machine these days, go Back To School with Rodney Dangerfield, who will show you just how funny Comedies should be. "Ooh, I'd love to tame your shrew!"

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Wayne's World (1992)

Wayne's World is directed by Penelope Spheeris (The Decline of Western Civilization.) The film stars Mike Myers (Austin Powers), Dana Carvey (This Is Spinal Tap), Tia Carrere (Jury Duty), Rob Lowe (St. Elmo's Fire), Brian Doyle-Murray (National Lampoon's Christmas Vacation), Ed O'Neill (Married With Children), and Donna Dixon. The film is based on the classic series of Saturday Night Live sketches of the same name, also starring Myers.

Wayne Campbell (Myers) and Garth Elgar (Carvey) are hold-over would-be rockers from the eighties. Wayne still lives in his parents' basement, and hosts his public access television show, Wayne's World, from there a strange show that isn't afraid to poke fun at its guests. A television executive (Lowe) intends to acquire the rights to the show, so that he can exploi t it and make big bucks from the production. Along the way, Garth will pursue his dream woman (Dixon), Wayne will meet a rock star girlfriend (Carrere), and the twosome will hear plenty of bizarre theories and experiences from a psychotic donut shop owner (O'Neill.)

Wayne's World is a classic because it succeeds on so many levels. In addition to giving us interesting, funny characters, the movie throws comical scenes at us at lightning speed and they succeed more often than they fall flat. Additionally, the film manages to make fun of just about every angle of the movie industry without ever losing its heart. Despite some harsh language here and there, it manages to succeed as a film without being explicit. Yes, it's a little bit dated almost two decades later. But when so many catchphrases from one movie become part of everyday American culture, you know the film has succeeded and cemented its own place as a classic piece of cinema (even if it goes against everything I usually call classics.)

There aren't enough good things to say about this movie. There is no shortage of stuff that will make you laugh here. In just over an hour-and-a-half, the movie pokes fun at the entertainment industry, product placement, alternate endings, public access television, and other films and genres yet at the same time manages to tell an effective, comical story that, unlike so many other comedies, actually has a heart. Wayne's World may not have the impact it did during its initial release two decades ago, but there is no denying that this is a great little piece of cinema. You'll laugh until it hurts and then you'll laugh some more.

Image and Sound:

You'll laugh! You'll cry! You'll Hurl! And this time around, you'll be doing all three in 1080p and TrueHD! The transfer here is a bit underwhelming, but this was never really much of a "visual" movie. This transfer is a slight step up in detail from earlier DVD incarnations of the movie, but it's not a massive improvement over them. Where the disc really shines, though, is its TrueHD audio track, which really gets a chance to shine in loud scenes, and features improved clarity over earlier DVD counterparts. However, if you own the older DVD, there's really not much of a reason to upgrade. This is a good-looking and sounding disc, but it's not that much of an improvement over an upconverted DVD.

Special Features:

There are no new special features here, just stuff ported over from the previous DVD release. First up is a Penelope Spheeris commentary track. No fan of the movie will be disappointed in this commentary it goes into quite a bit of detail on the movie, and she has no shortage of info to share. Still, you'll wish Myers and Carvey had been on board. The other major feature is Extreme Close-Up, your standard obligatory "making of" featurette. Like the commentary, there's a lot of interesting information here, and fans won't want to pass it up. Closing out the features is the original theatrical trailer. All in all, these are nice little bonuses, I only wish they had included some new stuff here instead of just porting over (what few) bonus features were on the DVD.

Final Words:

It's Wayne's World! Wayne's World! It's party time! It's excellent! And it's on Blu-Ray at long last! The film is an undeniable classic, even if it breaks all the rules for what I usually call a classic. If you already own the old DVD, this isn't worth the double dip since the upconverted DVD comes close to the quality of this disc anyhow. But if you don't already own the movie, this disc is a good bet. Get out of your parents' basement, get in the Mirthmobile, and head down to the store and pick up this disc. No fan should be disappointed, though only die-hards (who surely already own the film) need apply for this double dip.

Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey) have a television show on a public access station that they film in thier basement. A producer (Rob Lowe) buys the show and puts it on his network. But little do Wayne and Garth know that he plans to exploit the show and takes Wayne's girlfriend Casandra (Tia Carrere).

This is the best SNL movie ever and is filled with lots of memorable lines and scenes. This was filmed on a small budget but was a major sucess. There are plenty of famous people in small roles like Chris Farley, Laura Flynn Boyle, Alice Cooper and Ed O'neil to name a few.

The DVD is presented in widescreen and in DD 5.1 surround. It also contains a featurete filled with interviews and clips from the movie and the theatrical trailer.

Buy Wayne's World (1992) Now

We all know that Austin Powers was a funny movie, but the way the press prattles on and on about it, you'd never know that there was life before Austin. Let me take you back to 1992 B.A.P (Before Austin Powers): Mike Myers takes a "Saturday Night Live" sketch to the big screen. The sketch was called "Wayne's World", and the movie version was greeted with major box office and critical praise (Excellent!). This movie kicks serious a--! The jokes are funny, even after you've seen it 50 times! The performaces are wonderful! The lines are classic! It's just such a great movie! It'll bring you up when you feel down! So, in conclusion, this movie sucks...NOT!

Read Best Reviews of Wayne's World (1992) Here

1992. "Saturday Night Live" was on fire with its current comedy lineup and one of the show's more popular sketch was "WAYNE'S WORLD" which featured Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey), two rock n' roll fans who host a cable access show in Aurora, Illinois.

The film featured an all-star cast with Rob Lowe, Tia Carrere, Lara Flynn Boyle, Robert Patrick, Alice Cooper, Ione Skye and a several more notable talent and was commercially successful as it made $121.5 million in the US and on various online polls, has been selected in their top 100 comedy films of all time.

Because of the film's tight schedule as both Mike Myers and Dana Carvey had to film during the summer vacation and then head back to New York City for rehearsals for "Saturday Night Live", Producer Lorn Michaels tapped producer and director Penelope Spheeris ("The Little Rascals", "The Decline of Western Civilization Part II: The Metal Years", "Dudes", etc.) who knew how to shoot an entire film in slightly over a month's time but most importantly, her background with working on music videos and the top rock bands.

"Wayne's World" is a hilarious film with many jokes, multiple endings and various film parodies and overall, trying to find out if both Wayne and Garth's relationship as friends can last and how they can take back their show.

VIDEO & AUDIO:

"WAYNE'S WORLD" is featured in 1080p High Definition and overall, it's an OK but not a vibrant looking transfer. At times it seems a bit soft but it definitely looks cleaner and better than the original DVD which I did comparisons with.

After watching "WAYNE'S WORLD 2' and seeing the disappointing picture quality of the sequel, I wasn't sure how the first film would turn out on Blu-ray. Fortunately, the picture quality of the original is much better than the sequel. Where the sequel had plenty or dust particles and the white speckles, there are very few on this transfer.

As for audio, "WAYNE'S WORLD" features a Dolby TrueHD 5.1 lossless soundtrack (as well as French 2.0 Dolby Surround and Spanish Mono).

The film is primarily dialogue but it happens to be a film also strong when it comes to the utilization of music. There is a lot of music being utilized throughout the film. And I can tell you that the audio is quite clear but if I had one disappointment, the soundtrack of the overall film is primarily front channel usage. In fact, I don't think I've even heard my subwoofer being utilized during the whole film. If any bass was coming out, it was coming out through my two fronts.

Even during certain sequences that would utilize low frequency sounds, no subwoofer usage. I did hear my rear surround at work a few times, especially during the airplane sequence but overall, the soundtrack is also OK. Was hoping for better directional usage of audio throughout the whole 5.1.

But overall, picture and audio quality were average at best.

As for subtitles, subtitles are presented in English, English SDH, Spanish and Portuguese.

SPECIAL FEATURES:

"Wayne's World" comes with the same features from the original DVD release. Primarily the one commentary and one featurette.

* Audio Commentary by Director Penelope SpheerisActually, a very cool commentary by Director Spheeris. She comes off as a rock n' roll, free and anything goes kind of director. Laughing and just having fun as she talks about working with the guys, making sure she was strict to the schedule but allowing various scenes that she wanted, what Mike and Dana wanted and then working with the best footage during post-production. A lot of behind-the-scenes information from how Mike Myers was initially against the headbanging scene for "Bohemian Rhapsody" because he felt it wasn't funny to why she was happy that Tia Carrere was cast for the role and how her rock n' roll and SNL experience helped her for this film. I also found it interesting as Spheeris talked about how Lorne Michaels promotes this competitive nature for the comedians on "Saturday Night Live" and thus, this film that did feature a lot of improvisation, was about the characters utilizing their surroundings and what they would do on the scene when the camera was on them.

* "Wayne's World Extreme Close-Up: Exclusive Cast & Crew Interviews" (23:14) This featurette features interviews with Director Penelope Spheeris, Producer Lorne Michaels and the cast of "WAYNE'S WORLD". You also get interesting tidbits of information about the screen testing of the film from the "Cream of Some Young Guy" scene, the headbanging scene and how Mike Myers neck hurt from reshooting that scene over and over, Dana Carvey forgetting the words to "Bohemian Rhapsody", the laughing scene of Wayne and Garth under the airplane, the friendship of Mike Myers and Rob Lowe began with this film, how Dana Carvey based Garth's way of talking from his brother and much more. (In Standard Definition)

* Theatrical Trailer (2:03) The original theatrical trailer in HD.

JUDGMENT CALL:

I absolutely enjoyed "WAYNE'S WORLD" when it came out on film. The way it was cut and the overall wackiness and improvised scenes, the parodying of other films and TV shows and of course, the multiple endings. Everything seemed to work perfectly.

Mike Myers and Dana Carvey do a great job with their characters. The guys were in their element and of course Mike Myers improvising especially the Wayne and Cassandra bedroom scene was hilarious! Both men did a great job in making the audience feel these characters and just laugh with them (or at them).

I also believe that part of the benefit of this film's success is due to Director Penelope Spheeris's extensive music and rock n' roll background. She knew what she wanted to capture on film, she knew she wanted the rock music to be integral to the film and even learning from the Director's commentary of how the talent didn't feel certain scenes would be funny, but she insisted for the talent to do what she instructed (unfortunately, it's been reported that because of this, she was not tapped to direct the sequel which was a shame). But you have to give Spheeris some major credit, to cut a film in 32-34 days is just unheard of these days and even at that time but because some of the cast and crew were used to the quick schedule workaround from their years at "Saturday Night Live", everything came together.

But there were so many memorable moments from the film that will always stand out, most importantly the "Bohemian Rhapsody" scene with the guys singing the QUEEN song which probably, many people not familiar with QUEEN may have never heard of until it was shown over and over on MTV. If anything, music played a major role for this film and it was fun watching how it was utilized.

As for the Blu-ray transfer, definitely much better than the sequel but picture and audio quality was average at best. Special features were quite slim and it would have been awesome to see some sort of gag reel or deleted scenes.

For those who own the DVD and wonder if it's worth double dipping and repurchasing it on Blu-ray, it's up to you. If the 1080p High Definition transfer is important to you. The audio quality is not exactly reference quality and for special features, there really is nothing added to the Blu-ray version of this release. So, in comparing both the DVD and the Blu-ray, it all comes down to if you want the film on High Definition.

From a sketch on `Saturday Night Live' and becoming a full-feature film, 16 years later, `Wayne's World' is definitely a unique, hilarious and crazy classic comedy film worth watching!

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The ultimate hang out and rock comedy, Wayne's World! This ia one of the really good SNL spinoffs that I personally was very glad that it hit the screen. Mike Myers (Wayne) and Dana Cravey (Garth), are hilarious in this and it shows that this sketch was easily one of the best on SNL ever!

It's a non stop rib shattering comedy from start to finish! Myers and Carvey are totally awesome and let's face it, Tia Carrera is hot! PLus with a little bit of parody (T2) and making fund of themselves a little (the sponsor scene).

WAYNE'S WORLD is totally excellent and of course having a pretty good soundtrack doesn't hurt either. This is really funny. You'll be laughing the whole way though! Pick this up and also heck out WAYNE'S WORLD 2 nad from Myers, check out the AUSTIN POWERS series. Enough said, it's Austin Powers! And if you're looking for any other good SNL spinoffs, check out NIGHT AT THE ROXBURY, CONEHEADS and BLUES BROTHERS.

Tim & Eric's Billion Dollar Movie (Blu-ray/DVD/Digital Copy) (2012)

My wife and I are big T&E fans... I'll admit that I'm a much bigger fan than my wife, but we both love their work on TGTTM and T&EASGJ!, not to mention the many other pies they have their fingers in. I have watched every episode of the aforementioned shows so many times that I'm surprised that there's room for anything in my brain *aside* from Tim and Eric quotes at this point.

Now that B$M is out, the Internets are filling with 5or 10-star reviews from other fellow fans. So I guess I'll be the first to say that we were both a little let down by the movie.

A lot of folks have commented that this is "just like Awesome Show." I agree and disagree, and on both fronts it's not necessarily a 100% good thing. A great number of the gags are things that have been effectively recycled from past Awesome Show episodes. Stretched out to cinema pace and viewed through the "clearer" eye of film, the recycled stuff doesn't work nearly as well as it did when new.

Meanwhile, the intertextual public-access / VHS-glitch stuff that makes so much of their comedy on TV doesn't quite jibe on the big screen, since there really is no cinematic parallel to the raw, unintentionally hilarious crappiness of public access (unless you consider Birdemic to be mainstream cinema). T&E seem to have wisely recognized this, and have (mostly) kept the broken/ obsolete-tech humor to segments that are based around the third-party viewing of TV formats. But it's sorely missed... and when it's present, it looks pretty odd (as opposed to funny).

The plot is a ridiculous afterthought, effectively, and I don't think any T&E fan would reasonably expect otherwise. T&E have left room for as many pokes at big / dumb mainstream cinema tropes as possible. But given this, it really could have contained a great deal more pokes. The pacing seems a little slow and lazy in quite a few places, although I suppose almost anything would seem slow compared to Awesome Show.

And though it feels weird to bring this up in a review of a Tim and Eric production, I also feel that things were formally imbalanced. With all the time spent at the S'wallow Valley Mall, we only get a (painfully) narrated rush-through of how T&E ended up in their billion-dollar predicament to begin with. In my mind, at least, it would have been so much funnier to *see* this setup play itself out. (Maybe this went down because they were trying to keep things to 90 minutes. I've gotta ask: why do all modern comedy movies have to be exactly 90 minutes long? Things can be funny for longer than an hour and a half.)

Finally, Zach G and John C. Reilly-who have contributed SO much to past episodes of Awesome Show (and of course, in the latter case, to Check It Out!)-find their talents kind of wasted in this film, in relatively one-dimensional roles that could have been so much bigger and so much more funny and/or complex. Will Ferrell is great, though (something you can't always say for him), and Will Forte is also wonderful as usual.

T&E have also found great roles for nearly all of their "best" non-celebrity Awesome Show supporting cast; it's so great to see more than five seconds of a Quall standup routine for once. (I still would have liked to see more Palmer Scott, though, and I am sure some of the many DL-H fans will be a little disappointed with the extent of his screentime.)

The Reddit Q&A that T&E undertook on the day of on-demand release seems to suggest that they see the immediate future of their work in film. Make no mistake, I liked B$M, thought it had some really great moments, will undoubtedly watch it many more times... and I would LOVE to see another film from Tim and Eric (and yes, I'm also chomping at the bit for a chance to see The Comedy).

But I don't think Tim and Eric can make another film anything like this one and remain vital. I'm hoping that, having gotten the apparent cinematic conclusion to Awesome Show out of their system, these two geniuses will now turn to showing us what they can *really* do with the movie format... something really new that departs significantly from their past work, while retaining their inimitable and uncompromising sense of humor-*and* the cerebral qualities of their best past work. The latter is the part I think I miss the most in watching B$M, which comes off like T&E at their intentionally-dumbest more often than not on first blush. Maybe I will feel differently after repeat viewings, though.

One last note: This movie is for existing fans. Contrary to what you might reasonably expect from the duo's first Big (or "Big") Theatrical Release, there is absolutely *no* accomodation for the uninitiated, who will probably hate this and/or will have no idea what the hell is going on throughout. If you're new to the T&E universe, start with an early season of Awesome Show, or possibly Tom Goes To The Mayor.

Another winner by timanderic.com. This movie was inspired by Jackie Chan's 100 years in show business. My dad would be so proud of the boys but is unable to hear the movie because of an unfortunate incident with the trumpets.

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--There is no reason to consider this movie if you aren't into this kind of humor--

This humor, Time and Eric/Matt and Trey/ type humor is so crazily specific that I can't possible understand why you would bother buying this without at least doing some research on it first. Check out their other things, their web episodes of their shows, check out interviews online, watch the trailer, if you don't like it then don't touch this movie because it is so at a complete other level of humor that the only way you'd like this movie is if you KNOW you'll like this movie before you even see anything other than the title.

If you don't know what this movie is, if you don't recognize the name combination "Tim and Eric['s]" and if you haven't seen Tom Goes to the Mayor, Tim and Eric Awesome Show Great Job, or Check It Out, then you will not like this movie. Check one of those shows out and if it's your bag of bones they you'll love this movie with it's outrageous story and effects (basically no budget and a bunch of celebrity spots). It's a crazy stupid story, of course, but it's an amazing movie if you are fans of Tim and Eric.

Also the movie is really gross. Having said that I'm going to get this.

Read Best Reviews of Tim & Eric's Billion Dollar Movie (Blu-ray/DVD/Digital Copy) (2012) Here

This movie is so terrible, but that's probably why I like it so much. I am a massive Tim and Eric fan and this Blue-Ray of their movie is a must-have. Let the shrim wash over you.

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Epically hilarious, as Tim and Eric always are. If you loved the show, be prepared to fall in love all over again. Thankfully, my new husband also enjoyed it. I'd hate to have to divorce him.

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The Big Gay Musical (2010)

The Big Gay Musical.

The BFI Theatre on the South Bank in London was packed on the afternoon I went to see The Big Gay Musical.

As with all movies associated with Casper Andreas I expected it to be entertaining, witty, comical with just a hint of sadness attached to it. I was not disappointed at all. He had co-directed this along with Fred M. Caruso. This joint venture proved they were a formidable duo.

Casper had introduced the movie on other showings but had had to fly back to the US so Brian Robinson the Press Officer at the BFI Theatre stepped up on stage to do the honours.

He told the packed house that The Big Gay Musical had been the favourite of the whole group of gay themed movies that had been shown at the festival over the past few days.

The lights dimmed and the movie started. Black and white to start with which gave it a 1930s feel and I just knew it was going to be an enjoyable ride from start to finish when Casper playing a small but important part asks columnist Michael Musto as he dashes out from an extremely bad show if there is anything he would like. Screaming hysterically "I need a big gay musical" as he rushes on his way the screen bursts into colour and a most wonderful production number with handsome near naked men wearing angels' wings and boots tap dance across the screen .

The theatre audience, clapped, laughed and cheered throughout the movie.

Yes, it's campy, even a bit cheesy but its dramatic and it's filled to the brim with muscular bodies and show tunes that get your feet tapping along with them and then when a very limp wristed God appears played to the hilt by Steve Hayes and he creates Adam and Steve to live in the Garden of Eden after chasing Adam and Eve out well.......

The plot has been described in many reviews so it is suffice to say that it is a movie that one must see too appreciate to the full. Words just do not do it justice. The talent is outstanding and all can dance, sing and act. A powerful combination. Many are from the Broadway stage and to name just a few Daniel Robinson was in Hairspray, Joey Dudding did Gypsy, La Cage Aux Folles and Chorus Line and others appeared in Tricks, Wicked and even South Pacific.

Sheer entertainment from start to finish.

I have to say first that I was kind of skeptical about this film before I watch it. I was afraid that could be another waste of my time to watch an empty and meaningless gay comedy like "Eating Out 3" or "Another Gay Movie 2" but thankfully I was totally wrong.

In fact it's just the opposite of that. A great comedy, filled with hilarious stage moments, but also a very human and touching movie about mankind (in all its diversity) A little unreal at the end but that's OK! I'm kind of sick of watching too many sad endings in gay themed films. We need a lot more positivity in the portrait of gay lifestyle. So... it's great to have a mushy but happy ending FOR A CHANGE! That way... later you could turn off your tv with a happy smile on your face for a change. Great script, good acting, good music, beautiful guys... what more can we ask?

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I enjoyed it. it was cute funny. the cast were cute. Only thing i didn't like was it seemed to short. Also it was a tad confusing. Other then that its a good type of movie when you have nuthin else to watch but you will still enjoying watching it. sooo yes was good but not fantastic =]

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I love this movie. It has heart, fun, sex, and good musical numbers. Without a doubt this movie will make you feel goooooooood!

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Funny, and realistic pretend to explain that sin is not exclusive of certain groups but for the human race. Loves doesn't discriminate only humans do.

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The Blues Brothers (Blu-ray + DVD + Digital Copy) (1980)

Let's get this straight -this blu-ray contains both the theatrical AND the extended cuts, for the misguided soul here (obviously NOT on a mission from God) who says stick with the 25th Anniversary edition.

And let's get this clear as well -the quality of the picture is superb, much MUCH better than the DVD. Older films have issues when you transfer them to blu-ray, no question about it, but this image is as good as it can possibly get (don't believe me? Check out Blu-ray.com for a review of it).

On the extended version the extended scenes aren't as good a quality -the source material there wasn't available and they probably transferred it from the DVD master. But it's not WORSE than the DVD, only not improved.

And on that note, IMHO the theatrical version is the one you want anyway. This is a film that does not get better when the timing gets slower -and at nearly 2 1/2 hours the extended version just drags. Watch the theatrical version first and if you are still jonesing for some more Brothers you can pop on the extended version (my guess is you will have gotten full -satiated and satisfied. And if times were different you'd kick back, light one up, pull down your shades down over your eyes and watch the cool, blue smoke drift hazily towards the ceiling and dream about getting the band back together).

Just buy it. If you say no, Elwood and Jake will come to your house for breakfast, lunch, and dinner every day of the week.

I've read the reviews on Amazon but wanted the blu-ray upgrade. Amazon's details may not be complete. The blu-ray I purchased has theatrical and extended versions on a single disc. There is a banner at the top front on my cover with says "Includes Theatrical and Extended Versions" and it is also mentioned again on the back cover. The DTS sound is outstanding on my Polk 360 home system and I don't think I am missing anything by not having lossless DTS sound. This movie looks and sounds great on blu-ray and the price is affordable. I found myself enjoying the movie and singing along with the sub-titled songs. I saw it in the theater when it first came out and here it is over 30 years later looking and sounding just as good if not better.

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What a let down! The promise of "never before seen footage" turns out to be the same "never before seen footage" from the last DVD. The bonus materials on this disc are a joke (and not in a funny "ha ha" way). The special "Introduction to the film by Dan Aykroyd" is 23 seconds long. The "Day on the Blues Brothers Tour" is nothing more than a lame performance by the current Blues Brothers at the House of Blues. But the real insult is the featurette called "Remembering John: An ultimate portrait of John Belushi." It clocks in at 9 minutes long (including credits). Ultimate?? This is John Belushi, not Garrett Morris!

You might be reading this wondering, "So what was this guy expecting?" Well, how about an audio commentary? Perhaps some outtakes? Bloopers? Maybe concert footage of the REAL Blues Brothers on tour with Steve Martin? Why not include Blues Brothers performance footage from SNL? How about revisiting the locations made famous in the movie (the abandoned mall is still standing and still abandoned)? Instead, they chose to include John performing as the Killer Bee on SNL. Instead of a track listing booklet inside the case, they'd rather you have an ad for other "great" DVD titles available from Universal. Instead of never before seen footage, you get the same documentary, the same production notes/pictures, and the same interviews that were included in the previous release.

It's obvious that this was thrown together with little thought or effort. The Chicago Sun Times did a better tribute piece to the anniversary of the Blues Brothers than Aykroyd did for his own film.

Oh well...only five more years until the 30th Anniversary Edition comes out.

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I love The Blues Brothers. This is one of the all-time great comedies; a truly epic comedy. In it's original form, it is flawless from beginning to end. Five Stars easily.

Unfortunately, this "Special Edition" dvd includes 15+ minutes of scenes. Not under a "deleted scenes" section, which would have been appropriate and very welcome, but inserted into the movie itself. To be fair, the extra footage doesn't really hurt the music scenes. But did we really need to see Elwood at his place of employment? Did we really need to see where the Blues-mobile is stored when not being driven? None of the extra footage adds anything to the movie. In fact, it really ruins the perfect pacing of the regular cut.

I truly hope Universal sees the error of their ways and reissues this film on DVD with the original cut. They could even make the added footage viewable within the movie, through seamless branching, but for the love of Pete, give us the option!!!

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The Blues Brothers is a true classic movie, one of the few SNL movies that is actually a good story. Joliet Jake is recently released from prison and picked up by his brother Elwood. The two discover that the orphanage they grew up in is going to be sold to the Board of Education unless they can raise $5,000 to give to the State Assesors office. The Blues Brothers try to get the money by putting their band back together and doing a few gigs. Along the way, they anger the Illinois State Police, the Illinois Nazi Party, the owner of Bob's Country Bunker, and a band from Nashville, the Good Ole Boys. This movie is great from beginning to end. The musical numbers are all great including Jake's revelation in the church, Ray Charles singing Shake Your Tail Feather, Aretha Franklin singing in her soul food diner, the peformance in Bob's Country Bunker, and finally the concert at the end including two of their best songs. As well, there is action galore from Elwood jumping a bridge with their 1974 Dodge Sedan to their chaotic ride through a crowded mall to the police chase at the end through the streets of Chicago( especially Lower Wacker Drive) and the chase up the staircase to the Assessor's office. The Blues Brothers has something for everybody and should not be missed.

The Blues Brothers are played to perfection by John Belushi as Jake and Dan Aykroyd as Elwood. The two actors are hysterical together throughout as they anger just about everybody in the city of Chicago. There are far too many lines to mention, but it is obvious that they had fun making this movie. There are plenty of musical cameos also including Cab Calloway, James Brown as a preacher, Aretha Franklin as the owner of a Soul Food diner, Ray Charles as the owner of music store, and John Lee Hooker as a street peformer on Maxwell Street. The film also stars Carrie Fisher, John Candy, Kathleen Freeman, Henry Gibson, and many more. Also look out for a very funny cameo by Frank Oz and a short appearance by Steven Spielberg. Also worth mentioning is the Blues Brothers band including Matt "Guitar" Murphy, Donald "Duck" Dunn, Murphy Dunne, "Blue Lou" Marini, Tom "Bones" Malone, Steve "The Colonel" Cropper, Alan Rubin, and Willy "Two Bits" Hall. The Collector's Edition DVD offers widescreen presentation, the original theatrical trailer, a making of documentary with interviews with the cast and crew, and footage not seen since the original release in 1980. This is a great movie that all viewers will find something to like in it. Do not miss this classic!

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Coming to America & Trading Places

This is a fantastic deal on these two Bluray discs. You'll save a bundle (currently about $15 as of 1-24-09) compared to buying them individually.

I'm not going to review the movies themselves; however, I will tell you that as of today (1-24-09), Amazon's technical details for this two-pack are incorrect. The aspect ratio is incorrectly listed as 1.33:1. Those of us geeky enough to care about aspect ratios know that Blu-ray does not release 1.33:1 (or "pan-and-scan") movies, unless this was their original release format. Luckily both of these movies are presented in 1.85:1 aspect ratio. This is truly a double-pack of each individual Blu-ray movie.

If you're interested in the extras or the visual aspects of the Blu-ray editions, go ahead and check out the individual reviews for each disc. I just wanted to clarify what this double-pack is...as Amazon's poor description led me to purchase it only when I found it at a local brick & mortar (to double check it).

I was really surprised by the superb video quality of these 2 movies on bluray. Clarity and colors get a huge boost compared to the old DVDs. Granted it will never equal the glossy transfers of newer films on bluray but taking into account these films were from the 80s, these are the best they will ever get to look for quite some time to come. And the nude scene of Jamie Lee Curtis in her prime in total HD glory---worth every cent I paid.;)

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If you've ever been an Eddie Murphy fan this is a great two pack that will leave you quoting lines for days on end.

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John Landis collaboration with Eddie Murphy resulted in these two movies which are gathered in a single Blu-Ray release, They are both worth it for anyone who has not, by any chance, seen them. They are not masterpieces, mind you, but they hold very well as comedies whose focus in centred on social issues. In my opinion, I like Trading Places best, and Aykroyd and Jamie Curtis, not Murphy, steal the show with a well balanced interpretation of their roles.

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What a perfect combo Blu. I would have to say that time has not been kind to these films but the transfer is overall god. The picture quality is so good in fact that when you see Zamunda for the first time you will notice that everyone is a fake painting in front of a fake painted wall. I guess that is the price we pay for advanced technology placated on older films that were at the height of their quality when made. As for Trading Places, I love that movie and it is a true classic that can be enjoyed no matter how perfect or not perfect the transfer is.

The Fairy (2011)

My wife and I saw this move at the theatre and thought it was the craziest movie ever. It is almost a silent film a lot of physical comedy a lot a small clever details and romance. There are a few times when you are sure what is going to happen next but it doesn't happen. Something else heppens instead.

This is a small pearl of a film crossing through ballet, wordless acting, strange figures, peculiar storyline, wonderful acting and very memorable. It is full of humour and aesthetics a different film experience in a good way. It was like a blind date for me when I went to the movies to see this film and I was pleasantly surprised. Just sit back and let yourself enjoy highly recommended.

About the film:

"Dom is a night watchman at a small hotel in Le Havre, France. One night the mysterious Fiona appears, shoeless and without any luggage. She tells him she is a fairy and that he can have three wishes come true. The next day two of them are fulfilled and Fiona has disappeared. But Dom really wants to find her as she has opened a new world to him, a world crowded by fantasy and love."

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Fiona Gordon, just to look at, isn't who you might have cast as the fairy. You know, cute, young, ethereal, squeaky clean, pert'n'perky she's not that. That's OK. Dominique Abel, as the mortal to whom her three wishes are given, isn't much of a Prince Charming character, either. Fiona (in the role of Fiona) and Dom (in the role of Dom) have a wonderful, quirky chemistry, though. Her odd ways of making wishes come true, her penchant for shopping without the bother of payment, and his chronic lack of ambition play off each other nicely, with occasional caroms off the enjoyable supporting characters.

A few surreal moments pop in, like the two dance numbers (one underwater, the other with her rotundly pregnant) give plenty to laugh at, as do the moments and characters in the psych ward. This doesn't have the wacked-out frenzy or continuous patter of some other comedies I've enjoyed. It has a quiet charm all its own, though.

-wiredweird, reviewing the release to theatres.

PS: If subtitles give you hives, you probably want to skip this one French (it figures) with English subtitles.

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Every so often you come across a movie that you've never heard of that turns out to be an absolute gemthis is one such movie. Dom is a sad sack who works as the night manager in a small hotel. We first meet him as he's bicycling to work, in the rain, on a bike that keeps throwing its chain. His life is one of small pleasurea few undisturbed minutes during which he can enjoy his sandwich and an old movie. But such moments are hard to come by, as he finds himself repeatedly interrupted by curious travelers and an odd woman who appears at the door without any luggage, announces that she is a fairy, and grants him three wishes. Fionathat's the fairy's namedoesn't look like anyone's conception of a fairybut Dom is startled to discover his first two wishes come true, and that's when things start to get even stranger.

But to say things get strange is an understatement. The plot is really just a tenuous thread that ties together moments of comedy, dance, and music. The team of Dominique Abel and Fiona Gordon, who both wrote and star in The Fairy, are dancers, mimes, and performers who have collaborated for many years, both personally and artistically, and this film showcases both their wit and originality and their great physical skillthough in a way unlike anything you may have seen before. Like all great comedies, The Fairy is completely original, with characters and a plot that is like nothing you've ever seen in a movie, and that means that every scene, every turn of events is completely unexpected. I loved it, and if you can imagine liking a comedy that can be described as sweet, surreal, and completely original, you might just like it too.

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Ok, my top 10 is probably a list of 50 movies, but the Fairy is an excellent movie keeping you laughing at every turn. And if you can read french you'll find that signs and store names add to the grinning! Once watched this film will be on everyone's cult list!

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Barton Fink (1991)

Welcome to the wonderfully wacky world of the Coen brothers. Joel and Ethan Coen are two of the most brilliant filmmakers in America today. Every film they turn out is a cinematic gem, and "Barton Fink" is no exception.

The film centers around a slightly pompous, idealistic, left wing playwright, Barton Fink (John Turturro), who in 1941, after becoming the toast of Broadway as the pretentious voice of the common man, goes west to Hollywood at the invitation of a major studio in order to try his hand at writing screenplays.

There, he meets studio head, Jack Lipnick (Michael Lerner), and his yes man and whipping boy, Lou Breeze (Jon Polito). Asked to write a screenplay for a Wallace Beery vehicle about wrestling, a subject about which the bookish Fink knows nothing about, causes Fink to go into a professional tailspin.

Ensconced in a decaying old hotel, seemingly run by its slightly creepy and unctuous bell hop, Chet (Steve Buscemi), who bizarrely appears on the scene out of a trapdoor behind the hotel's front desk, Fink begins his ordeal . The elevator is run by a cadaverous, pock marked, elderly man. The corridors of the hotel seem endless. The wallpaper in Fink's room is peeling away from the wall, leaving a viscous, damp ooze in its wake. His bed creaks and groans with a life of its own. It is also hot, oppressively hot.

No residents of the hotel are apparent, except for the appearance of shoes outside the doors in expectation of the free shoe shine the hotel offers its denizens and for the noise made by his neighbors. Finks meets one of his neighbors, the portly Charlie Meadows (John Goodman), a gregarious Everyman, possessed of an abundance of bonhomie. A self-styled insurance salesman, Charlie cajoles Fink out of his shell, befriending him in the process. Little does Fink know that beneath Charlie's congenial exterior lies a horrific secret that will spillover onto him in the not so distant future.

At a luncheon with studio under boss, Ben Geisler (Tony Shalhoub), Fink meets a famous writer that he reveres, W. P. Mayhew (John Mahoney), a southern sot so steeped in drink that his companion/secretary, Audrey Taylor (Judy Davis), has to do his writing for him. Fink falls for Audrey but finds his overtures rebuffed. Still, she is willing to try and help him overcome his profound writer's block. In a classic Coen twist, it is this single act of kindness that acts as the catalyst for the nightmare that makes Fink's life become a living hell on earth. He goes from living a life of self-imposed isolation and angst to one that appears to have been created by a Hollywood hack, filled as it is with the most incredible situations, a real studio head's dream.

John Turturro is terrific as the introverted, tightly wound, pretentious, and neurotic Fink, who in Hollywood, away from the womb of the Great White Way, is like a lamb led to the slaughter. With his sculpted afro, horn rimmed glasses, nerdy clothes, Fink is the stereotypic Hollywood notion of the commie writer. John Turturro makes the role his with a purposeful intensity.

John Goodman is sensational as the garrulous Charlie Meadow, the epitome of the working class man about whom Fink likes to write. Unfortunately, all is not as it seems, as Charlie has a dark side to him, a very dark side. John Mahoney is excellent as the Faulknerian-like writer, and Judy Davis outdoes herself, as the self-sacrificing Audrey Taylor.

Michael Lerner will razzle-dazzle the viewer with his over the top portrayal of a fast talking studio head who is willing to pay big bucks for the cache of having a top Broadway playwright turn out screenplay swill for the masses. Jon Polito is very good as the Uriah Heepish, quintessential yes man he portrays. Tony Shalhoub is excellent in his role, underscoring the absurdity of the old Hollywood studio system.

Steve Buscemi, looking surprisingly small in his bell hop uniform, resembles an organ grinder's monkey, at times. The viewer may also expect him to bellow, "Call for Phillip Morris", as in the old cigarette campaign, though he speaks in a controlled, respectful monotone, at all times. Still, his very presence adds a slightly sinister quality to the film, though he does nothing remotely sinister, other than the way he makes his screen appearance. His entrance onto the screen in this fashion foreshadows what is to come.

This film is not for everyone, as it does not have a neatly wrapped ending. Instead, it goes beyond the standard expected ending into an absurdist foray. Still, those who love films by the Coen Brothers will not be disappointed by this satiric look at Hollywood. It is little wonder that this film became the darling of the Cannes Film Festival.

For a long time, the absurdist masterpiece Barton Fink was only available in a dingy VHS release. It was better than nothing, but this film deserved better. Thankfully, it's here in all its stupefying glory.

I won't recount the story. Plenty of other reviews do that. Not long ago I was tempted to interpret it. That still seems a valid course, as there is a genuine sense that, beneath its comic, surreal surface, Barton Fink is trying to tell us something urgent and important. Perhaps, but the primal forces in a writer's mind as s/he shapes a great story do that, anyway often without the writer's specific knowledge.

Rather than a simple allegory, Barton Fink is a collection of surfaces, styles, textures, and mannerisms. That they seem to add up to more than the sum of their parts is the great trick, akin to the way a painter can suggest the dappled depths of a forest with a few deft pats of a fan brush. Which isn't to say the film is shallow. No; there is a lot going on here. But to suggest that this film has a specific meaning is also to suggest it has an answer. Only mediocre films (by the likes of, say, Stanley Kramer or Oliver Stone) provide answers in a attempt to make themselves more important. The Coens (writer Ethan, director Joel), like most of us, haven't a clue about the Mysteries of Life. So they don't try to "...tell us something about all of us, something beautiful..." as Fink himself professes. Instead, they enjoy "...making things up...", like the other writer in the film, the Faulkneresque W.P. Mayhew (played to perfection by John Mahoney).

Somewhere in here, though, the sleight-of-hand, the postmodern flourishes (wherein genres clash and surfaces spill over one another in unexpected ways), cracks appear. Through them we glimpse something else...something truly terrifying.

Barton Fink's resonances with the Holocaust are well-known (the sinister and Fascistic German and Italian cops, the Jewish Fink, the burning hallway, the story's year 1941, the nice guy next door also with a German name who turns out to be a madman; on and on). These touches cannot be accidental. Yet, the Coens seem to have deliberately avoided any obvious throughline, any markers which would provide for a clear interpretation.

Perhaps this is the point that there is no way to make sense of the madness. Barton Fink, the character, is a writer who tries to celebrate the "common man" to write about "real life". Yet, real life is incomprehensible to him. Nice Guy Charlie Meadows (the excellent John Goodman) is a twisted murderer. His idol is a raving drunk. His muse is a purveyor of formula hackery. The authorities are openly anti-semitic. And his bosses Lipnick (Michael Lerner) and Geisler (Tony Shalhoub) are utterly indifferent to his craft. The events that unfold around him are too horrifying and strange to make sense of. Simply put, they cannot be explained by any rational interpretation. Which, if this film is really a parable of the Holocaust, is as it should be, since there is no rationale in genocide.

When it comes to "making things up", no one does it better than the Coens. Their skill in marshalling symbols is sublime: Mayhew's latest book is called "Nebuchadnezzar"; Lipnick, like king Nebuchadnezzar, has a dream he wants Fink to interpret (the wrestling film he's writing for Wallace Beery). At a critical point in the film, a dazed, sleepless Fink opens the Gideon bible to the page where Nebuchadnezzar threatens to reduce the Chaldeans' tents to a dung-heap if someone cannot interpret his dream. He flips to Genesis, and there, on the page, is the opening of his screenplay the only part of it he's been able to write. It's a brilliant sequence, that truly adds up. Lipnick is Nebuchadnezzar; Fink is trying to be Daniel. There is (literally) Hell to pay if he cannot do the job.

Beyond a few moments like these, though, trying to impose a specific meaning on Barton Fink is folly like trying to impose a specific meaning on any of Luis Bunuel's better films. There is something about it that, like Lynch's best work, goes right past the rational self and nestles more deeply in the unconscious. I get something from every viewing of this film, and part of its beauty is that I cannot articulate exactly what that is.

This DVD is nicely produced, with Roger Deakins' glowing cinematography looking better than ever, and Dolby Surround sound track well reproduced. A 5.1 re-mix would have been welcome, as would a serious commentary track, should the Coens ever be able to bring themselves around to doing one that doesn't poke fun of commentary tracks.

John Turturro is excellent as the title character. Judy Davis acquits herself nicely as Mayhew's secretary/lover/ghost-writer.

This is one of those films that's worth really thinking about, and watching again and again. Don't expect answers; expect an experience and a powerful one at that.

Buy Barton Fink (1991) Now

I won't retread what's already been covered well about the new DVD release of Barton Fink. But I did want to expand on it. First, this is a great looking, well-acted, well-written movie. All my negative comments below mustn't be taken with the film itself in mind; only the lack of quality of the DVD release of said movie.

Second, while the sound is good, I was surprised we are only given a stereo Dolby track. When the location of audio events is so key as in a film like Barton Fink, I would think 20th Century Fox would take advantage of the later surround technology and do a 5.1 or 6.1 remix.

But the most disturbing issue I had with the DVD is for first time viewers of the film. If there's any way on your player that you can skip the opening segment leading into the menu, and the menu itself, do so by all means. This gives away a key scene late in the picture and is a spoiler all by itself. Just play the movie. I won't elaborate for those who haven't seen the movie, just do not look at the menu until afterwards! I can't imagine what the folks at Fox responsible for this DVD were thinking and I was completely annoyed by this solution to a menu subject. Hint for special edition menu: How about the picture of the girl on the beach, folks? That's a strong thread that gives NOTHING away. I guess this comes from the same thinking that gives us a two minute movie trailer with all the key plot twists, which leaves the viewer feeling that they've already seen the movie.

On the whole, it seemed to me that this release of the picture was flippant, without any real thought about quality. Not even a commentary is included! This film festival award-winner, with one of John Goodman's most involving performances, deserves a special edition with a proper film transfer and sound remix not to mention a more appropriate menu subject. So five stars for a brilliant Coen bros. film, but the disappointing DVD quality reduces it to a two. Write Fox for a special edition.

Read Best Reviews of Barton Fink (1991) Here

Okay, "Barton Fink" is a satire on the old studio system. It may also well be a symbolic depiction of the Holocaust. The Book of Daniel certainly features strongly in the mix. And it's an attack on the foibles of the twitchy intellectual, particularly the self-righteous left-wing "voice of the people" type. But, just to keep the pot boiling, let me point out that the film's narrative framework is adapted from the legend of Faust. In large part, Christopher Marlowe's "Doctor Faustus".

The Faust figure is Barton, needless to say. Charley/Karl is Mephistopheles. And Audrey is Gretchen/Marguerite, the admired female figure who turns out to be a little less than what was desired. Barton is frankly devoted to the life of the mind, obsessed with creativity and the longing to learn the secret of life and bring it home to the Little Man, the Common Man. Charley/Mesphisto offers his assistance (by teaching him wrestling--this is a Coen brothers film, remember). He fails, but at last Barton does sell his soul--to Audrey, the no longer idealized "eternal female". And as the deal is sealed with a bout of sex, the camera glides to the bathroom sink, where it slides down (I stole this part from John Simon) straight to Hell, which is ruled not by friendly, easygoing Charley, but by Madman Mundt (the real Karl Mundt, by the way, was a notorious right-wing congressman of the period, for what that's worth).

So okay, it's not a one-to-one correspondence. But neither was "O Brother, Where Art Thou?" perfectly congruent with the Odyssey. (e.g. which one was Homer--the old black guy with the beard or the country DJ?) The Coens use these sources not as road-maps, but as takeoff points, which is as it should be.

As is often mentioned below, the cinematography here is outstanding, obtaining a kind of rotten lushness comparable only to "Blue Velvet". The Coens have always been standouts in dealing with actors, and this film is no exception. If Turturro wasn't so goofy-looking he'd be a superstar on the strength of this picture alone, but then he wouldn't have been in the picture. Seeing Lerner here makes me wonder why he isn't used more often. But the standout, as is so often the case, is Goodman. It's not easy to continue thinking of him as the jolly fat guy after seeing his "You don't listen." soliloquy at the climax.

A lot of people view the Coens as the cinematic exemplars of pomo, but I don't think that's true. Pomo demands you take the theories dead seriously while mocking everything else. The Coens reverse the formula, mocking all forms of intellectual pretension while taking life in general--and the horror that lies behind it--very seriously. That's a rarity in any art form, particularly film. So take a look, and be shown the life of the mind.

And oh yeah--I don't know what they're doing with that ending either.

Want Barton Fink (1991) Discount?

In this film from the Coen brothers, the titular character, Barton Fink (John Turturro) travels from his liberal New York enclave where he wrote about "the common man" from a comfortable distance to a dumpy hotel outside Los Angeles, where he wrestles with a common man. Fink is brought out after getting positive reviews on Broadway and is put to work writing a wrestling picture which proves beyond his abilities--fooling the upper crust about the average Joe is one thing, but it's significantly tougher to fool actual common men into thinking he knows them. Fink seeks out assistance from the Faulkner-esque writer W. P. Mayhew (John Mahoney), which turns out to be a futile maneuver, and finally winds up getting some inspiration from his hotel neighbor Charlie (John Goodman), who might or might not be a serial killer who likes to lop off his victims' heads.

Saying all of this by no means spoils things. Barton Fink is a movie that isn't afraid to consistently up the ante and make things even more bizarre and conceptual. Ultimately, what does it all add up to? What is fact and what is fiction is difficult to figure, but Barton's inability to grasp the reality of life is a sin which is visited upon him in this film, and his life eventually unravels into a succeedingly surreal series of deus ex machina-type twists. Clearly, this is not a movie for everyone, but if you're still reading, you'll probably enjoy it. It is one of those movies which can spawn almost infinite conversation as to what it means, or it can be merely enjoyed as it is. Oh, and by the way, it's really funny, with John Goodman uttering one of the most hilarious red herrings ever heard on film (it's near the end, and if you see the film, you'll recognize it).

Ultimately, this most strange and quirky of Coen films turns out to be their best, in the opinion of this reviewer. If you enjoy movies that make you think and that stay with you for an extended period of time, than this might be up your alley. It won the Palme d'Or at Cannes, but, tragically, it never broke out here in the states. This is essential viewing for fans of the Coens, as well as for adventurous viewers everywhere.

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Baarìa (2009)

BAARIA is another masterwork form the consummate film artist Giuseppe Tornatore. Tornatore is so highly regarded in Italy and Sicily that famous actors fight for the opportunity to work in one of his luminous films, agreeing to take minute walk on roles just to be near the director: Monica Belluci, Ángela Molina, Beppe Fiorello, Raoul Bova etc. This film deserves close attention form the viewer and in some ways it may be better to view the DVD's Interview with Giuseppe Tornatore BEFORE watching this film so that the writer/director's concept and technique is understood before the story unfolds.

Baarìa is Sicilian slang for Bagheria where Tornatore was born and this is an autobiographic epic of three generations in the Sicilian village where he was born. It begins in the 1920's where Giuseppe "Peppino" Torrenuova lives with his brother Nino and his parents in a hovel. They are so poor that Peppino's father advises him to become a shepherd in order to help support the family. Peppino progresses to taking a cow around the town to fill the milk buckets of the townspeople, struggles through school, progresses to young adulthood when he falls in love with Mannina and going against Mannina's family's dream of having their daughter marry money, the two elope in the home of Mannina! and it is here that the characters become the adults who carry the film. Of note, Tornatore elected to cast the main characters with little known Sicilian actors: Peppino is Francesco Scianna and Mannina is Margareth Madè both brilliant in their roles. From this point the time passes through historical references to Il Duce, the mafia, WW II and the coming of the Americans, but more important is Peppino's idealistic concept that his future lies in politics. He becomes a Communist, rises in the ranks, eventually even visiting Moscow to meet with Stalin, and returns to Baaria to help the people struggle for land reform and socialism, all the while he continues to have children with Mannina and follow his dreams of being a successful politician, a dream that is as fragile as it is unattainable.

The film flashes back and forth in time and has no linear story line: Tornatore is more interested in taking snippets of his memories of his past life growing up in Baaria than he is in keeping the audience clear about the characters who flash in and out of the story. His use of children is magical they seem more wise in their innocence that the adults. But take the movie for what it is a mélange of remembered moments in the writer/director's life and witness some of the most beautiful moments ever created for the screen, such as the eventual death of Peppino's father who passes his wisdom to his son, and Peppino's advice to this oldest son as the son takes the train to Rome: the son asks 'Why do people call us hotheaded?' to which Peppino answers 'Because we think we can embrace the Universe, but our arms are too short.' Peppino's wisdom he passes to his son is to follow his heart at all costs and there will he find satisfaction. This film is overflowing in such moments and watching it is like opening a treasure trunk full of dazzlingly memories. The musical score by the evergreen Ennio Morricone is absolutely one of his finest a score the composer created in conjunction with Tornatore.

There is a problem with the DVD that hopefully someone will solve: the English subtitles (the film is in Italian and Sicilian) are very difficult to read so bleached out are they over backgrounds of bright Sicilian light. It is a post-production flaw that needs to be corrected for non Italian speaking audiences, but even with that minor problem, this is one of the most touching and tender and emotionally satisfying films this viewer has ever seen. 10 stars! Grady Harp, October 11

With both a literal and a figurative nod to Federico Fellini, Italian auteur Giuseppe Tornatore has created "Baaria." A personal epic spanning five decades in the life of a typical Italian family, there is undeniable beauty and lyricism in Tornatore's vision. His beloved "Cinema Paradiso" was a striking blend of nostalgia, whimsy, fantasy and heartfelt drama that struck a chord with both viewers and critics. It won an Oscar, as well as a slew of other awards, and is widely considered a modern masterpiece. With "Baaria," he adheres closely to a similar formula but with decidedly mixed results. I had heard one of two things about "Baaria" prior to catching it on this presentation. Some said it was a masterpiece, some said it was an utter disaster. And in truth, I do believe the film to be divisive. I expected to fall in love with the movie, but I ended up admiring individual elements as opposed to embracing it in its entirety. Part of the film's unusual quality is that it seems both completely intimate to the filmmaker but more noticeably aloof to the viewer. In the film's construction, Tornatore advances through the years and presents some compelling moments without ever slowing down enough to let us actually become invested. This choice might be embraced by some, but the lack of emotional connection is what will create the film's strongest detractors.

As always, Tornatore's film is a beautiful physical specimen. The technical aspects of art direction and cinematography enhance the movie's appeal, and it really looks crisp and clean. Taking place in a small Sicilian hamlet called Bagheria (of which the title Baaria is a nickname), the bulk of the film deals with a small boy who advances through his life to old age within the narrative. Not only do we see his world and family, but we see the political structure of the country change around him. I enjoyed much of this perspective as there were subtle lessons in history sprinkled throughout the piece. Certain moments have a pleasant sweetness, some are more tough. It's as if we are catching random glimpses of the characters as time progresses. And in truth, I really liked the idea of the film. However, if I'm being completely honest--the device, while interesting, is also what caused me to disconnect from the story. Just when something of interest happens, you move on. Nothing has time to resonate. How can you watch someone's life story and still not particularly know them or care about them? That is ultimately how I felt with "Baaria."

And yet, I still can't completely discount Tornatore's conception. It's big, bold and adventurous. Sure, it veers to the fantastical once too often--but here is a filmmaker with a specific point of view. It wasn't wholly successful for me, but it didn't lack in ambition (which so many films do). The movie itself ranks at about 3 1/2 stars for my taste. But the DVD features are enough to make me round up and should be appreciated by Tornatore fans. He is front and center in a commentary track, in behind the scenes footage, in an interview, and at the film's premiere. In addition, some deleted scenes are also present. Clearly, this was a personal and important project for the director. I just wish that I had felt the same passion as he has for the work. KGHarris, 10/11.

Buy Baarìa (2009) Now

I have spent quite a lot of time trying to find the Sicilian version of this movie in the U.S. and when I finally watched the America release in "Italian" I found that the movie had a lot of Sicilian. Sicilian being my first language it was music to my ears. Sicilians are a unique and passionate people. Our language is so expressive and truly musical. I only wish there were more movies that were made in our native language. I'm guessing that this was released and marked as Italian because Americans will not notice the different languages...One scene in particular, when Peppino is running to school in the very beginning the teacher is yelling for him to hurry he shouts, "Sperugiate" (please excuse the spelling), but that is Sicilian. It happens many times in the film and appropriately (Sicilian being the conversational/familiar language used with friends and family, while Italian is spoken formal settings). Growing up in a Sicilian family we speak Sicilian at home and with our relations and neighbors, but with other Italians or when conducting serious business we speak in proper Italian. Anyway, I hope the people who watch this film experience the same satisfaction and feel the same nostalgia that I did when watching this film. Some of the nostalgia comes from my own experiences as my parents sent me Sicily as a child several times to spend summers there and some of the nostalgia stems from the verbal history my grandparents imparted on us.

Read Best Reviews of Baarìa (2009) Here

takes place right after WWII in a small town in Sicily. How a young boy had to suffer all his adult life because of his political beliefs, and poor family. a great movie

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Bellisima filme! Gorgeous film, beautiful scenery and wonderful acting. This movie comes from the same director as Cinema Paradiso. Cinema Paradiso was my first introduction to foreign films. I was 12 years old when I first saw that wonderful film. I HIGHLY recommend this Italian gem.

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