Black Sheep (1996)

Chris Farley was a comic genius, and this film amply shows why and why he is sorely missed. As the brother of a gubernatorial candidate, he tries to help his brother's campaign, but most every attempt backfires. Sent off to the backwoods to keep him out of the way, his misadventures continue. There he pairs up with another character played by David Spade, and the two make a swell comic duo. They meet up with a carload reminiscent of DELIVERANCE. Their cabin plummets down a landslide after the balance of a balanced rock is upset in a most unlikely way. And they meet up with a crazed survivalist-type neighbor played by Gary Busey. Some of these events will all play out to make for the final resolution when they finally return to civilization. On that return, the movie's peak of zaniness is reached in an episode involving a car with a nitrous oxide booster. This underrated movie is a must for all fans of the farcical comedy genre, and a bittersweet tribute to one who shone briefly but brightly therein.

Black Sheep picks up right where Tommy Boy left off with the amazing comic pairing of Chris Farley and David Spade. This is another of the better movies to come from the cast of Saturday Night Live. I really miss seeing Farley and Spade together on film...

Most people I know place this movie second to Tommy Boy, which makes some sense, I suppose, but it has just as many laughs. The scenes with Farley and Spade together in the log cabin are priceless and hilarious.

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The reason there are so many bad reviews of this movie is because when people heard that Chris Farley (RIP) and David Spade were making another movie together, they were expecting the comic genius that was Tommy Boy. This is not Tommy Boy! You can't expect Chris and David to do the same thing in every movie or it will very soon become routine. Chris's Mike Donelly character is a little less dimwitted than his Tommy Boy character and David's Steve Dobbs character is a little more dimwitted than his Richard character. But, I will say this, Farley and Spade proove once again that they are the best comedy team since the Three Stooges. Sure this movie has it's flaws, but it's worth a look.

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Remember when David Spade was still on SNL, and he and Teri Hatcher did that "Spade In America" sketch on Weekend Update? Well, Teri Hatcher was dressed up as David Spade, and David Spade was dressed up as Teri Hatcher. To quote Teri Hatcher (playing David Spade), she summed up this movie the best: "Well, you know, I did a movie called 'Black Sheep.' Maybe you saw it the first time, when it was called 'Tommy Boy!'" David Spade's response (dressed as Teri Hatcher): "Uh.. yes. I did see that. You were great, David. I mean, you are very sexy." What a comeback...way to promote your movie there, David. Tommy Boy was good, but this one was rushed out to capitalize on that movie's popularity. Fans shunned Black Sheep. There are a couple of scenes in which one may crack a smile, but all in all it tanked at the box office, it's rank in sales is 1095 spots behind Tommy Boy, and based on the fact that it has only gotten 39 Amazon.com reviews over the past 9 years, I think it's fair to say that this movie just isn't very funny nor entertaining to most people.

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Sure this film is similar, it is also as entertaining. It is worth owning especially considering how cheap it is. Despite some claims on here this film did fine at the box office it made $32,377,000 domestically. This is good considering Tommy Boy made $32,700,000 domestically. The gross was very similar and the cost of production were on par with one another. Considering inflation was not a factor in the differing numbers as well, there is very little to indicate that this film failed. On DVD this film has sold well, granted not as well as Tommy Boy. Regardless making false claims that it tanked and does not compare is a result is simply not true. The film although similar is very good and worth the view.

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Band Baaja Baaraat (2010)

BBB is a remarkable film and one of the freshest one to appear in recent times and certainly has repeat viewing value. A talented debutant director, Maneesh Sharma, a great writer Habib Faisal and two young actors put on a remarkable show with the script serving as their vehicle. BBB is about the new changes that have appeared in Indian Cinema, the star system is largely reserved for big names and releases but a younger generation of storytellers and directors are making the stories fresher and livelier. BBB captures the business of wedding planning and the essence of the drive of young entrepreneurs who are trying to make it big.

Bittu ( Ranveer Singh) is in college but dreads completing it as he would have would have to go back to his village to work with his father. Shruti ( Anushka Sharma) is in the final year of college, but education is only an obstacle, she wants to put together a successful wedding planning business before getting married to any man of her parents choice. They met at a wedding and soon end up as partners in a wedding planning business. Their partnership is successful and they start getting busier. After a unusually successful wedding, they celebrate with alcohol and end up sleeping with each other. Bittu does not want a relationship but Shruti has fallen in love with him. This starts affecting their partnership and a result they part ways.

BBB works because the casting is superb, Anushka and Ranveer Singh, they sizzle and burn the screen with their energy and chemistry. Most of the characters speak with a North Indian accent and the dialogue delivery and writing is flawless. Anushka shows that she is here to stay and Ranveer can be safely assumed is destined for greater things i.e. if he makes the right choice of films and does not mess things up for himself. His energy reminded me of a young SRK in Kabhi Haan Kabhi Na. The movie has a great soundtrack and each song is a blockbuster. The songs have been pictured beautifully, colorfully and capture just like the film, the euphoria of a wedding in India. Not to be missed. Five stars.

It is damn hard for a gal and a guy especially when they're good-looking to remain simply platonic friends. And BAND BAAJA BAARAAT demonstrates this yet again. BAND BAAJA BAARAAT (meaning: "Bands Horns and Revelry") is a pretty good Bollywood romantic comedy, of which first half is tremendously entertaining. But then we get to the post-intermission stuff.

Bittoo Sharma (Ranveer Singh) is a farmer's son attending a Delhi university. Bittoo blanches at the notion of going back home to work in his father's sugar cane fields, and maybe it's to distract himself that he goofs off so much during his senior year at college. Crashing a wedding party one evening and about to cram some good grub on his plate, he's called to task by disapproving fellow student Shruti Kakkar (Anushka Sharma). Shruti, who with her aunt had coordinated the wedding party, isn't about to feed uninvited riff raff like Bittoo. They become friends anyway.

Shruti is one of those ambitious young women who knows her own mind, has a crystal clear vision of her future. She's given herself a five-year timeline in which marriage is kicked to the curb so that she could focus on launching her own wedding planning company. When Bittoo's father comes to Delhi to buy a tractor and to take his son home, a panicky Bittoo declares that he also has gone into the highly lucrative wedding planning business. He even talks Shruti into taking him on as her business partner.

The extremely career-oriented Shruti has one caveat: "Jisse vyapaar karo, usse kabhi na pyaar karo." Translation: "Don't mix business with pleasure." But we all know how that works out.

As mentioned, the first hour of BAND BAAJA BAARAAT is immensely watchable. It tracks Shruti and Bittoo's fledgling "Shaadi Mubarak" the name of their wedding planning venture as it gets off the ground. Shaadi Mubarak builds up its rep by making a success of a series of low-budgeted weddings. It's fun to observe Shruti and Bittoo applying their imagination and resourcefulness and their friends to bolster their meager purse. These scenes are enlivened with a fusion of vivid colors and bright exuberance and an infectious joyfulness all of which happen to be some of the best elements in Indian cinema. I loved it.

And then the expected happens, and the story spirals down to this glum melodrama. Everything falls apart for Shruti and Bittoo. And the fiance whom Shruti has been keeping a secret from Bittoo (and from you and me) is the least of their problems, really.

So promising in her debut in RAB NE BANA DI JODI (awesome movie!), Anushka Sharma doesn't let you down here. Her terrific acting anchors the story and drives the film's emotional beats. This is Ranveer Singh's first picture and he's energetic and has presence. There's a playfulness about him, and he delivers his lines with the mischief of an Akshay Kumar. But Ranveer's performance isn't as nuanced as Anushka's. He certainly doesn't inject as much substance into his character. Still, I wouldn't be surprised if the ladies in the audience, in eyeballing him, are boisterously practicing their wolf whistles. And you can't discount that spark between Ranveer and Anuskha.

The item numbers can be savored for their liveliness and for the dazzling colors of the costumes and the sets, but the songs themselves are lacking that immediate punch. The choreography is sort of tame, even that of the intended showstopper "DumDum," in which Bittoo and Shruti fill in for Shah Rukh Khan who can't dance at the lavish wedding because of an injured leg (and, no, Shah Rukh isn't in this movie at all). I will say that Anushka Sharma is very graceful in her dancing. And if you're an actor who can act AND dance in Bollywood, then life for you, friend, is an endless parade of "band, baaja, and baaraat." Hopefully I used that phrase right. BAND BAAJA BAARAAT rates 3.5 out of 5 stars, based on Anushka's performance and that satisfying first hour. Oh, and also on that pretty damn sexy kiss exchanged between Anushka and Ranveer. Once in a blue moon, Bollywood does get steamy. Only, how often do you get a blue moon?

What I've got is the two-disc set. Disc 1 has the feature film and an option to select the film's musical numbers for viewing. Disc 2 has the following bonus features, enough of them in English that non-Hindi-speaking viewers can more or less follow along:

Making of the Film featurette (00:21:36 minutes long)

Making of the "Ainvayi Ainvayi" musical number (00:05:31 minutes)

"BBB Sangeet Event" a show promoting the film, the highlights of which are Ranveer Singh and Anushka Sharma's live stage performances as they dance to songs from the movie and also their hosting of a "Who's the Best Jodi?" contest (00:23:05)

BBB Wedding Event Anushka, Ranveer, and director Maneesh Sharma attend a wedding (00:05:16)

BBB Wedding to promote the film, the production company throws a wedding bash on a dhow cruise in Dubai (00:03:57)

5 Deleted Scenes with no English sub-titles (totaling 00:12:04 minutes)

theatrical trailer & promos

and two music videos: "DumDum Remix" and "Tarkeebein"

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All I can say is WOW! What a HUGE SURPRISE this movie turned out to be! One of the best Bollywood's I've seen. Very fun and colorful, but also touching, and romantic. The on screen chemistry between the two leads is amazing and real. Premise; Typical story where she's the hard worker with the big dreams, and he the slacker who's just at college to party. She tells him she's starting a wedding planning business right after graduation. He laughs at her ideas, until his Dad comes to the school to take him home. When he realizes that he doesn't want to go back to the sugarcane fields for the rest of his life, he lies and tells his Dad that he's going into business with her. They agree to run their business honestly, just as friends -no strings-no romantic involvement. Starting out small, they quickly build up, by delivering inexpensive, cute and extremely fun weddings. Moving onto bigger and better, one night after their first bug success, they get drunk, and sleep together. (This is actually a very sensual, romantic, and beautiful scene. ) In the morning she realizes, that she loves him, but he's freaked out by the whole thing. They are already best friends, but he doesn't know how to react, and he screws it up big time. They fight, and it escalates until they split, and break up the company. As all their success came from working together, it's no big surprise that their business fails separated as they are. They are both really stubborn, and refuse to work together. A HUGE prospective client comes to them and tells them that he will only work with them if they agree to work together. As they are now in debt on their own, they agree for only this one time. The ending credit scenes with the curtain call of all the couples that they helped is really cute. Loved the fun feel in the first half, and typical Bollywood style, second half is more dramatic, and serious. This movie made me laugh out loud though, very fun, and highly entertaining!

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I watch this one over and over again and root for the two business partners to become life partners. Well done!

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Love the movie. It is perfect, the DVD is ok well done well packed. I love Bollywood forever and ever.

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New York, I Love You (2009)

One of the advantages or disadvantages of being my friend (depending on who you ask and after which film) is that I will undoubtedly make you watch a movie you might not ordinarily have chosen for yourself. Usually this works out well and we can uncover a little gem or perhaps an ambitious picture that doesn't quite hit the mark but is noteworthy nonetheless. Rarely, however, do I have to apologize. Unfortunately, that's precisely and instinctually what I did when the credits rolled on "New York, I Love You." I turned to my friend and said "I'm sorry." What seemed like a can't miss proposition--talented directors, top notch cast, a charming template in "Paris, je t'aime"--became one of the most disappointingly painful experiences of my movie year. Where "Paris" had romance and charm amidst its highbrow artiness--"New York" just has self-conscious pretensions.

Constructed, just like "Paris," in vignettes by varying directors--"New York" never succeeded in bringing a unifying sense to these disparate stories. Some were baffling, some out-of-place, some seemingly without point. The one thing they all had in common was an air of stifling self-importance. The complete lack of playfulness, humor and absurdity (or color, this is a very white New York) really does a disservice to a city of great vitality. But based on these maudlin tales, I wouldn't be offering this DVD up for sale at the tourism bureau. I have a feeling that those who love this movie will think that everyone else has missed the point--perhaps aren't sophisticated enough. But having been called a film snob, seen almost everything in existence, taught graduate studies in film--I can assure you that I didn't miss this film's "point." I missed its heart and soul.

Oddly enough, the segment that sticks out like a sore thumb is Brett Ratner's (the film's most commercial an oddest choice of director) piece. Why? It is the only segment with humor and an actual through-line plot. So out of place, but at least it works with a little actual feeling in its slight story. Other than that, I enjoyed exactly one other moment when international star Maggie Q avoids an attempted pick-up. "New York, I Love You" really is put together by talented people--I have other films by some of the directors in my DVD collection. I wished they had attempted something less "significant" and more real. With Shia LaBeouf, Natalie Portman, Bradley Cooper, James Caan and the wonderful Julie Christie--even these draws couldn't bring me back to "New York" again. KGHarris, 9/10.

(2008 HOLIDAY TEAM)A dozen stories. Ten filmmakers. 103 minutes. If you do the math, you will draw the same conclusion I did that there isn't much time for a viewer to make an emotional connection with every episode presented in this all-star 2009 omnibus tribute to New York. An eclectic group of global filmmakers, some well-known, others on the verge, had to meet certain requirements to make the final cut they were given only 24 hours to shoot, a week to edit, and the result had to reflect a strong sense of a particular NYC neighborhood. The cumulative effect makes for a moody portrait of the city through various couplings, but due to the contrivance of its structure, the film falls short in bringing a deeper emotional resonance to the themes the creators want to convey.

With a couple of key exceptions, the film appears to be more of a valentine to Lower Manhattan. Consequently, there is a fashionably edgy look to the short stories. Israeli-born French director Yvan Attal epitomizes this feeling in two episodes. The first deals with an aggressively talkative writer (an irritating Ethan Hawke) throwing a barrage of romantic and sexual overtures at a sleek Asian woman who appears to have heard it all (Maggie Q). The other is marginally better, focusing on a chance conversation outside a restaurant between a woman taking a cigarette break (an effortlessly sexy Robin Wright Penn) and a man intrigued by her emotional availability (Chris Cooper). Both have O. Henry-type twist endings that make them ultimately entertaining.

A couple of other entries feel more gimmicky by comparison. Brett Ratner's mostly comic entry features Anton Yelchin as a naïve high-school student and Olivia Thirlby as his unexpected prom date with James Caan as her pushy pharmacist father. Mira Nair directed a flat culture-clash encounter between two savvy souls a Hassid woman about to marry (Natalie Portman) and a Jain diamond dealer (Irrfan Khan) who become mutually intrigued by their price negotiation meeting. Other episodes feel even more cursory. Portman wrote and directed a brief episode focused on an ebullient toddler (Taylor Geare) and her father (Carlos Acosta) having a play date in Central Park, highlighted by a brief dance performance from Acosta at the end (he is a Cuban-born principal dancer for the Royal Ballet). Chinese director Jiang Wen led Hayden Christensen, Andy Garcia and Rachel Bilson on an empty roundelay of deception and humiliation among thieves at a bar.

Japanese director Shunji Iwai was at the helm of a slight episode featuring Orlando Bloom as a frantic musician working against deadline, while Turkish director Faith Akin shares a brief story of obsession with Uður Yücel as a solitary artist who wants to paint the face of a local Chinese herbalist (Shu Qi). The entry from Allen Hughes (of the Hughes Brothers) consists mostly of a continuing voiceover of two regretful lovers (Bradley Cooper, Drea de Matteo) hesitant to follow up on their passionate one-night stand. The oddest, most dispiriting entry comes from Shekhar Kapur who directed a script from the late Anthony Minghella (to whom the film is dedicated). It stars Julie Christie as a renowned opera singer returning to a posh Fifth Avenue hotel where she bonds with a palsied, Slovak-accented bellboy played by an overly sensitive Shia LaBeouf. The nature of their relationship is never really divulged, but it ends on a surreal note of little consequence.

Directed and written by Joshua Marston, the best episode is perhaps the least ambitious as it features Eli Wallach and Cloris Leachman as an aged, bickering couple on their way to the boardwalk in Coney Island for their 63rd anniversary. The reassuring way she places her head on his shoulder is easily the most touching moment in the film. All in all, this stylish hodgepodge will appeal mostly to those who are drawn to the short story format. Benoît Debie's sharp cinematography at least brings a consistent sheen to the film as it tethers the various storylines to a New York that feels mired in a cinematic fantasy. I just think Woody Allen's "Manhattan" executes on the same approach far more effectively. The extras on the 2010 DVD include a handful of additional scenes (though not the two deleted segments directed by Scarlett Johansson and Andrei Zvyagintsev), interviews with five of the directors and the original theatrical trailer.

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The producers of the bold, uneven yet ultimately rewarding Paris, Je T'Aime (Paris, I Love You) tried to recreate the magic in New York. Unfortunately, they've fallen short. 'Paris' was 18 short films of about seven minutes apiece. Many worked, some did not. The best thing is that each film was a totally separate piece. For the entries you didn't cotton to, you knew there might be a gem just a couple of minutes down the road.

By contrast, the New York film is comprised of 11 longer pieces of approximately 10 minutes apiece. More notably, characters from separate pieces often cross paths...and some pieces are cleaved into parts and reappear later in the film. That means you might see Hayden Christensen or Ethan Hawke later in the film...even when you sag your shoulders when they pop up in the first place.

The only piece that will stick with me was submitted by the always wonderful Mira Nair (The Namesake, Monsoon Wedding). Her film with Natalie Portman and Irrfan Khan is transcendent. The smiles emitted by Portman and Khan in their duely imagined ceremony (you have to see the film to appreciate what I mean there) makes the entire viewing worthwhile.

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New York, I love you too-that's why I enjoy seeing places familiar, less and more iconic, used to enhancing a mosaic of events New York-linked characters are somehow interacting involved in.

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"New York, I Love You" is quite an ambitious project. It represents part of what is referred to as the "Cities of Love" series, which was started by the successful "Paris, je t'aime" (2006). Like its predecessor, "New York, I Love You" tries to capture love in all its facets, provided by the vision of several directors, resulting in a charming and touching film.

The stories, as its name implies, take place in New York City, of which we see some of its scenery, but it could have really taken place anywhere else. They feel like universal stories and each one embodies the particular vision of its director, which included Yvan Attal, Allen Hughes, Shunji Awai, Wen Jiang, Mira Nair, Joshua Marston, Brett Ratner, Natalie Portman (her directorial debut), Shekhar Kapur, Fatih Akin, and Randall Balsmeyer. Kapur's segment was originally slated to be directed by Anthony Minghella, who passed away just before the filming began. Two segments, directed by Scarlett Johansson and Andrey Zvyagintsev, were not included in the final version of the film, but are added as extras on the Blu-ray release.

Mixing ten to eleven stories in one movie means that each one has to be short in time, and that is precisely what we get in "New York, I Love You." There is a story about a Jewish lady that is getting married to a Jewish man, but is attracted to the man of Indian descent (he is also to her) who sold her the nuptial ring. This is my favorite segment of the film. There is also the story about a thief that unknowingly steals from the girlfriend of another thief, just to gain her affection. Then, there is a segment about a pick-up artist that meets his match. Another favorite is the one in which a pharmacist convinces a young man to take his daughter to the prom. Unbeknown to the young man, the girl happens to be handicapped. Although each story is different, some of them are somewhat connected with the same characters, but most of them are not. However, continuity is not really an important factor here. It's all about different kinds of love in the big city.

"New York, I Love You" has an impressive cast old and new Hollywood -that includes Natalie Portman, Andy Carcia, Bradley Cooper, James Caan, Ethan Hawke, Julie Christie, Hayden Christensen, Orlando Bloom, Christina Ricci, Robin Wright Penn, Chris Cooper, Rachel Bilson, Eli Wallach, Cloris Leachman, John Hurt, and many more. The music and the cinematography are also impressive, and really enhance the stories. Can't wait to see the next installment of this very interesting series. The BLU-RAY includes interviews with director, Brett Ratner, Mira Nair, Yvan Attal, Josh Marston, and Shunji Iwai; the two additional segments not included in the film; and the theatrical trailer. (France/USA, 2009, color, 103 min plus additional materials). Reviewed January 31, 2010. Vivendi Entertainment. Reviewed on January 31, 2010 by Eric Gonzalez exclusively for .

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Do the Right Thing (Blu-ray + DVD) (1989)

In only his third film, Spike Lee created a classic that is both socially relevant and artistically accomplished. By focusing the actions at one location in one day, this film reminds us that race relation cannot be improved if we don't improve the way each one of us interacts with everyone else. The film's finale is notable for its echos of real events that occurred not long before the film was made, and its prescience of events to follow. It is an unforgettable movie scene that shows how intolerance can victimize everyone. Nevertheless, the apocalyptic vision of the final scene did not sit well with some critics. Is it a call to end violence or to start violence, they asked. In the film Lee seems to say there are no easy answers.

Somewhat overlooked is the fact that the film also makes keen observations of lives of American black underclass, especially in the portrayals of the "cornermen". Their exchanges are as amusing as they are trenchant in commenting the state of affairs of lower-class blacks. And through them, Lee takes the uncompromising position that sometimes the underprivileged can also be victims of their own mentalities.

Also, Lee subtlely shows the many faces of racial intolerance. While Sal's son Pino overtly hates blacks, and Buggin' Out is overtly intolerant of whites, but is the attitude of Sal himself really conducive towards racial harmony? Does he have a desire to get to know his neighbors, or does he simply want to "have no trouble with these people", as he puts it? By leaving this aspect ambiguous, Lee makes us think just what IS the right thing to do...

Despite all the criticisms against him, I believe Lee tackled the difficult subject as intelligently as any director could have done.

The Criterion DVD contains most of the supplements in the Criterion laserdisc released in 1995 -audio commentaries, cast meetings and screen tests, 'Making Of' documentary. New supplements include Lee's press conference at the '89 Cannes festival, video interview with editor Barry Brown, "Fight the Power" music video, and a video segment showing the filmmakers re-visiting the Bed-Stuy neighborhood.

The DVD's video quality is characterized by deep, rich, saturated colors which cinamatographer Ernst Dickerson so brilliantly captured in order to create a feeling of overwhelming heat (literally and figuratively). There is a Dolby Digital 2.0 audio track (Prologic-decodable to surround), and a PCM stereo track that actually sounds brighter and crisper than the DD track.

Spike Lee's 1989 film Do The Right Thing is among a handful of films that rise above the level of actual entertainment. It is thought-provoking, educational study of race relations. The film takes place during one extremely hot day in the Bedford-Stuyvesant section of Brooklyn. The neighborhood is predominately black, but the film centers around a pizzeria owned by Sal (Danny Aiello) who is white. All of Sal's customers are the black, but on his wall he has pictures of white film and music stars. This is a source of irritation to some customers, especially the radically minded Buggin' Out (Giancarlo Esposito). But Sal refuses to change and he goes about his business. Sal's two sons, Pino (John Turturro) and Vito (Richard Edson) also work at the pizzeria as does Mookie (Mr. Lee) who is Sal's delivery boy. Pino is highly bigoted and isn't afraid to let his opinions be know, while Vito is more sensitive and adverse to confrontation. Real life husband and wife Ossie Davis & Ruby Dee appear as the neighborhood elders, Da Mayor & Mother Sister who are constantly trading humorous barbs at one another while dispensing advice to the locals. Other interesting characters such as Radio Raheem, Sweet Dick Willie & DJ Mister Senor Love Daddy are featured throughout the film. Mr. Lee does a brilliant job of conveying the extreme heat that has overtaken the neighborhood. You can almost feel the heat while watching the film. Tensions also slowly rise through the film until the climatic riot scene where Sal's pizzeria is burned down, started by Mookie throwing a garbage can through the window. This is particularly devastating to Sal as he genuinely cared for Mookie and can't believe Mookie would do this to him. Mr. Lee's message in the film is that one doesn't know exactly what the right thing is. He illustrates this by the messages of Martin Luther King, Jr. and Malcolm X. Dr. King was for a peaceful solution to racism while Malcolm X said to fight for equality by any means necessary. Is passively sitting back right or is violence right? Mr. Lee never answers the question, which is exactly his point. Do The Right Thing was shunned at the 1989 Academy Awards garnering only a nomination for Mr. Aiello (which was richly deserved) in the Best Supporting Actor category. Ironically the film that won Best Picture was Driving Miss Daisy which was the stereotypical Hollywood portrayal of blacks as subservient workers and the type of film that Mr. Lee's pictures were the antithesis of. All in all, Do The Right Thing is a brilliant movie and one that deserves all the accolades that it received.

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I remember a female friend of mine telling me she watched this film, and at the end stood up crying and yelling, "stop fighting! " This movie provokes you in that way. That Spike Lee managed to get these severe reactions from his actors even the ones opposed to him onscreen is brilliant. I doubt anybody in the cast completely agreed with his final product, but that is what makes this movie so moving. I wish other directors/producers would have the guts to tackle any subject as faithfully as Lee has here. I have followed John Turturro's career since "Do the Right Thing", and I'm barely able after all this time to forgive him for some of the things he says in this movie. Yes, it's only a movie. And Spike Lee is only a genius. To my friend who shouted in the theater, I can only say I wish this movie didn't have to be made.

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In all likelihood Spike Lee's most important achievement as director, writer and actor (though to my taste Mo' Better Blues is just as good a picture) and one of the strongest films you'll see about race relations, `Do The Right Thing' looks dated at times, but it lost none of its impact and relevance. The movie takes place in a particularly hot day in a primarily African-American neighborhood in Brooklyn, and follows the various personalities who live there throughout the day; the center of the story is Sal's Famous Pizzeria its owners, some of the few white people living in the neighborhood: Sal (Oscar nominated performance for Danny Aiello) and his two sons (John Torturro and Richard Edson), and Mookie (Spike Lee himself), the black delivery boy. What starts out as a light, entertaining movie with some amusing characters and light humor, gradually builds up tension to the point of being unbearable, up to the dramatic and tragic climax. Spike doesn't put as much emphasis on the characters themselves as he does on the relationships and the tension between them; and in this image of a very specific and small frame in time and place, makes a strong and important message about racism and race relations in general.

The film is populated with many different characters, all of them very memorable and each one a representative of a certain belief, mode of behavior or state of mind on both sides of the conflict. From the uninhibited anger of Buggin Out (Giancarlo Esposito) and Radio Raheem (Bill Nunn) on one side and Pino (John Torturro) on the other side, to Jade (Joie Lee, Spike's sister in the film and in real life) and Vito (Richard Edson), who are trying to connect and live at peace with the other side, to Da Mayor (Ossie Davis), in his isolated but peaceful state of mind, living in complete peace with the world around him, and Smiley (Roger Smith), living in his own isolated existence. Then there's Mookie, who is stuck in the middle, torn between his commitment and responsibilities to both sides. Finally we have Mister Senor Love Daddy played gorgeously by the one and only Samuel L. Jackson, in one of his finest performances half active character and half all-knowing narrator who represents the voice of reason in the conflict, the reason which is bound, ultimately, to collapse. Each and every character plays an important part in the climatic and dramatic conflict to which the movie builds up, and though it's the radical ones Buggin Out and Radio Raheem who trigger the events that cause the tragedy, they are not necessarily the ones who finish it. It is Mookie and Sal, in fact, who ultimately play the main part.

Do The Right Thing is not an easy watch; it's a mesmerizing, tense, difficult film that breaks many taboos and slaughters many holy cows. But in the end of it hopefully you'll be wiser than you were in the beginning, and that's what Lee have always tried to achieve in all his films. Watch it to get a real view on racism that doesn't duck the difficult issues and isn't afraid to tackle the real problem, and to see a master director at work. It's one of the best films of its time.

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The first time I've seen Spike Lee's "Do the Right Thing" was at the theater and the movie refused to leave my mind for about several weeks. It just kept replaying itself constantly in my mind of the events and the turn a bouts of the story. The writing is so sharp and the movie is hilarious as well as the only movie to make Roger Ebert cry.

Deceptively open and simple in its presentation, this is one of the most complex and layered movies about human relationships that I have ever seen during that time. This movie is every bit as compound as its subject matter. I disagree with those who characterize the film as "preachy." Quite to the contrary, I think the genius of the film is precisely in the fact that Spike does not tell the viewer what to think he just compels you to think.

Spike spends most of the movie setting up his characters and their situations, some are comedic, some are dramatic, and some are both. The acting is naturally great, with John Turturro, Danny Aiello, and Spike himself standing out as the best played and most interesting characters. The movie looks very much "of the 80's" as far as fashion and things like that go but that doesn't take any power away from the movie. But the biggest question people seem to have after they have watched this movie is about doing the right thing and whether or not Mookie did it. Spike always only says that he's never been asked that question by a person of color. However my feeling on the matter is this: Did Mookie do the right thing? No. Did Sal do the right thing? No. From the time that Radio Raheem comes into Sal's at the end, not one person does the right thing. Not Mookie, Sal, Radio, Buggin Out, the cops, or whoever. Everything horrible that happens could have been avoided if one person had done the right thing, and yet nobody does.

I think that's why the movie stuck with me. Most movies would show everyone (or just the "hero") doing the right thing and everything turning out happily, but that's not what usually happens in reality. Too often people give in to their worst instincts. In here we have New York explodes over a seemingly little incident because racial tensions are always just below the surface. This film is truly a work of art and out all Of the Spike Lee movies I've seen this is one of his finest. "Do the Right Thing" is one of the signatures of an American classic.

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Bachelorette (2012)

On the surface the movie is about three girls who are bridesmaids for one of their friends. The night before the wedding the bridesmaids mess up the bride's dress and have only hours to get it fixed before the wedding. While the movie is a comedy and has some really funny parts, it mostly has very serious undertones. One bridesmaid is a former bulimic and control freak and upset that her life is not on track, another bridesmaid struggles with drug addiction (coke) and her complicated relationship with an ex, and the last bridesmaid, who also abuses drugs and alcohol, is promiscuous to feel better about herself.

This movie is nothing like Bridesmaids which has a lighter tone and typical SNL humor. Bachelorette's humor is dark, raw and often sexually profane (may be offensive to some). The movie should have been given a different title so it would not be compared to Bridesmaids. They are nothing alike. It seems that the writer's were going more toward an American Pie/Get Him to the Greek type of humor.

On a positive note, the acting is good and all of the lead actresses give it their best with what they had to work with. I enjoyed it enough to be glad that I watched it. It is the type of movie that left me thinking, "wow, that could have been a really good movie with some changes in the writing and screenplay." The characters could have been developed better to make the audience care more about them and their plights. The real gem of this movie is that the characters are "real" girls with "real" problems that many audience members can relate to. The writers could have toned down the coke emphasis which seemed awkward and out of place in this movie...at least for all three main characters. Overall it was still entertaining and the cast made it worth watching.

I don't know why I'm the only one who likes this move. Dark, brilliant zingers whiz by the audience's heads like darts in Raiders of the Lost Ark, and three flawed to the point of cruel main characters repeatedly get their asses handed to them until they consent to grow up. Who needs traditionally likable, anyway?

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the movie was outstanding. i laughed so hard i almost peed myself. if you don't watch this, you are seriously missing out.

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Better than Bridesmaids. Outrageous but relatable characters. I've watched it 20 times drunk and sober and catch new quotes every time!

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This was the first time I've ever purchased a pre-theatrical release on Amazon and I was hesitant about shelling out $10 bucks, but it was well worth it. I really disliked Bridesmaids and thought that the humor was uncouth, the characters weren't likeable or believable. Bachelorette is the opposite of that. I know 20somethings like these girls; girls who are struggling with the past & that affects their current lives, girls who are control freaks because they are unhappy. I could relate to this movie and I thought their hijinks were hilarious. Even their foul humor made sense in the context and wasn't being done just to gross you out. Basically, I'd recommend this movie to someone and I'm glad I purchased this pre-release.

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How to Lose a Guy in 10 Days (2003)

Kate Hudson plays Andie Anderson a columnist for Composure magazine. Even though she has a degree from Columbia, she is stuck writing a "How To" fluff piece for the magazine. Her latest assignment is to pick a guy, and do all the stupid things girls do to chase a man away. "How To Lose A Guy In 10 Days" is Andie's next challenge to write. Ben is the perfect man for her column!

Matthew McConaughey plays Benjamin Barry an ad executive wanting to break into a market he has never represented before. To market diamonds, his boss believes you have to understand what true love is, so Ben has to make a woman chosen for him, fall in love with him. Of course, Andie is the women Ben has to woo.

Kate and Matthew have so much chemistry on screen that they sizzle. This is such a fun movie. There are many funny moments, and some touching serious ones. You will want to see it over and over again.

A film by Donald Petrie

Here's a highly predictable, yet cute romantic comedy. I have to wonder if these sorts of situations actually occur in real life, but they seem to happen all of the time in the movies. Andie Anderson (Kate Hudson) is a columnist at Composure Magazine. She writes the "How To" column intended for a female audience (Composure is similar to Cosmo or Glamour). The column she agrees to write for the current month is "How to Lose a Guy in 10 Days". She has to find a guy and start dating him, but intentionally make all the classic mistakes that women make in relationships. These mistakes will cause the guy to dump Andie in 10 days or less, which is just in time for Andie to finish her column and get it published.

Benjamin Barry (Matthew McConaughey) works in advertising. He is very good at what he does, but he is known for working on "guy" related campaigns. Ben wants to land his company's largest client, a diamond company, but he is seen as not having the right expertise and style for it. Ben is very good at selling himself and convinces his boss that he can get any woman to fall in love with him (being able to do this is similar to being able to sell diamonds, apparently). His boss gives him ten days, until a party that his boss is throwing for the new client. Benjamin has to be able to prove to his boss that the woman he brings to the party has truly fallen in love with him.

Out of all of the people in New York City, Andie and Ben are going to meet at the perfect time to start dating and try to work out their conflicting assignments. How this happens is moderately clever, and is actually believable if convenient. Andie tries to get Ben to break up with her, though in a cute non-threatening way. Ben is trying to get Andie to fall in love with him, so is willing to put up with everything that Andie throws at him.

"How to Lose a Guy in 10 Days" is incredibly predictable, but it is still an enjoyable movie. Nothing is a surprise, but it is cute and slick and Andie and Ben are two very likable characters. Sure, the movie is not very plausible and not very realistic, but cuteness and likeability goes a long way.

-Joe Sherry

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"How to Lose a Guy in 10 Days" is a truly delightful little movie. It's packed full of laughs and fun and boasts a great cast that gives it the edge over the slew of romantic comedies recently released.

Ben (Matthew McConaughey) makes a bet with his boss that he can get a woman to fall in love with him in ten days to land a valuable advertising campaign (don't ask questions, you'll understand when you see the movie). Andie Anderson (Kate Hudson) is the "How To..." columnist as the hot new women's magazine, Composure. The topic of Andie's next column? How To Lose a Guy in 10 Days, hence the name of the film. If Andie writes the article, her boss, Lana, will give her complete freedom on the topics she writes about Apparently Andie wants to write about "serious" issues. That's great, hon, but why are you working at a glossy fashion mag if you want to write articles on global issues?

Of course, Ben and Andie see each other at a bar and coincidentally choose each other as their "victims". And then you know what happens...

Kate Hudson is an absolute gem! She is sweet, funny, and completely adorable. The audience genuinely likes Kate Hudson, and thus sympathizes with Andie. A big problem with most romantic comedies is that the characters are so dislikable that you don't really care what happens to them. Kate Hudson was able to prevent that.

McConaughey was fine, but I firmly believe that he doesn't really act in films, just plays himself (he plays the same kind of guy in almost all his movies).

Ever noticed how most romantic comedies are really quite funny until they reach that inevitable stage when the two stop hating each other (or whatever was holding them from love) and fall in love? Take McConaughey's "The Wedding Planner" (another film in which McConaughey plays himself), which I thoroughly enjoyed until they fell in love. "How to Lose a Guy in 10 Days" blessedly does not fall under this category. The film is consistently funny through and through and never gets boring.

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Why review this movie? For the simple reason that I was stuck on an airplane for hours with nothing to do. Against my better judgment I decided to check out this 'romantic comedy', a genre that has become a breeding ground for garbage in the past 20 years or so.

Should have known better. If we want to call romantic comedies genre films, then this has all the pieces. And like many genre films these days, it sucks, made of half-baked ideas or the same old ingredients baked to nauseating results. Here's a movie about two people you would never know: he works at a super cool ad agency and has the type of office no one you know has, she works at a Cosmo-like magazine writing vapid columns for vapid people in a vapid office. They both make bets with their respective bosses: he'll get a girl to fall in love with him in 10 days, and she'll get a guy to dump her in 10. Want an easy solution to lose someone in a weekend? Start here.

The characters are happy, beautiful people living in impossibly large Manhattan apartments in your typical romantic comedy New York (which means full of rich, pretty people and none of the grit of the real city). They make a bet that they can basically ruin someone for the sake of their jobs, both of which are appropriately hollow professions (he is trying to sell diamonds to more women, she is doing columns for your typical New York society ice queen boss). Of course this means we'll see him be the nicest guy on the planet (cooking, court side Knicks tickets )for her while she tries to make his life a living hell (buying a puntable little dog who does his business on the man's pool table, interrupting his poker night, etc.) But of course, he has to try and work it out as his job depends on it. Meanwhile most men would have booted her and the dog in a jiffy.

The movie flat out insulted my intelligence. It has the obligatory scene where he takes her to his humble beginnings, which in this case is Staten Island, a place they want to portray as more down to earth, romantic, homey, etc. Blah. Kate Hudson may be nice to look at but she has none of her mother's famous expressions and in general, she has about half the talent. Matthew Mc-whatever is his same down-home nice guy.

Romantic comedies do not have to be this sappy and cheesy and insulting. Movies like this border on contempt for audiences. Who can relate to these characters? Who cares in the end? I guess it's a safe investment for a studio. Avoid, unless you want to lose more respect for Hollywood in two hours. And if you're stuck on a plane, ask for a gin and tonic and go to sleep.

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... Start with a good script that includes a twist, and add good acting and as much humor as possible. This movie has these elements. Kate Hudson plays a "How To" columnist for a fluffy women's mag, but she really wants to write about serious subjects. She is trying to impress her boss (Bebe Newirth) enough to earn free reign on her writing. In this process and after her coworker whines incessantly about being dumped, Hudson opts to write a reverse How To on what turns guys off. She must find a guy that will fall for her, then do everything that women do wrong in relationships. Concurrently, Matthew McConaghey plays a sharp-shooting, go-getter ad exec who has thus far worked predominantly in the sports arena. He would like to break into the very lucrative world of jewelry. What stands in his way? Two lovely ladies who believe they can do it better, and have the ear of McConaghey's boss. McConaghey makes a bet that he can make any woman fall in love with him in 10 days, in order to prove his adeptness at knowing and being able to speak to the female mind. His opposition, having overheard Hudson's latest assignment, pick her seemingly randomly as McConaghey's target, thinking he's sure to lose. This is how the couple comes together. The rest of the movie is how they come apart ... and it's funny. Actually, it's almost uncomfortably funny. Your sides will split in laughter in parts of the movie. Plus, you'll wonder how Kate Hudson ever managed to get through the embarrassingly funny things she did in her attempt to scare off unsuspecting McConaghey. Kate's performance is perfect. In the end, as you just have to know, the truth unravels with the unwitting help of McConaghey's sidekicks. All in all, this movie has everything ... a good plot, good acting, lots of laughs, and ample chemistry. This one is a must for the avid romantic comedy collector. (and guys should like it too)

As for the DVD itself ... The deleted scenes aren't bad to watch, but the movie wasn't missing anything for having left them on the cutting room floor. I don't know about you, but I never really get into the lengthy commentaries so I haven't gone there to speak about it.

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K-On! Vol.2

K-ON! vol 2 continues the first season of the series. Though more of a sitcom style series (there is no real overlying plot, aside from the general background oh high school life) with each episode bringing up new adventures and possibilities. But K-ON! is better known for the adorable characters (Mio Akayama has an insanely large otaku following), the fun music, and, most important, the mood that the series cultivates. This series has such a feel-good take on friendship that it makes for a really fun slice of life style anime.

I love the K-ON! series (including the K-ON!! follow up), though i understand the criticism that there isn't much plot development and the characters don't arc much. However, if you are looking for a series wherein you can enjoy a fun cast of characters and join them for their afternoon tea, then this will prove to be a rewarding series. You will like this if you enjoyed Azumanga Daioh. it has a similar feel.

a note on the product: 100 minutes seems not much (half of a short season). but if you already got volume 1, this will make for a necessary follow up.

While volume 1 set up the characters, volume 2 sets the story in motion. Containing episodes 5-8 we get to see the girls have there first concert, throw a Christmas party and try and recruit new members. Overall volume 2 really picks up the pace and for me things flow nicely. One of the things I love about K-On as a whole is that it's not a series you have to focus the whole time, you can just check your brain at the door sit back and enjoy a good light hearted comedy. The real star of the series is ,as corny as this sounds, the music itself.

Now getting to the basics of this volume, The voice acting from the English dub team at Bang-Zoom continues to improve and the actresses are getting better and more suited in there roles. However the Japanese version is still my preferred track. A lot of people have complained about the 2.0 stereo track, while yes I would love to have the dub in TrueHD 5.1 Lossless audio, It doesn't bother me that much and both tracks come though clear and with good quality. The bonus features are well done with a interview with Cristina Vee (English voice for Mio) as well as an English version of the one of the songs "Fuwa Fuwa Time" witch sounds really good in my opinion.

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K-On is an excellent Series, Combining Musical Features with Reality, Making it feel like you are apart of a band! (I have Previous Band Experience.) Going through the motivation, and fun events and learning about each-other more and more.

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I think that this anime is one of the best, in my opinion. It's smart, funny, and original. If you want to see the lives of some not-so-ordinary teenage girls who build their own rock club, I suggest you watch this. The main character is a girl named Yui Hirasawa who joins the dying club, and discovers just how much she loves music and being with the friends who help her along the way. And in this volume, the high school adventures continue. Great for everyone of all ages!

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It was a great DVD no scratches top quality product, shipped fast and in one piece. I loved it 5 stars

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Wrong (+ Digital Copy) (2012)

I didn't like Rubber much, but the movie had some really good moments, so I decided to give the director's new movie a try. It turned out to be far more suited for me I couldn't stop laughing during this one, and kept smirking to myself with remembered scenes for a few days afterwards. All of the enjoyment of this movie comes from layered absurdity notable because of the artfulness of the situations (it definitely isn't American slapstick). Speaking of artfulness, the movie has a very pleasant bout of cinematography and soundtrack, making it a very well rounded comedy. I'll be sticking it back in my player more than a few times.

Dupieux has quite a one-of-a-kind style. Wrong and Rubber really stand out from the crowd. I wonder if he'll be sort of be like the "Wes Anderson" of comedic films.

It was absurd. Perhaps I was simply unable to perceive anything else. Perhaps it was absurd for absurdity's sake. Personally, if I could go back in time, I'd tell myself to save my money or rent something else.

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If you're not familiar with Quentin Dupieux, you can start slowly. Watch a few of the music videos he made for his own music (Mr Oizo) as well as for others. Assuming that you had a good laugh and/or that your head started to shake on the beat, you may be ready for what's next.

It's always hazardous to compare a director to another but we'll have to agree that Quentin Dupieux is ideologically closer to Spike Jonze (being John Malkovitch) and Michel Gondry (Eternal Sunshine.../science of dreams) than he is to Michael Bay.

It's surreal, it's really well done, with good actors, great and efficient cinematography and a smart use of music ( that he's co-signing). It's sweet by times, really funny overral, and not like anything you've seen so far.

It's a director's work in a sense that Dupieux is behind the wheel with a total creative control (clap clap clap) and it's not for everybody and oh do we love that !

Each new movie is a milestone. "Wrong" is probably his most elaborated movie so far. I can't wait for the next one.

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Dolph Springer (Jack Plotnick) wakes up one morning to realize that his beloved dog Paul has gone missing, but that's the least of Dolph's problems. His life only begins to get weirder and practically spirals down the drain as he crosses paths with his gardener Victor (Eric Judor), a pizza delivery girl named Emma (Alexis Dziena) who becomes obsessed with Dolph, a strange detective named Ronnie (Steve Little), the mysterious Master Chang (William Fichtner), and Dolph's jogger-in-denial next door neighbor Mike (Regan Burns). Meanwhile Dolph just wants to find his dog.

Quentin Dupieux made the eccentrically absurd yet glorious film "Rubber" and birthed at least one lifetime fan because of it. It was because of that film that the anticipation for "Wrong" was so high. At its core "Wrong" is a more grounded film than "Rubber." Compare a telepathic car tire that makes people's heads explode to a guy looking for his dog and "Wrong" seems like a more traditional experience on the surface, but "Wrong" is actually way more out there than Dupieux's previous effort.

The film begins with a group of firefighters lounging around a fire truck as a van slowly simmers in flames. One of the firefighters starts texting while another drops trow and begins reading a newspaper. The score starts off as this tribute to 8-bit video game soundtracks, but slowly evolves into something more synth heavy that sounds like it's straight out of the 80s. Dolph's clock rolls over to 7:60 every morning and that blank letter he receives with nothing but a stamp on it is never addressed (best accidental pun ever). After realizing Paul is gone, he spends the morning talking to Emma about how absurd it is that the logo of a pizza place would be a rabbit riding a motorcycle when the rabbit is fast enough as it is on its own.

Dolph encounters a police officer who's incredibly indecisive and seems to dislike everything for reasons he won't disclose. Dolph works in an office building where it's always raining inside and his gardener reveals that the palm tree in Dolph's yard turned into a pine tree overnight. A painter likes to paint people's parked vehicles different colors while they're away and Detective Ronnie strings together an elaborate conglomeration of impressive vulgarity. This is only the tip of the iceberg when it comes to the insane events that transpire in "Wrong." It's the type of film where you can reveal everything and the viewer still won't know what they're in for.

Every character acts really strange in "Wrong." The cop (Mark Burnham) and Emma in particular aren't very good actors. Emma's voice is nerve grating and it doesn't really become an issue until she encounters Dolph in person while the cop just seems a bit stiff in his line delivery. Dolph is perhaps the most normal of the bunch, but the unusual behavior by everyone around him doesn't really seem to affect him as he's constantly asking questions that only encourage them. William Fichtner seems to be purposely talking with a bad accent and the Master Chang character relies on incessant rambling.

"Wrong" is like the most insane statement against animal abuse ever. It's never boring and no one will be able to predict where it's headed, but it's overflowing with nonsense and it's sure to be misunderstood by a fair portion of those that encounter it. "Wrong" and "Rubber" do have the concept of telepathy in common, but "Wrong" is otherwise a completely different animal for Dupieux to add to his resume. With all of its robe mocking, its pet kidnapping service, its squeaky turkey dog toys, and most of all its turd memories, "Wrong" is one of the most unique films you'll ever sit through.

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If you enjoyed Rubber, you will enjoy this movie too. Full of great music and imagery, dreamlike atmosphere,and funny absurdity. A breath of fresh air.

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Wedding Crashers (2008)

John (Owen Wilson) & Jeremy (Vince Vaughn) are best buds. They've known each other for 17 years, work together, and in there spare time crash wedding parties; where they drink like sailors, mingle with unsuspecting relatives, and hit on single and willing brides maids every chance they get. They have a whole science to their crashing ( rules and all), and have become quite adept at the sport.

That all changes when they attend a wedding held by Secretary Cleary (Christopher Walken), whose daughter is getting hitched. During the lavish formal affair, Jeremy makes headway with Cleary's physcopath daughter Gloria ( a hilarious Isla Fisher), while John slowly maneuvers his way into the life of the Secretary's other daughter Claire (Rachel McAdams), who just happens to have a steady bo' of her own.

Eventually, after all the formalities-the two are privately invited back to the Secretary's estate, where they play touch football with the family, have formal dinners, sail out on the boat, & get hit on by the Secretary's sex starved wife (Jane Seymour) & his homosexual son Todd (Keir O'Donnell).

Its all very funny and sillybut the great chemistry by Wilson and Vaughn helps the film move at a steady pace. The supporting roles of McAdams and Fishler are nicely fleshed out as well. While no means a great movie, "The Wedding Crashers" is quite funny at times, and overall enjoyable.

Some people have called this a raunchy, gross-out comedy; although I noticed nothing of the sort. Besides the dialogue and a few breast shots, theres really nothing raunchy or gross-out about "Wedding Crashers" at all. It certainly wouldnt fall into the category of "Something About Mary" or the "American Pie" movies.

Vaughn and Wilson definitley shine throughout and appear to be having the time of their lives here....

Recommended.

There were other funny movies this year and this summer. Both "Batman Begins" and "Serenity" were extremely funny and well written in their own witty manners. "Wedding Crashers," however, was written to be a comedy, and I have to say that it takes funny to an entirely new level. Both Vince Vaughn and Owen Wilson have been hilarious before, but the roles they nab in this flick seem to say they were born to star in this movie.

"Wedding Crashers" is that rare movie that combines the comedic excellence of the cast with a very strong, intelligent, hilarious script, and directing that executes the necessary direction flawlessly. Too often lately, I feel as though movie studios have shyed away from "R" rated comedies for many reasons. The "R" rating of course threatens who will actually see a movie, so I understand why studios often create "R" rated movies with caution. What I do not understand, however, is why, until "Wedding Crashers," intelligent, witty, adult-oriented "R" rated comedies seemed to have fallen completely off the radar. For the past 5 years or so, any comedy with an "R" rating (or often a PG-13 rating for that matter) had the rating because of disgusting, gross-out gags that forced laughs because of awkwardness and shock value. "Wedding Crashers" was a sigh of relief because it forced nothing. There were no unnecessary bodily function gags, there were no horribly moronically stupid characters. The movie worked because for the most part, everything seems believable. The characters come off as very real people in an improbable, but still possible situation, and interwined with a "cooky" love story, the comedy works really really well.

I cannot say enough about this film. I was laughing so hard the first 3 times I saw it that tears were streaming down my face. Time #4 I had to restrain myself so I could actually hear the punchlines to the jokes so I couldn't tear-up too much. This movie is great. The characters are great. They are funny, they are sweet, but somehow, they are real. And that is why this movie was so successful. We all have either been, or could see ourselves being Owen and Vince, and they were great. So were Isla and Rachel and Christopher and everyone really. This movie is awesome!

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Wedding Crashers is the story of John (Owen Wilson) and Jeremy (Vince Vaughn), who work as arbitrators, mediating in difficult divorce cases. Each year these two lifelong best friends take the month of June off to infiltrate weddings of every description.

John and Jeremy are natural born shape-shifters, adapting to any circumstance. Armed only with vast quantities of bravado and an ethnically appropriate back-story, these guys are in search of an endless party and beautiful women. As a woman, I felt I should probably be offended on behalf of my sex at their "let's get in, seduce a lot of women and get out" mentality. However, they are so likeable and their tactics are so over-the-top and so shamelessly manipulative, you just can't help laughing. They are also the life of any party. Dancing with the flower girls, tying balloon animals for the kids and schmoozing with the elderly guests, they are also the first ones up for a vigorous hora or polka, pulling the more reticent guests up with them as they go.

As the wedding season closes out, John starts to lose some of his enthusiasm for the enterprise. These "one afternoon stands" are a bit like only eating dessert it might sound really good on paper but it will leave you feeling pretty lousy after a while. He's also beginning to feel that they are a little too old to be doing this sort of thing. Jeremy soon convinces John to crash just one more wedding the wedding of the daughter of U.S. Treasury Secretary, William Cleary (Christopher Walken).

Posing as venture capital high-rollers, John and Jeremy sneak past the Secret Service. John is immediately attracted to Claire (Rachel McAdams), one of the bride's sisters. Saving her from an embarrassingly dismal wedding toast, the two immediately click, but bad timing in the arrival of Sack (Bradley Cooper), Claire's ivy league, horse's rump of a boyfriend, prevent them from getting better acquainted.

Jeremy meanwhile more than meets his match in the form of the bride's other sister, Gloria (the delightfully demented Isla Fisher). After closing the deal (ahem) with Gloria, Jeremy finds himself unable to shake her off. Jeremy describes her to John as "completely off the reservation" and he's not wrong. She is the poster child for clingy and inappropriate behavior. It is interesting to see the 6'5" Vaughn equally attracted to and afraid of this tiny woman.

Jeremy is able to wangle a weekend invitation to the Cleary estate for John to spend more time with the woman of his dreams. The Cleary Clan are one strange bunch: a racist elderly matriarch, Grandma Mary Cleary (Ellen Albertini Dow), Secretary Cleary's sexually inappropriate wife, Kathleen (Jane Seymour), and his wound-way-too-tight artistic son, Todd (Keir O'Donnell).

John and Jeremy survive a game of homicidal touch football and one of the more wildly loony dinner parties ever put on film. You have to admire Jeremy. He is ready to leave almost immediately and endures the brunt of the Cleary Clan's unwholesome attention, but he hangs in there for his friend. After suffering a series of late night, unwelcome and increasingly abusive visits from the various deranged Cleary family members, Vaughn's hyper-verbal panic attacks are some of the funniest scenes in the movie.

Others have covered in great detail the lowbrow nature of the comedy. It is very politically incorrect. It may have you rolling your eyes or even groaning at times. (I suppose I am not that easily offended.) I didn't expect too much going in and was very pleasantly surprised. I found it to be a good natured, high octane romp. If you are willing to adjust your expectations accordingly, you may as well. Vaughn and Owens have a great chemistry. Vaughn's manic energy is a perfect counter to Owens' more laidback, wry style.

Will John be able to woo Claire away from Sack? Has Jeremy found the perfect woman in Gloria? Will they be exposed as the totally lying horndogs they are? (I don't want to spoil the movie for you.) I give it a solid 4-1/2 stars. It loses half a point for a slightly weak and tacked on feeling to the ending. I've never had this much fun at a wedding, and I didn't even have to buy a present.

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This movie was about 30-45 minutes too long. It's like I saw two different movies shoved together so they could succeed in getting a two hour comedy movie released. I am a firm believer in the fact that I don't mind if a comedy is short in the 70-85 minute range as long as it's funny, and this one was that movie, but it just kept going and going. So, let's talk about the first half of the movie, or the 4-star part....Owen Wilson and Vince Vaughn are professional wedding crashers, and they are extremely talented at it, they are sure to get every slightest detail down so no mistake can be made, and for a while everything is going fine, they are eating, drinking and freakin' everything in sight. All the while making us laugh....alot. The lies and the facial expressions these two come up with are just plain priceless. The chemistry between Vaughn and Wilson is perfect, as expected, what is this the 4th or 5th movie they've been in together?

Eventually, Wilson falls in love, breaking 1 of the some thousand wedding crashing rules, and to top it off, the woman Wilson fell in love with (the lovely Rachel McAdams) is the daughter of Christopher Walken, who just happens to be running for office. To add more crazyness to the plot, Vaughn's character nails another one of the daughters, who in turn falls in love with him. Got all that? Good, moving on....The dialogue between Wilson and Vaughn is very funny, most of the jokes work, and while a bit raunchy here and there, it fits well. Now here's where things start to fall apart, both with the movie and our heroe's.

The second part of the movie, or the 2-star part, goes all out on Hollywood cliches' We get the family bickering, the big 'fight' between Wilson and Vaughn, the speech during the wedding , it just seemed forced and that they just ran out of good jokes, so they recycled some old, lamer ones. I saw the ending coming a mile away and the edge and character the movie had is all but gone now.

So, I gave 4-stars and 2-stars, another bit of the 4-star part I rather enjoyed are the minor roles played by Jane Seymour, she plays Christopher Walken's drunk wife with new breasts, and Will Ferrell (surprised? nah, me either, I think there is an agreement with these 3 men along with Ben Stiller to appear in everyone of each other's movies. just a thought) as Chaz, the legendary wedding crasher Vaughn and Wilson are always quoting. He plays a man in his late 30's, still leaving with his mother, now crashing funerals cuz' it's so easy to get laid by a depressed chick, or so Ferrell says.

There are many subplots, most I didn't care for, but be sure and check out Vaughn's confession to a preist at the breakfeast table........priceless!!! and Jane Seymour's half-ass attempt at seducing Owen Wilson with her new ta-ta's, very funny!!

acting......4 stars, You know you can't go wrong with these two

directing....3 stars, 30-54 minutes too long

special effects...N/A, comedy here, not thrills and chills

comedy rating .....4 stars first 70 minutes, 2 stars after that

quality........3.5 stars, Decent picture quality, little grain, but great soundtrack

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this movie is one of the few movies that men and women will enjoy. i love this and this movie is a must own

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