Showing posts with label funny video. Show all posts
Showing posts with label funny video. Show all posts

License to Wed (2007)

License to WedI am a pastor. In spite of everything I do, I know that the statistics are the same for couples I counsel as ones who elope. The divorce rate is still 50%. Statistics are worse for couples living together before marriage.

In fact, recently a couple I was preparing to marry split up weeks before the date. She was planning a wedding while he was planning to leave her. So I watched this movie to do a little cheering up. As I did so, I gained a lot of perspective and insight.

In this hilarious movie (I do want to emphasize it is for mature audiences), Father Frank works in hilarious ways to wipe the innocence off of the faces of the young couple. While they are seeing hearts and roses, he wants them to see and talk about what is real to them. By creating off the chart stressful situations, he helps them to see past the romance and into the reality.

I am actually considering this movie as required viewing for future couples! I can make a list of various scenes to discuss.

This will remain in my library!

What a great movie!! License to Wed I read all the reviews online and was surprised with some of the comments. I think people missed the point of this movie. I viewed it as a satire to marriage preparation; however, there were some great points made. One, with marriage comes committment, trust, communication and children. Two, marriage is never easy and one should not go into it thinking life will be great. Both parties need to learn to communicate and work out the every day issues.

The actors were great-like everyone else I love John Krasinski who I think was perfect for this role.

I highly recommend this movie for a nice easy going, hilarious family movie. My 11 year old daughter could not stop laughing.

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If you are reading this review, you are probably thinking that this movie may be worth while seeing, it has robin williams. Not so. HE could not even save this completely disasterous movie. This follows the trail of a couple who get engaged at her parent's 30th anniversary party, then find out to use the "family" church to get married, they only have 3 1/2 weeks to do so, or it is wait 2 years. During this 3 weeks, they have to pass the pre-marital class ran by the "reverend" played by Robin Williams.

The chemistry of the couple is not believeable, the extent that the reverend goes to is so far fetched it's not funny, and the script has numerous holes/flaws (please see many of the other reviews, so i won't have to rehash). I'm glad I rented this rather than seeing it in the theater. Even one for robin williams loyalists to skip. No wonder MSN ranked this Worst movie of the year.

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There are parts within `License to Wed' that will make you laugh, and even a few scenes that may make you laugh hard, but in the end `License to Wed' cannot be called a good film because quite frankly, it's not. I really wanted to love this film, and while I did like it to a certain extent there were still times when I felt it was almost a wasted evening. I love me some Mandy Moore and really hope that she picks up the ball and makes some better role choices in the near future because her recent film choices have been less than desirable. Now, `License to Wed' is light years beyond the ridiculous and utterly wasted effort that was `Because I Said So' but it is no where near the brilliance that was `Saved' so you see my dilemma. It's fair to midland at best.

The film follows a young and adorable couple Ben and Sadie who are undeniably in love. At Sadie's parents thirtieth wedding anniversary party Ben decides to purpose and this thus starts our little outing. Sadie has always dreamed of getting married at the same church her parents were wed but in order for them to do so they need to take a marriage preparation course put on by Reverend Frank. It becomes quickly apparent to Ben and to the audience that Frank is a psycho but for some strange reason no one else can see that. Ben quickly grows tired of Frank's rules and mind games and soon starts to wage war with the man in cloth only to drive a wedge further and further between Sadie and himself.

Mandy Moore is still adorable here but she falls a little flat due to the poor plot and dialog. John Krasinski is almost wasted here. He ends up being the punch line most of the time, leaving everyone around him to bring whatever funny there is at his expense. In fact, he finds himself upstaged almost every step of the way, even when the only other `actor' on the screen is a mechanical baby (who by the way should have been in EVERY scene). This brings us to Robin Williams. Now I have not seen `Man of the Year' but I hear it was not that rewarding either, so it appears to me that Williams is running into a bit of a snag in his career, going the way of De Niro as of late. This is sad because we all know he has so much more to offer. He offers nothing in `License to Wed' besides over the top antics that are at times extremely annoying. In fact, the funniest thing about Reverend Frank is the choir boy that follows him around everywhere he goes.

`License to Wed' is not going to be a film you remember, which is kind of a word in its defense. While there is nothing outstandingly wonderful to remember, there is nothing painstakingly horrible to remember either. Williams is annoying but forgivable and while the plot is far too overdone it is not like we expected something revolutionary or truly inventive. `License to Wed' is just a movie to pass the time. Something to watch and that's really it. I may never watch it again, but this is the type of film that doesn't warrant repeated viewings. I laughed a bit, sure, but I'll laugh more watching something else.

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The theme seems to be that people many times really don't

know each other well enough when they get married

and as a result marriages don't last.

The family preacher or priest was traditionally the one to go to

for marriage counseling. This movie has the preacher from hell

making the lives of the people he is supposed to be helping

miserable. The motivation and the result of this movie seems to be two different things.

The spying, conniving preacher and his alter boy might be funny

in another universe, but in this movie they are terrifying?

The movie is very bad for organized religion too?

You get feeling really sorry for the clueless couple.

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Jack Goes Boating (2009)

Jack Goes BoatingJack Goes Boating marks the directorial debut of one of America's most accomplished and one of my personal favorite actors, the brilliant Philip Seymour Hoffman. The man has been a spark in such films as Spike Lee's touching 25th Hour and the Charlie Kaufman-helmed surrealist mind-bender Synecdoche, Ny. His direction here is understated, his film shambling but not entirely bleak. Jack Goes Boating is a drifting picture, but it is a winner because of its heart. It could have, given the subject matter, a relentlessly dour experience. Instead, Hoffman incorporates both the happy and the sad in mostly equal measures. A small film, but a success.

The film centers on a neurotic, rasti-loving New York limo driver with a penchant for pot and a nearly overwhelming sense of day-to-day isolation. He latches onto a couple whose marital fabric is stretching from past indiscretions, through whom he is introduced to an equally neurotic young woman named Connie who seems to have a good if oft-trampled heart.

In some ways, Jack Goes Boating feels a lot like a Cheever or a Raymond Carver short story. There is not a lot of action, the story centering mainly on character interactions. It is plodding but never dull. There are many surprises, actually, such as a weird subway scene and a dinner party climax for the ages. Despite what its detractors will no doubt claim, the film strikes a resonant tone. It seems "real", for lack of a better word. Hoffman's performance is understated but always reliable and Amy Ryan is excellent as the damaged Connie. The two leads are ultimately a conjoined foil for the other couple whose marital pains provide the film's moral center, as well as dramatic tension.

Indie enthusiasts take note, the soundtrack is also quite interesting. Though the song choices are generic, the bands represented are some of my favorites, Grizzly Bear and Fleet Foxes among them. Ultimately, this is a soft film with a lot of memorable scenes, snappy dialogue and while it may meander, that is its charm. Very poignant.

Customer review from the Amazon Vine Program Every year, there are a fair share of idiosyncratic character pieces that pop up in the indie film scene that are loaded down with critical hyperbole proclaiming them as comedic masterworks. And nine out of ten times, these films (marketed as comedies) leave mainstream audiences perplexed. "Jack Goes Boating" is a prime example of just such a film--albeit one with a pretty impressive pedigree. Directed by and starring the great Philip Seymour Hoffman with the terrific Amy Ryan providing support, let me make one thing clear before I go any further--I am EXACTLY the audience for this film. In fact, when it was in town theatrically, I was going to go but it only lasted one week in our local movie houses. So I knew what this film was, had my expectations firmly in check, and was eager to jump right in! Well, truth be told, Hoffman's work left me a little cold with its remote awkwardness.

I appreciate films that can mine comic inspiration from the world's disconnectedness. "Jack Goes Boating" assembles the requisite damaged oddballs and brings them together to achieve maximum quirkiness. I'd describe the plot, but it is really rather superfluous. In summary, Hoffman and Ryan play an unlikely pair brought together by their married, but increasingly troubled, friends (John Ortiz and Daphne Ruben-Vega). That's about it. Will the pair be able to overcome their own problems to unite as a post modern example of healthy couple-hood? Or will you care? That might be a far more astute question. On some level, the viewer must be able to connect with the characters--preferably to like them, but absolutely essentially to understand them. Here, the characters stand as constructs--bits of weirdness with no real world explanation to their social deficiencies. If you knew the central characters in your real life, you would run in the opposite direction so as not to be sucked into their unexplained and self-imposed misery.

I didn't hate the movie, per se, I was just completely removed from it. Anyone, however, judging the marketing campaign and picking this up as a robust comedy might feel a bit betrayed. I knew what to expect. Still, Ryan is glass menagerie brittle while Hoffman is monosyllabic awkwardness. Neither character is developed much beyond superficial qualities that would brand them social pariahs. Ortiz stands as the only member of the cast that possessed an iota of joy or genuine warmth--and the film progressively makes him less and less palatable. At the end, I didn't care about anyone in the film and in a program billed as "heartfelt"--this is a major stumbling block. There were moments I quite liked, but as a whole, the picture never gelled to be anything other than odd. KGHarris, 5/11.

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Customer review from the Amazon Vine Program This film was exactly what I thought it would be, and more.

Philip Seymour Hoffman directs and stars in this quiet, quirky film about a man named Jack. Jack and Connie are set up on a blind date by their married friends, Clyde and Lucy. Clyde and Lucy seem very together and ambitious, while Jack and Connie are basically loner losers.

But from this humble, awkward first date emerges a real relationship and passion for life. Throughout the film we see very little of Jack and Connie, or Lucy and Clyde, together, but we really get to know them as individuals and couples.

The perfection Clyde and Lucy exude quickly diminishes to show the tarnished dysfunction they actually inhabit together. The denial and lack of love is painful to watch, while Jack's hopefulness and devotion are truly touching. The lesson this film taught me made it worth watching (the last line is so beautiful).

Some pretty scary and violent (more verbal than physical) moments show the depth of the actors in this film. This is definitely an offbeat film, so it may not be for you.

And the soundtrack is amazing!!

Very quirky and dark, but with enough sentimental moments to endear you, Jack Goes Boating is a good film.

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Customer review from the Amazon Vine Program In his directorial debut, Academy Award winner Philip Seymour Hoffman also stars as the shy and simple Jack. Bob Glaudini adapted his acclaimed off-broadway play for this movie, where Hoffman reprised his role on stage.

Set in New York City, Jack drives a limo for his uncle. Jack's sole friends, Clyde and Lucy, have their own problems and ambiguities. They set up Jack on a blind date with Connie (Amy Ryan) that ignites a narrative comprised of a series of drab superfluous occurrences. The underlying theme seems to be misery and monotony. Jack and Connie are two uncommitted single individuals with their own personal and social issues, and are unconsciously yet successfully withdrawing into the urban background of anonymity. Together and in each other they discover the desire to begin a burgeoning relationship. Ironically, the friends who brought them together are battling the crisis of a failing and unsettled marriage.

So, Jack goes boating because... well, I suppose I shouldn't spoil it here. Let's just say he wants to rise above his fears and deficiencies. He overcomes his fear of water, as well as his lack of skills in the kitchen, in the very basic interest of self-improvement. Oh, and he also wants to impress his newfound love interest.

Love and friendship, lies and betrayal, achievement and collapse. "Jack Goes Boating" is casually situated in a slice of working-class New York City life. The writing and acting is brutally genuine. Hoffman demonstrates his versatile talents behind the camera and in front of it. Quixotic and exquisite, the movie is an informal tale of love that comes and goes like a snowflake in winter. Depending on your taste, you will either hate it or appreciate it.

Highly recommended.

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Customer review from the Amazon Vine Program (DVD review)

Philip Seymour Hoffman directs and plays the lead character in a screen adaptation of Bob Glaudini's play "Jack Goes Boating." There are a lot of things to like about this film, including the "ordinary guy" aspect of the character Jack. He's somebody who's struggling with many of the same things the rest of us are, such as relationship issues and getting a better job, but he works hard to maintain a "positive vibe." The story is about two couples, all four people portrayed very well by the actors who played them, especially John Ortiz as Clyde. But it's a lot of the smaller things that made me like "Jack Goes Boating," including the effective use of music, both songs and score; plus such storytelling touches as the way Jack tries to visualize the things he is learning. The central scene in the movie, the dinner party, was a bit hard to watch. Still, I acknowledge its importance and saw how it ties into the rest of the story, how it is both the outcome of what came before it and affects what comes after it.

The extras on the disc are fairly minimal, with two short featurettes and two even shorter deleted scenes.

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I Now Pronounce You Chuck & Larry (2007)

I Now Pronounce You Chuck & LarryExpected it to be "okay". Adam Sandler movies can tend to be ridiculous -when he plays ignorant and unrealisticly stupid boneheads from time to time. I was kind of expecting that. But I was hoping for a couple of hours by myself so I got a movie I know there was no chance my husband would dare watch with me (not in a million years...) And I was so pleasantly suprised to be laughing out loud over and over again. I absolutely loved the light-in-the-loafers son. Especially when he beat up the bully at school. I about peed my pants. THAT was one of the best fight scenes in film history! Someone needs to clip that and turn it viral! If you're homophobic, you are going to be uncomfortable a lot in this movie. Not like Brokeback Mountain, but you may want to pass nonetheless. But if you've got a sense of humor and you're a normal human being -watch this.

It seems like all of Adam Sandler's movies have the same theme, plot and actors. Frankly I am over it, but I thought just maybe this one would be different. If you are are expecting to be blown away and laughing hysterically you won't be. If you have seen Adam's other movies you will be able to predict what happens.

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disappointing, could've been a really funny movie! There was just something missing, either chemistry between the two actors or timing. The preview was better then the movie!

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`I Now Pronounce You Chuck and Larry' went wrong in so many areas and disappointed on so many levels I really don't know what to say other than please stay away. Upon the closing I looked at my wife and uttered those words you never want to have to say after watching a film you were actually excited about seeing.

"They could have done so much better with this movie."

The truth remains that `I Now Pronounce You Chuck and Larry' could have been hilarious. While I'm not the biggest Adam Sandler fan I will admit to finding him funny on occasions, and Kevin James is just hilariously funny in my book. You throw in the gorgeous Jessica Biel and you have my undivided attention. Problem is that none of these three actors can help the script they were handed, and that script is an utter abomination. It's as if the writers of `Chuck and Larry' decided that instead of expanding their joke vocabulary so-to-speak they would instead use one vulgar joke over and over again. It wasn't funny the first time, so about the thirtieth time it's still not funny. That and the fact that none of this film is the slightest bit believable (and it could have been because it's not like the plot is all that impossible) make for a really disappointing experience.

So `Chuck and Larry' revolves around Chuck and Larry, two firefighters who pose as a `couple' so that Larry's children can receive the benefits of his pension should something happen to him. Larry is a widower who cares for his children and has yet to move on from the memory of his wife. Chuck is a jerk who lives a life that is so ridiculously unrealistic it made me roll my eyes in irritation. Upon their filing for `domestic partnership' they are immediately investigated and suspected of cheating the government so they hire a lawyer to help them avoid going to prison. This lawyer is the beautiful Alex McDonough whom Chuck immediately falls for.

`Chuck and Larry' falls apart again trying to be a message film. Films like `Chuck and Larry' are not here to make us think twice about discrimination and tolerance, they are here to make us laugh. Instead it spends a good three quarters of its length spitting out slur after slur expecting us to laugh and then changes its tune expecting us to believe that this experience has changed them (mainly Chuck since Larry was never that big of a jerk to begin with). Adam Sandler's humor in this film is just not funny at all and he irritated the fire out of me. Kevin James was better than Sandler but still failed to capitalize on what could have been a really funny film. Jessica Biel's character, especially her relationship with Chuck, is unbelievable and ridiculous to say the least. Alex must be the dumbest and most desperate lawyer in the world.

Dan Aykroyd has taken a huge fall from his `Driving Miss Daisy' days for his performances in the most recent of Sandler films has been nothing short of horrible. His humor is also not funny. Ving Rhames has a funny turn here, stereotypical (how can a movie chuck full of the most blatant of stereotypes insist on delivering a message) but funny none-the-less.

There are some funny sequences in the film, but they are few. The whole scene with Larry in the apple costume had me rolling and made up for the first half of the film somewhat, and the shower sequence had me giggling a bit, but all that aside there really is nothing to truly laugh at other than the same repetitive jokes. It's funny to see Rob Schneider play an Asian minister. I can't think of anything else really. I could never recommend this movie, which is sad because they really could have been smart here instead of predictable and created a truly hilarious comedy. I suggest you rent `Hitch' or watch reruns of `The King of Queens' instead, or rent Kevin James' stand up `Sweat the Small Stuff' because this movie offers very little while those suggestions are much more satisfying.

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I consider myself an Adam Sandler fan and have seen all his comedies except Little Nicky. The ingredients are there for another successful movie from the Sandler team. In I NOW PRONOUNCE YOU CHUCK AND LARRY, you have Sandler paired with two solid co-stars in the hilarious Kevin James and beautiful Jessica Beal. You have the trade mark childish, politically incorrect humor of Sandler. You have the usual great supporting cast of Sandler regulars Allen Covert, Steve Buchemi, Rob Schneider and Nicholas Tuturro. Ving Rhames and Dan Akroyd also star in limited roles.

Okay, sounds like the movie should be funny, right? It is laugh out loud funny in many parts. Larry has lost his wife, and for some confusing reason, he needs a benificiary for his life insurance in case anything should happen to him while on the job. So, in order to ensure his kids have a bright future, Larry (Kevin James) does the only logical thing: talk womanizer Chuck (Adam Sandler) into being his domestic partner. Sounds easy enough, except the city of New York comes around investigating their relationship te ensure they aren't committing fraud. Much of the comedy comes from Sandler and James pretending to be gay to maintain the charade. It starts killing Sandler, when he becomes friends with a beautiful lawyer (Jessica Beil). He is falling for her, but must maintain the charade of being gay or else be thrown in jail for fraud.

While much of the movie was funny, in the end, it is crushed under its own weight of stereotypes and preaching. You see, instead of trying to be a comedy, it tried to also preach a message of tolerance. Social tolerance is a fine message, but not in a Sandler comedy. Regardless of your stance on the issues, you will find this movie offensive. In one scene, the movie showed vehement demonstrators protesting, one side a bunch of religious fanatics, the other side a bunch of extreme stereotypes of homosexuals. The movie also made light of a father dealing with a son who shows interest in singing and the theater instead of baseball, basically implying that his child was destined to be gay. Also, in every other scene, a character came out of the closet in response to Chuck and Larry's professed, but fake, love for each other. It was funny the first time, but grew old after the tenth.

In summary, this movie has some funny scenes, but it lost me when it started trying to preach. The movie could have focused on Sandler's relationship with Beil or James' moving on after the loss of his wife. Instead, it just kept throwing stereotypes of gays at us in hopes of being funny. Maybe calling this movie offensive isn't the right word, because that gives this movie too much credit. In the end, it just wasn't very good.

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Funny Farm (1988) / Spies Like Us (1985) (Double Feature) (2010)

Funny Farm / Spies Like UsUpdate on 11/12/11: There is a comment posted to this review that explains that this Disc is actually the correct version of the movie. Please read it if this issue concerns you.

'Spies Like Us' is a great movie. I bought this version thinking that it would have a wider view than my already purchased dvd which I could only find in full frame. I just compared it to my dvd. For this blu ray, all they did was chop some off from the top and bottom to give it the widescreen look. I thought people might to like to know.

While not classic comedies, "Funny Farm" and "Spies Like Us" have their funny moments. Both are very enjoyable Chevy Chase movies with his usual relaxed style, a combination of straight man and funny guy. He's teamed with equally funny Dan Aykroyd in the John Landis directed "Spies" which is sprinkled with some very funny cameos. The very good news about this new BD release is that both movies are presented in widescreen for the first time on home video.

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These movies were originally filmed in and correctly framed for 4:3. A 16:9 pan & scan crop was shown in the theaters and is what you get in this bluray release. For me the 16:9 looks overly chopped and not polished at times. Movies the were originally filmed in a wide screen format normally have better framing. Also this release still only has stereo audio. Both the DVD 4:3 and the bluray 16:9 will get the job done but I prefer the un-cropped version.

Read Best Reviews of Funny Farm (1988) / Spies Like Us (1985) (Double Feature) (2010) Here

Taken together, I almost have to give this a 3 "Funny Farm" is funny in its own way, but it will never measure up to "Spies Like Us," the movie that is caught between "us" and "them." My parents laugh out loud at "Funny Farm," and I can laugh at it, but they will never laugh so hard as I do at "Spies Like Us." It's so awesome. It's what 80s spy comedies were meant to be. If my parents don't get that, then that's because they grew up in the generation right between the two movies. I like them both, but "Spies Like Us" will always hold a special place in my heart. "Doctor, doctor, doctor, doctor..."

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Well, I haven't watched Funny Farm yet, I purchased this BD for Spies like US...a comedy classic as far as I'm concerned. :) So, in a way I feel like it deserves a BD of it's own, so that was kind of a bummer.. It was nice getting an extra ~i guess~ but feel like SLU would be nice with even a simple "making of" or behind the scenes featurette instead of just throwing in an extra movie that somehow makde it feel like it's status was lowered.

Anyway, SLU....great characters, great funny lines and a lot of subtle humor throughout. It's just a original story with great twists, great locations and some beautiful women.

As far as quality goes, it's a big jump over the DVD i had. So if you have a DVD of SLU and and wondering if it's worth purchasing the BD... it's a no brainer...wider (original) format, better image quality..all you'd expect with HD.

~HOWEVER~ once again (like packing this great film with Funny Farm) i feel they didn't do SLU justice because it could have used some color grading and correction) i seems like they just pushed the "auto correct" button. For example, the scene right after they cheated on the test and they're in the office being reprimanded/promoted...visually that was pretty dark with "squashed"...the blacks were too heavy with too much contrast. Outdoor scenes seem to be OK however. I remember the DVD being overall a bit lighter with less heavy handed contrast.

Oh well, guess I'll just have to wait for the 4K version to come out :) by that time (very soon i hope :) ) SLU will have received it's true status of cult comedy classic and they will decide to make a featurette and spent some time on adjusting the colors/contrast. Fingers crossed~!

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Chandni Chowk to China (2009)

Chandni Chowk to ChinaThis movie gives Boliwood (Bollywood?--that's not the right spelling) the best of good names. Bread-baking Brahmin-caste Sidhu (an amazing and hilarious Akshay Kumar), a denizen of the Chandni Chowk district of Delhi, can't catch a break. He needs money, wants a better destiny, and falls on his face every time. He accidentally burns his winning lottery ticket in the little fire of his home altar as he shouts at the goddess' statue, "OK!! Take it!!"

One day he and his goofy Chinese friend "Chopstick" (a very Chinese-looking Ranvir Shorey) are approached by two Chinese villagers. They are sure Sidhu is a reincarnation of a great martial arts hero. They beg him to return with them to China to fight the evil gang boss "Hojo" (the immortal Chia Hui "Gordon" Liu). However, it is incumbent upon the klutzy Sidhu to learn kung fu. Still he goes, with the blessing of the adopted older brother, the elderly Dada, who took him in as a child (Mithun Chakraborthy).

I have to stop there, as this film is just too darned funny, touching and wonderful to spoil. You will die laughing at the clever songs, how fitting and apropos they are and how...well, just plain funny. This film's humor reminded me of Jackie Chan at his best--yet it is truly and purely Indian in all ways. Even the Chinese seem to be straight out of an old Indian village in the Punjab.

Akshay Kumar is a multi-talented prodigy. I cannot believe I haven't noticed him before, but I will be from now forwards. I also deeply admire the powerful presence of Mithun Chakraborthy.

You will never regret having this fantastic Indian jewel in your collection, and you will always go back to watch it for the pure delightful fun. And there is whoopass martial action, as well as a profound lesson for all of us.

Now if you will excuse me, I am going to go sing a few bars of "Hello, I'm a Chinese Guy".

This movie has been named the worst movie in india. I just do not think people actually understand the effort that was made into this movie. Akshay Kumar has done a fabulous job in this movie. His acting skills are exactly what an actor needs to have. His stunt, his dialogue, his comedy everything he did in the movie was absolutely fantastic. The movie story revolved around a lot of stories but yet the effort that was put into making this movie was great. The Actor who played the Guru of Akshay's Character Sidhu was fanstastic. His hindi speaking was absolutely marvlous. The guy should be recognized for doing what he did in the movie. Deepka made this movie a completely astonishing. Her marshal art was completely awesome. I hope there is a sequel to this movie and I hope that india should recognize that the movie was not a disaster but it was a GREAT Effort!!! Love Ya akshay, Love ya Deepka, and Love you Chinese Guy

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Bollywood superstar Akshay Kumar, in his roles, tends to regularly shift from playing it silly to playing it serious, and most times he does this in the same movie. CHANDNI CHOWK TO CHINA is a fusion of fatuous farce, mawkish sentiment and high adventure, of Bollywood conventions and soaring Chinese martial arts. There's much to like about this movie, but also much to groan and roll your eyes at.

In China the village Zhange struggles under the oppression of the murderous smuggler lord Hojo. In desperation the villagers consult a wise man and learn that salvation lies in the shape of the legendary, centuries-dead warrior Liu Sheng, who has been reincarnated in today's world. Except that Liu Sheng has been reborn to another nationality, another country: in India.

Akshay Kumar plays Sidhu, a dimwitted vegetable chopper plying his trade at a roadside food stand in Chandni Chowk, one of the busiest market districts in Delhi, India. Discontented with his lowly lot, Sidhu (who, remember, is dimwitted) is lured away to faraway China by two Chinese elders. It's actually more Sidhu's friend Chopstick's fault. Chopstick, of possibly Indian-Chinese descent, is one of those manipulative, self-absorbed sorts, and he seizes an opportunity. The two old Chinese men are, of course, Zhange villagers, and they believe Sidhu to be their reincarnated protector Liu Sheng; they ask that Sidhu return with them to kill Hojo. Instead Chopstick (the vaguely Asian-looking Ranvir Shorey), purposely mistranslating, tells Sidhu that he will be feted as a king should he journey to China. So off goes the gullible Sidhu with Chopstick riding his coattails, from Chandni Chowk to China.

I like much of the film's tongue-in-cheek internal mythology. During its best outrageous moments CHANDNI CHOWK TO CHINA is reminiscent of Stephen Chow's very awesome Kung Fu Hustle (Axe-Kickin' Edition). In both films, kung fu practitioners disregard the laws of gravity as they make impossible leaps and perform other outlandish stunts. Vicious contact propels bodies to improbable distances and with lethal impact (but then folks just get up and dust themselves off). Speaking of internal mythology, the film never does confirm whether Sidhu was indeed the modern day Liu Sheng. And, oh yes, I have to mention the fairly outrageous Cosmos Thumb.

Considering the source (Bollywood), the wushu is actually pretty decent, even though I don't quite buy Akshay Kumar as a kung fu fighter (although he's certainly done plenty of action movies). But the inclusion of Chinese actors like Gordon Liu and Roger Yuan both very good as, respectively, the fiendish Hojo and the kind of insane amnesiac beggar/police inspector make it a respectable martial arts venture. Liu (best known probably for The 36th Chamber of Shaolin and the KILL BILL flicks) and Yuan are convincing in their acting and in their kung fu, even if Hojo's hat trick had already been done by a James Bond villain. And, for the sake of cinematic resonance, it doesn't hurt that Roger Yuan bears a striking resemblance with Takashi Shimura, the leader of the SEVEN SAMURAI. But if you've already seen films featuring Jackie Chan or Jet Li or if you've seen KUNG FU HUSTLE, then there's really no surprise in the fight scenes.

The stunning Deepika Padukone takes on dual parts. She plays the conventional love interest Sakhi, a spokesmodel of Indian-Chinese descent working for Tele-Shopping Media (Sakhi is known as Ms. TSM). But the meatier of the two roles is that of Suzy (or Meow Meow). Suzy is Sakhi's villainous twin sister and, as one of Hojo's henchmen, her kung fu is strong. It says something about Padukone's grace and physicality that I find her more believable as a martial artist than I do Akshay.

As Bollywood films are wont to do, the first half starts out in a silly vein as Sidhu's vacuous nature is again and again demonstrated, giving rise to moronic situations (one fellow airline passenger persistently asks Sidhu: "Are you stupid?"). Akshay Kumar seems to get a kick out of starring in madcap comedies, but I find that the quality of these films tends to come and go. Having said that, there was that airplane bit where Sidhu had trouble closing the overhead luggage compartment. For minutes afterwards I was giggling (but in a manly way). But, yes, Sidhu is one of those aggravating dopes, the type who ends up believing that a potato is a god.

And, as usual with Bollywood, the second half takes on a more serious tone, and this is where Akshay Kumar's goofball character transforms himself into an action hero. Akshay, when he turns it on, has tremendous acting chops. (*SPOILER* in the rest of this paragraph.) Akshay is very good and sympathetic during the death of his character's father, the tragedy which fuels Sidhu to master kung fu and to get even with Hojo. Afterwards, though, I did think that he went to the well too much with the blubbering for his dead dada.

Yes, the humor is predominantly cheesy, but there are several genuinely funny moments scattered throughout. I've already mentioned the airplane scene but I also laughed hard and plenty when Akshay gets strapped with the Dance Master G9 device, and at that short musical interlude with the odd little Chinese inventor and during Roger Yuan and Akshay's brawl with White Bull in that little diner and then during the training sessions, with Akshay and Yuan showing very good tongue-in-cheek apprentice/master chemistry. I'm sure I missed other moments.

The DVD, by way of bonus features, also offers 8 and a half minutes of eight additional scenes, the scene most worth watching being the one with Sidhu frantically trying to evade Hojo in a restaurant kitchen. And that's it for bonus features.

Three and a half stars for CHANDNI CHOWK TO CHINA, an entertaining film somewhat undermined by the banal stuff and by all the overwrought shedding of tears. This being a Bollywood vehicle, much emphasis is placed on the importance of family; Sakhi, for example, travels to China mainly to commemorate her long dead father's passing; the amnesiac beggar's memory is fully restored when he glimpses a photo of his family. Another Bollywood trademark is the song & dance, and the musical numbers here are nicely picturized. I enjoyed the lavish "Chandni Chowk to China" and even "Tere Naina," a brief song which lends to a surreal magical vision of Sudhi and Sakhi gently floating in the air, buoyed by an engineered umbrella. Also note that Akshay handles his own rapping during the song "Chandni Chowk to China (CC2C)" during the end credits. It's a bit disconcerting, though, watching these Bollywood stars in their dance numbers being backed up by Chinese dancers. "Disconcerting" being another good word to describe this movie overall, and I think in a good way. I mean, it's got singing and dancing, a bit of Chinese mysticism and some romancing, and everybody's kung-fu fighting. That is very neat.

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This movie is AN ENJOYABLE FUN FAMILY FILM ......The basic theme is a silly man child (Sidhu) who does everything from playing the lottery to making a shrine out of a potato to try to be something special. He's a simple chef who works for his adoptive father who has to constantly kicks his butt to the moon for being so silly and easily led into trouble( very funny sight gags). He is forever being told by his father to seek his destiny not in his life line ON his hand but in hard work WITH his hands. His best friend (Chopstick ) who is half Chinese and half Indian is a conniver of opportunity and a slacker palm reader and charm seller . He constantly tries to sell him worthless Karma charms for profit . Chopstick is approached by the village delegation from China to inform his friend Sidhu that he is the reincarnation of a Chinese war lord of great destiny who needs to come save their village from an evil bowler wearing Mafia style bully HOJO. (think James Bond TOP HAT). When they tell Chopstick what they want he edits what he tells our silly Sidhu, the guy is not that evil , it's not a big deal let's go to China and seek out this guy HOJO and kick butt. Maybe find your great destiny wink wink.

Next up a line where people wait for Chinese Visa and our hero is sitting on a bench with a potato (LOL yes he sees the face of Ganesh in a Potato and keeps clutching it for bravery throughout the movie ). The opportunistic infomercial model from hell miss TSM (Deepika) is in line and decides she well steal his VISA CHIP from him ( how she does this is hilarious . All things gadgetry style from China are represented by miss tsm on infomercials that our hero has been watching in India and he has a crush on miss tsm. Deepika plays her long lost twin , Suzie aka Meow Meow warrior princess also. She was stolen as a baby from their Chinese fathers arms during a fight for their lives. The Dad falls over the great wall during a battle trying to save his baby Suzie (meow meow) and is presumed dead. The mom holding Sakhi (miss tsm) believes her husband fell over the wall with her other daughter Suzie and that both died. She goes home to India to raise Sakhi. The evil Hojo has her daughter Suzie. He raises her as Meow meow . Her husband is now an amnesiac old beggar who lives around the Great wall but can't remember that he was once a famous Master of Karate and an important Policeman who was trying to prosecute HOJO. He will play a major role in training Sidhu.

The pivotal transformation point for Sidhu is the only possible disturbing moment for very small children. More or less I would say under age 8 sensitive children maybe 10. Actors are forced to redo extremely emotional scenes that leave them in constant brain chemistry overload and they can not keep an over view of it. Sidhu is made to beg for his fathers life sniveling on the ground like a coward and to finally see how sad and irresponsible he is as a man. To drag this scene out as long as they did was not helpful to Akshay , the storyline or the audience and in my opinion is the only bad spot in the film for family viewing. Again this is the director and the editors fault for dropping the ball and not doing thier jobs effectively . I do not deduct from the movie for this. I do fast forward through it after the initial play out for the young ones.

There are special effects present and are of the Karate variety and mostly of training. Some of the funnier fight scenes are of Sidhu's training with Sakhis father and aren't really violent per se ,more for story line progression ,very little blood if at all and cool effects that young ones will find fun , funny and entertaining . Lovers of slapstick, romance, and sobbing for ones parents will also have their moments, but the wildly fun fight scenes ( even the potato gets in on it) let our hero's have their shining moments of steely looks and buff bodies flying through the air, all done with respect for each Nation and hero. Songs are sung and danced to, family's are reunited , vengeance is had, love is found and A RAP VIDEO ( i hate most rap but this is cute and friendly ) AT THE END OF THE MOVIE THAT'S REALLY GOOD . Pure modern flash and fun.

Never forget that critics are writing for their individual magazines, web pages or newspaper and usually are told to pan one way or another based on their social status, and titillation provided by manipulating peoples emotions that are needed to sell more of their product or advertising. They are often jaded and over exposed to the movie making industry with little real 'eye' left for just plain fun. They can do to a film what a tick does to a dog. Eat off of it with no return. Read reviews from REAL people, and no it doesn't have to be me. Judge it for yourself always .

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What an interesting premise. From the Lord Ganesh appearing in a potato to the evil twin sister, Meow Meow....were unexpected and funny.

Born Yesterday (1993)

Born YesterdayOne of the biggest problems with remakes is often that they are extremely dated. Born Yesterday, the 1993 remake of the wonderful 50's comedy, starring the irrepressible Judy Holliday, and a gruff, teddy-bearish Brodrick Crawford--holds up beautifully. The basic story remains the same,(remember: "Do me a favor, Harry...drop dead!!!") but the details, the dress and the language are totally 90's. It's a delightful, and really--a touching story of a young woman (Melanie Griffith) who is brought to an appreciation of herself as something well beyond a gorgeous face. Her teacher is a kinder, gentler Don Johnson; and her Neanderthal-type husband, John Goodman is Harry, a nasty 'Fred Flintstone Goes To Washington' kind of guy! It all works till a bit of a let down near the end, but truly, there's a several minute rendition of the first 17 or so Ammendments to the Constitution sung (with energy) to the tune of the "12 Days of Christmas" that, alone, would be worth the price of admission!! Rent it, buy it; somehow, try it!!

What holds this movie together is Melanie Griffith, a deliberate and thoughtful actress. Add the handsome Don Johnson as the teacher/reporter and John Goodman, the hard-boiled, no nonsense businessman and you have a winner.

This movie is a study in so many things: self-respect, respect for others, integrity, dignity, and the beauty of brains. When Billie (Melanie) tells Paul (Don) that she can get anything she wants from Harry (John), she reveals her lack of understanding of self-worth: she wants a mink coat and gets it because she gives him what he wants. By movie's end she wants more and has earned the self-respect and determination to get it.

The whole education aspect ("smarten up" Billie so she won't be an embarrassment while Harry is in Washington, D.C.) serves as a wonderful example to viewers of the power of knowledge. Harry hires Paul, who sets Billie off on an educational journey that jump starts her unused brain. First, she reads a book that no one actually reads--Alexis de Toqueville. She increases her vocabulary. She acquires culture through the art in the National Gallery of Art, especially focusing on a Van Gogh painting that depicts the dignity of manual labor, a reminder of her father.

Billie questions later what she should do with this new, profound awareness. The status quo is easy to maintain; change is always difficult. In this case, with change come a new self-respect and self-confidence. The new Billie will marry Paul. If it seems she is trading one man for another, that is misleading because this particular man encourages her growth, in fact was the catalyst for it. Good things will come from this relationship.

What an uplifting, happy movie for everyone: the new couple, Harry, who now must learn the art of patience while he awaits re-acquisition of his holdings one property per year, and the viewer, privy to their story and two fantastic kisses!

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Melanie Griffith is one of my favorite Bombshells. I think she was made for this role & is a role model for being sexy! I rented the original film about 6 months ago. I found the character, that Judy Holliday played, didn't elicit any sympathy from me & I didn't really like her character as a person. One thing I did love discovering, when I watched the original, was that the uncouth but cute "Whaaaaaat?!!!!!!" screamed by Billie Dawn, was from the original movie. Melanie's Billie Dawn makes you want her to succeed & makes you feel for her plight of being uneducated amongst the DC circle. Plus I just love most of Bille Dawn's outfits in this film. I watch this movie when I'm feeling a little flustered, overwhelmed & stupid -I watch Billie struggle all over again & succeed all over again & it makes me feel like I can do what I set out to do. The movie even inspired me to get a copy of Democracy in America!

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Although I am a fan of Melanie Griffith, Don Johnson and John Goodman, I am not a fan of this version of Born Yesterday. If I had never seen the original or if the original was not one of my favorite movies, I may have rated it higher, because the story and the acting are good. But the original is a classic and, in my opinion, a movie should only be remade if the original can be improved on, and this one doesn't meet that standard. The best part of this movie is the ingenious song about some of the Amendments to the Constitution sung to the tune of "The Twelve Days of Christmas." If you really want to see this movie in its classic form, buy the original Judy Holliday, William Holden, Broderick Crawford version. Note to Hollywood: Classics don't need to be remade!

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John Goodman and Melanie Griffith played their parts suberbly.



This is about a millionaire scrap metal tycoon who turns real estate mogul (John Goodman) whose clueless girlfriend (Melanie Griffith) finds herself without a clue in the Washington-Merrie-Go-Round. So her boyfriend (Goodman) hires Paul Verrall (Don Hohnson) to help her with the special skills, small talk, etc.



A problem: boyfriend Goodman, like almost everyone else, as the story demonstrates, are not nearly as smart as they lead everyone else to believe, like the reporter for NPR who pretends to have read de Toqueville, but has not, as Griffith discovers. It is all an act, designed to impress others.



The script is so true to life, full of flakes and phonies, that it is almost laughable.



A great movie, and one you will probably remember for a long time. It shows how we all get bullied by the people with real power over us. Very entertaining, too.



Joseph (Joe) Pierre

author of Handguns and Freedom...their care and mainenance

and other books

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The Proposal (2009)

The ProposalFor some reason Amazon is not listing in Product Details what is actually included in the 2 disc DVD other than a movie description. So for those like me who like to know what Xtras (+ Digital Copy) you're getting here it is:

Alternate Ending

Deleted Scenes

Audio Commentary

Featurette

"Set Antics": Outtakes And Other Absurdities

Subtitles: French, Spanish

Disc Two: Digital Copy of Feature Film

I saw this at the theatre 3 times. It is so funny. I was laughing out loud all through the movie. This is not a chick flick. Lots of men were in the theatre with me and they were laughing louder than me and my girlfriends. The acting doesn't get much better than this. The director has to be pleased with this one because these actors showed up knowing just what to do. Sandra Bullock and Ryan Reynolds were so good together. Ryan was great even when he wasn't speaking. Just his facial expressions were hysterically funny. He also gave singing a try which was even funnier. Betty White played his grandmother and was as good as ever. Sandra and Ryan try hard not to like each other but it just didn't work. Sandra Bullock looks great. Girl can't help it, she is just too pretty. I don't write much about the story because it is described on the Amazon listing and I don't want to spoil anything. Go watch this movie. It is the comedy of the year. I like spontaneous type comedy and not fake made up comedy and The Proposal is just that. You will watch this movie over and over.

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If you have just survived another tough week at the office and are looking for a weekend pick me up, "The Proposal" is your sure bet. Yes, I laughed outloud often, and so did most of the audience. The comment frequently heard as the credits rolled was: "Ooohhh, that was sooo goooood!".

The story: a tough lady-boss (Bullock) is being deported to Canada for willful non-compliance with the US immigration department. To save herself, she directs her doormat of an assistant (Reynolds) to marry her. He reluctantly agrees to play along, after she "helps" him understand the virtues of being employed. If you think you know where this story is going... well, you are right. The "happily ever after" cannot be avoided. 'Tis a comedy after all...What is fresh is how skillfully the writers and the director allow the story to veer away from the "happily ever after" course, keeping us on the edge of our seats until the satisfying end, which we have known all along was bound to arrive.

The chemistry between the two leads is another pleasant surprise. I am not a particular fan of either Bullock or Reynolds. Though each smoking hot and talented, neither has made many inspired project choices. However, the roles here suit the pair's natural acting styles reasonably well, which in turn further enhances the believability of their characters. The look of constipated doom on Reynold's face, as he's being informed he's engaged, is side-splitting! I do regret Bullock does not play "mean" better; the intended juxtaposition of her supposedly tough as nails character against her overly compliant secretary is lost at times. We are TOLD she is a witchy boss, and yet she comes accross nothing more then efficient (Sandra: call me! I'll give you some pointers. In return you can teach me how to find a secretary as hot as Reynolds ;0) ).

Another gem in this comedy is Ms Betty White (of "The Golden Girls" fame), an octogenarian in real life as well as playing one in "The Proposal". She has made an art of delivering "campy" with emotional intelligence. She does not dissapoint here either.

Final verdict? Will this film change the course of modern cinematography?

Not a fat chance!

Did it chase my blah's away until Monday morning?

AFFIRMATIVE!!! ...Till Wednesday... at least!

Read Best Reviews of The Proposal (2009) Here

There are two deleted scenes with optional commentary by director Anne Fletcher and writer Peter Chiarelli. There is a nice scene with Andrew's parents (Nelson and Steenburgen). We also see Margaret and Andrew getting a little more comfortable with each other. They are nice enough scenes but not essential and one can see why they were cut.

There is an alternate ending with optional commentary. Fletcher and Chiarelli talk about why they didn't use this ending and another one that they didn't use as well. The humour in this scene is much broader than the rest of the film and seems out of place.

"Set Antics: Outtakes and Other Absurdities from The Proposal" is a montage of the cast goofing around on set. It looks like they had a lot of fun making this film.

Finally, there is an audio commentary by Fletcher and Chiarelli. They start off explaining the dichotomy between the two main characters. Fletcher says that Bullock loved the screenplay and gave Chiarelli all kinds of notes to make her character nastier. He talks about the mechanics of the story while she talks about the challenge of working on location. This is a fairly decent track by two people clearly proud of their film.

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I am in no way a big fan of romantic comedies, but I found myself buying this film anyway. I had heard plenty of good things about the film (that I was very skeptic about)and these are two actors who I've got quite a bit of respect for. Most movies don't really get me to laugh. We're lucky if you even get a smirk out of me. Yet I found myself sitting on my living room floor laughing harder than I have in a long time. Now as for why I like this film:

There's something to be said for acting without speaking and Ryan Reynolds has this down. His facial expressions can tell some real stories.

I'm a fan of "The Office" and seeing Oscar in this role was a real treat despite how awkward it was at times. But awkward in a funny/good way.

Betty White is her usual adorable self. I can't think of anyone else to replace her.

Sandra bullock did an interesting job of making an evil boss lovable.

The location was interesting. How many of these movies are set in New York or the Bahamas? Not this one.

No sex scenes. As odd as it is for an 18 year old to say, "I hate sex scenes," I do. I want to watch a movie with my mom and not feel extremely awkward. Plus I find it really annoying when two people who hardly know each other are jumping into bed the first chance they get. I wouldn't really call that "Romantic". It just comes off as a cheap way to sell a movie. This movie had NONE of that.

And it isn't extremely predictable. I like to predict endings just from previews and I thought I had this one nailed, but 30 minutes in, I began to wonder if I bet on the right horse.

Now this isn't the kind of movie that's going to win awards for special effects or best musical number, but there's something about the simplicity that makes it all the more enjoyable. It really manages to stand on it's own.

Even my dad, "Hater of anything not made in the 70's," was laughing with us.

You'll see what I mean if you decide to see it, and I hope you do.

The Little Shop Of Horrors (1960)

The Little Shop Of HorrorsUnfortunately, Little Shop of Horrors and every other Roger Corman Filmgroup production lapsed into public domain years ago and have generally been available on VHS and DVD only in poor-quality editions ranging from merely bad to atrocious. (The only Filmgroup features to get a decent official or semi-official release so far are Bucket of Blood, Beast from Haunted Cave, and Night Tide.) After researching every DVD version of Little Shop of Horrors available (there are at least eight!) I played a hunch and went with GoodTimes to replace my VHS copy, and I'm very pleasantly surprised at the overall excellent quality of the source print. When I saw the "preserved using the best available elements" line at the beginning of this disc I thought 'yeah, right,' but I have to admit that this is the brightest, cleanest, sharpest (if not exactly razor-sharp) print of this film I've ever seen. The black level, contrast, gray values, and shadow/highlight detail are fine, and physical damage is limited only to some very light speckling and blemishing (!!). On the downside, the transfer itself seems to be somehow deficient (low bit rate?), causing areas of flat white or smoothly gradated grays in the image to exhibit some very faint but noticeable pixelation or banding, especially during the opening credit sequence (areas of flat color seem to be DVD's Achilles Heel). The casual viewer probably won't notice this phenomenon unless it's pointed out, but it's there. That said, the superior quality of the source print more than makes up for this one barely noticeable flaw; this is still most likely the best edition yet available of this classic 'sick humor' gem and well worth the bargain price. It definitely blows away every TV print and cheapjack PD video version I've ever eyeballed. Grab this before it goes out of print.

The movie itself still entertains tremendously today, a funny, goofy (dare I say charming?) horror-comedy that basically plays like a stage farce (most of the action takes place on one or two sets). The story is essentially a remake of Bucket of Blood with a change in locale and a few fresh twists. This time Jonathan Haze portrays everyschlep Seymour Krelboine, who lives with his alcoholic hypochondriac mother (she listens to KSIK radio) and works at Mushnick's skid row flower shop. Seymour (temporarily) finds fame, fortune, and romance by nurturing (and eventually murdering for) an exotic talking cannibalistic plant. Mel Welles, in his finest hour (literally), steals nearly every scene with his droll portrayal of perpetually exasperated Gravis Mushnick, and Jackie Joseph (Andy Griffith Show, Who's Minding the Mint) seems born to play pretty, ditzy Audrey. Corman regulars adding to the fun include Dick Miller (Walter Paisley in Bucket of Blood) as Fouch, a flower-eating client, John Shaner as a sadistic dentist, and 14th-billed Jack Nicholson (featured prominently on most tape and disc box art) as his masochistic patient. Shot on a shoestring in just three days (at least all the interiors), Little Shop holds up better than many big-budget comedies of the day (anyone watched Story of Mankind lately?). Much credit must be given to Charles B. Griffith, unsung hero/architect of the AIP/Allied Artists/Corman style. His list of credits reads like Corman's greatest hits: It Conquered the World, Attack of the Crab Monsters, The Undead, Not of This Earth, Teenage Doll, Bucket of Blood, Beast from Haunted Cave, Wild Angels, Death Race 2000, etc. Griffith's clever, witty screenplay is a model of late-50s sick humor, working in a dead-on Dragnet parody, some wonderful malapropisms and bits of wordplay, lotsa Yiddish humor, and a handful of his patented icky-creepy moments. (Griffith also voiced the plant, Audrey Jr., played a few walk-ons, and directed some second unit scenes, all uncredited.) Fred Katz's memorable score is alternately goofy and spy-jazzy, and, unlike some of Roger Corman's other attempts at comedy (e.g. Creature from the Haunted Sea), I find his touch just right here, ably supporting Griffith's verbal bits with complementary editing patterns (check Sgt. Joe Fink and Det. Frank Stoolie's hilarious introductory scene). Lighter in tone and a bit broader and more farcical than Bucket of Blood (which I personally prefer), Little Shop, judged on its own terms, is still fresh and engaging, though the low budget is obvious at times. I'm not sure how fans of the Broadway show or movie musical will react to the original (I admit to being a purist myself), but if they share a taste for low budget horror or 50s-style sick humor they'll probably find it an offbeat treat.

Roger Corman's Original 1960 version of "The Little Shop Of Horrors" is considered by many as a true cult classic comedy of B-Movies,even the most respected of film critics.Unfortunately depending on the tastes and opinions of film fans that were used to seeing this legendary film comedy through the public domain since there was a lack of copyright in the titles,(same thing had happen to "Night Of The Living Dead") and for many years since the dawn of the videocassette and late late movie shows,those versions were vastly inferior and often poor-looking in terms of presentation and contrast.Now the great folks at Legend Films have finally put out a brand-new definitive and excellent restored presentation of this cult hit on DVD in both the original black & white version as well as the disc's main presentation of showcasing a brand-new restored digitally colorized version too.As with previous selected Legend releases of classic horror/B-movies in their DVD series,the disc features a well-done and at times hilarious commentary by MST3K's Mike Nelson and the great thing is that you can listen to the track on both versions of the film,giving the b&w version sort of a MST3K-flavor to it (I love how he refers to the opening Filmgroup logo as little Reese Cups !).Despite packaging claims that is the first time the film has been colorized,it's actually the second colorized incarnation of the film.First colorized on videocassette in the very late '80's with lousy and at times amateur results,this Legend version completely blows away the first attempt and looks like it was actually filmed in color,but of course this films' legendary budgetary constraints prevented from actually filming it in color.Of course lets not forget that the film features a very very young Jack Nicholson,in his fourth film role,in a memorable role as a crazy dentist patient.I must say,this Legend version of "Little Shop" is probably the most superior and sharpest looking out of all the previous versions of the film that you're possibly going to see and no wonder it was transferred from an excellent 35mm print of the film ! Other extras,besides the Nelson commentary,round out the package including both restored color/unrestored b&w trailers to "Little Shop",and the following colorized trailers for "Plan 9 From Outer Space","House On Haunted Hill","Carnival Of Souls",and "Reefer Madness".Plus a gallery of nine man-eating plants,if any kids are planning to do a school project on man-eating plants,this could actually be a fun reference guide,and also a very short clip called "Man Eating Plants" which is actually the president of Legend Films Barry Sandrew vigorously eating vegetable plants such as celery (always eat your vegetables folks !).Well-done packaging,excellent eye-catching menus and a sparkling transfer of both versions will definitely please any film buff,both Hollywood and B-Movie fans alike ! This is by far one of the first best DVD releases of 2006 and is highly recommended for old and new fans alike instead of those who only prefer the 1986 spectacular Frank Oz musical remake with Rick Moranis and Steve Martin.Highly recommended !

UPDATE 11/24/06:

Just Recently,Buena Vista Home Entertainment in association with Roger Corman have finally released an "authorized" DVD release of "Little Shop Of Horrors" as well as a nicely restored original black & white version of Nicholson's debut film "The Cry Baby Killer".Unfortunately,the recent disc's presentation of "Little Shop" is in fact the ORIGINAL colorized version,slightly mentioned above,that was first produced and eventually released to video in 1987 by Color Systems Technology.The source print used for the color version (other than the fact that the quality was directly copied off a video master for the DVD) is surprisingly in quite good condition,but it really truly is one of the worst examples of 1980's colorization technology I've ever seen and will probably be the last.The colors are often the same as certain objects (ie: the outside of Mushnick's Shop and the greens for the flowers,etc.),tons of continuity errors (ie: clothing,signs,etc.) and does anybody wish to care seeing Audrey Jr. looking like a talking watermelon plant? Reportedly,that color version was authorized by none other than Corman himself and it's easy to see why many directors above his stature hate and disregard colorization.Nicholson/Corman fans alike aren't going to be impressed with that bust of a release and it's very easy to see why the '87 colorized version was out of circulation for many years.Easier said than done,the newly restored Legend Films release is by far,hands down,the real winner due to the technology,version options,and bonus materials !

Buy The Little Shop Of Horrors (1960) Now

I had origanlly seen this movie on a late night horror movie host and loved it having already seen the musical version. I bought the DVD expecting DVD quality. The transfer to DVD is bad. It's proably one of the worse ones I own. It's a little choppy, very grainy and somewhat blurry. There's also a spotlight effect once in awhile that I don't remember being there before (where the egdes of the movie are a little darker then the center). If you look carefully you can see waves going though the picture during the first part of chapter 2. The sound is a little muffled. I rate the transfer at 2 (I'm sure there's a worse one) and only gave it a 3 becasue of the movie it's self.

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This is the original that started it all, in 1960 which the film was shot for only two days. It's an good film, with a lot of grainy feel to it in black and white.

This version is about the bumbling Seymour who was almost out the door by his boss, Mr. Mushnick, for his incompetence. Seymour finds an unusual plant and Mushnick told Seymour if the plant turns out to be ok and fed, Seymour gets to stay at his job. Seymour names this plant, Audrey Jr., after his coworker, Audrey, who he loves. Before long, Seymour finds out that this plants wants nothing other than blood and human flesh...and ends up bringing dead people to the plant that were accidently killed. The cops were trying to find out what happened to the missing people (they were already eaten by the plant), and Mr. Mushnick stumbled on Seymour's secret. Mr. Mushnick offered a robber in the shop to the plant to save his life. The cops find out that Seymour is the one who killed the people when the pods of the plant opened up, showing the faces of those that were eaten, and there was a junkyard chase after Seymour. When Seymour goes back to the shop, he was mad at the plant, and intending to cut the weeds to kill it, he jumped in and the plant ate him. When the others came back to the shop, they found Seymour's face in one of the pods, then the movie ends.

There are some funny parts, and some silliness in other scenes (like the tramp that Seymour ran into, and their conversation is humorous!), plus you can find a young Jack Nicholson as the pain-loving dental patient.

This movie reminds me a little bit of the 1920s or 1930s films by the way some of the acting and the grainy image has portrayed in this 1960 movie, but overall, it is a good movie to watch.

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I recently watched the musical remake of Little Shop of Horrors and enjoyed it immensely, and my curiosity about the genesis of that film lead me to its progenitor. I hadn't realised that Roger Corman's original was intended as a comedy--I'd thought that it was a cheapie horror film with camp humor arising from its unintended absurdity. This is absolutely not the case, and I was very pleasantly surprised. The absurdity of Little Shop, and there is plenty, is all fully intended. At times it is almost as if the Monty Python troupe is doing a black-and-white horror spoof, it is so good. I find it impossible to say whether the musical remake or the original is "better"--they are simply different, and each amusing in its own way. I prefered Rick Moranis's Seymour to that of Jonathan Haze, but Jackie Joseph's Audrey had funnier lines and was less pathetic than Ellen Greene's. But what really surprised me was that the comic touches I had thought were signatures of the Saturday Night Live/Second City crowd were all in the original: the sadistic dentist and his masochistic patient; "Pain" magazine, "Feed me!", and more. Futhermore, the original had some more absurd characters that didn't make it into the remake, including a parody of the detectives from Dragnet and Seymour's mother, a hypochondriac whose home cooking is all flavoured with medicine! Although the sound and picture quality of the version I watched was poor, it was worth sitting through if you enjoyed the more recent version. Also worthy of note was the spiky, xylophone-timpani-and-baritone-saxophone-laden score by Fred Katz.

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Sleeper (2013)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Hairspray (2007)

Hairspray`Hairspray' is a non-stop, exhilarating song and dance extravaganza. This exuberant remake of the John Waters' musical is funny, fast, and fabulous. Adam Shankman's direction is appropriately lilting in the right measure, but balanced with social commentary highlights. Unlike 'Dreamgirls,' there are no Oscar worthy performances, but the production is so fun there doesn't have to be. The entertainment is winning on every level, and, as for the songs, it never goes limp.

Once again we are transported to the early sixties in Baltimore, where flannel is uniform, Blacks and Whites are segregated, and beehives are in fashion. The plot is fairly simple: Overweight teen Tracy Turnblad (Nikki Blonsky) wants to break the mold on her favorite TV program "The Corny Collins Show" (an "American Bandstand"-like feature) while discovering a more urgent need to end segregation on a show that only sometimes features "Negro Night". She gets her big break when teen singing sensation, Link Larkin (Zac Efron) makes advances that bring her to the stage floor. In the meantime, her success is challenged by the show's program manager, (played with overbearing skill by Michelle Pfeiffer) and her daughter, Amber, the show's reigning "Miss Teenage Hairspray," a nasty nemesis . Joining forces with her Afro-American friends, especially Motormouth Maybelle (Queen Latifah) and dancer Seaweed (Elijah Kelly), she works for equal time on the dance floor.

`Hairspray' is set as perfect entertainment. John Travolta provides likable loopiness as Nikki's mother while he dances and cross-dresses his way into our hearts. The villains are nasty enough, and the sweetness pervades even amongst important demonstrations on key social issues. When it all comes down to balance, 'Hairspray' fills the bill.

(2008 HOLIDAY TEAM) This is the sort of brassy, candy-coated musical to which you either give yourself entirely or not at all because there is little room in between. First, there was the edgy 1988 John Waters comedy followed years later by the sunnier 2002 Broadway musical version. I thoroughly enjoyed the elaborate stage version thanks mainly to Marc Shaiman and Scott Wittman's ebullient music and sharp lyrics and stellar performances from Harvey Fierstein and Marissa Jaret Winokur as a most unlikely mother and daughter in 1962 Baltimore. That most of that high-kicking, watusi-gyrating spirit remains intact is quite an accomplishment for director Adam Shankman, whose previous track record consists of mediocre studio comedies. Adapting Mark O'Donnell's stage book, screenwriter Leslie Dixon seems equally unlikely of pulling it off. Yet, somehow they do and even bring a deeper sense of gravitas than the previous incarnations with the heavier elements of racism and segregation. Starting out his career as a dancer and choreographer, Shankman provides the energetic, in-your-face choreography that is appropriately applied here.

The story centers on Tracy Turnblad, a genuinely optimistic teenager, a bouncing bundle of energy obsessed with the local Corny Collins dance show. Living in a working-class neighborhood with her agoraphobic, self-consciously plus-sized mother Edna and her congenial, novelty store-owner father Wilbur, Tracy only wants to dance on Corny's show. Standing in her way is the malevolent Velma Von Tussle, an aging beauty who owns the TV station, and her equally venal daughter Amber. Once a month, the station allows the dance show to have a co-host, blonde-tressed Motormouth Maybelle, who holds a "Negro Day" to allow the local black kids to dance on their own. These kids seem to end up in detention a lot since Tracy finds them there and learns new dance moves from them. She realizes the world would be a better place if black and white kids were able to dance together on Corny's show. This sets up the story's central conflict, which comes accompanied by romantic complications among the various characters. All of this ends with the Miss Teenage Hairspray pageant and naturally a pull-all-the-stops production number.

The casting is inspired. Following Divine and especially Fierstein in the cross-dressing role of Edna is no easy task, but John Travolta brings a surprising delicacy to the character. The novelty of his casting never wears off, but he also does not stoop that much to parody either. Even with a slightly garbled Baltimore accent, he is convincing as a woman who has accepted life's compromises for the sake of her family. Alternating quickly between clever and broad, Michelle Pfeiffer has a field day playing Velma, though she has precious little opportunity to show off her long dormant singing talent. As Maybelle, Queen Latifah seems to be cornering the market on musical earth-mother types and gets her shining moments on "Big Blonde and Beautiful" and especially on the gospel-flavored "I Know Where I've Been". Christopher Walken has comparatively less to do as the put-upon Wilbur, though he shows off his singing and dancing skills on his sweet pas de deux with Travolta on "(You're) Timeless to Me".

For all the veteran talent on display, it's Nikki Blonsky who carries the heart of the movie as Tracy, and her sunny demeanor and "American Idol"-caliber talent keep the story aloft. The other teens Zac Efron as singing heartthrob Link, Amanda Bynes as devoted best friend Penny, Brittany Snow as spoiled Amber, and Elijah Kelley as Maybelle's son Seaweed are all played with energetic adolescent brio. Complementing the principal cast are James Marsden as the perpetually smiling Corny and Allison Janney as Penny's Bible-thumping mother. Everyone is in the right spirit, and the pacing and tone are spot-on. The film's one weakness is a certain lack of energy in the camera movement around the production numbers, as Shankman's tendency is to film key dance sequences intermittently at mid-waist level. The net effect is a reduction in the overall energy level at key moments such as Travolta's Tina Turner-style turn at the end. Regardless, this is fun stuff for those open to this genre.

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Information below was found on another site I hope it's accurate. If Amazon wants to add this to the description and delete this comment it's fine with me.

Single-Disc Edition:

* 16×9 widescreen version of the film or 4×3 fullscreen version of the film

* English Dolby Digital 5.1 EX Surround Sound

* English & Spanish subtitles

* Closed captions

Two-Disc "Shake and Shimmy" Edition:

* "Behind the Beat" picture-in-picture option allowing viewers to watch behind-the-scenes footage and on-screen commentary concurrently with the running feature (HD Exclusive)

* All new musical number, "I Can Wait"

* Feature-length audio commentary from director and choreographer Adam Shankman, star Nikki Blonsky and producers Craig Zadan and Neil Meron

* Deleted scenes with audio commentary from director and choreographer Adam Shankman and star Nikki Blonsky

* "You Can't Stop the Beat: The Long Journey of Hairspray" documentary

* "Step By Step: The Dances of Hairspray" featurette offering how-to dance instruction

* "Hairspray Extensions" featurette, giving viewers dance breakdowns

* Jump to a song with optional sing-along feature

* "The Roots of Hairspray" featurette

* Interactive menus

* Theatrical trailer

* 16×9 widescreen version of the film

* English 2.0 Stereo Surround

* English Dolby Digital 5.1 EX (on feature, deleted scenes and interactive menus)

* English & Spanish subtitles

* Closed captions

Read Best Reviews of Hairspray (2007) Here

Any film that features a touching love scene shot in a Baltimore backyard with laundry hanging on the line (as Moms used to say) between Christopher Walken ( Wilbur Turnblad) and John Travolta (as an almost scary Edna Turnblad) is OK with me. That that scene may also be one of the most romantic scenes of this or any year is crazy on the one hand and perplexing on the other. With that being said, director Adam Shankman has magically turned the stage musical into something that is more full of life, more effervescent than either the play or the John Waters slight, though terrific film of 1988.

Tracy Turnblad (Nikki Blonsky who almost makes us forget Rikki Lake from the film) is a Baltimore teenager: chubby of body, colossal of hair and bubbling over with good cheer and ironclad self esteem. The year is 1962 and the signs of change are everywhere Tracy goes foremost of which is the "Corny Collins Show," an American Bandstand-type show which features a "Negro Day" once a month: a situation that Tracy and her friends Penny (Amanda Bynes) and Link (Zac Efron) are desperate to change into an everyday occurrence. Edna, who hasn't left the house since 1951 and therefore very much aware and embarrassed of her size discourages Tracy from auditioning as a dancer for the show but Tracy, to her credit, feels confident enough about her dancing does so anyway and is finally accepted into the Corny Collins fold much to the chagrin of both Velma Von Tussle ( a gorgeous Michelle Pfeiffer) and her daughter Amber (Brittany Snow).

"Hairspray is also very much a capsule of its time and place: pregnant women smoking and drinking martinis, children in cars without seat belts buckled, boys and girls hair greased and sprayed to within an inch of its life (Tracy is accused of having a "hair-don't" at one point) and bigots spouting the kind of gunk that bigots do.

"Hairspray" is ultimately a big, calorie laden birthday cake of a film: you know you shouldn't imbibe but you can't help yourself. But along with the sugar rush of this spectacle there lays some lumps based on reality which point out, not only how much has changed since 1962 but more importantly how much has stayed the same.

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I enjoyed this movie more than I can say. I felt happy for hours after watching it. It was energetic, happy, sweet, funny and delightful. The casting was perfect. Everyone seemed to give it there all. The songs and dance sequences were very entertaining. I especially loved the innocent chemistry between Nikki Blonsky and Zac Efron. They are both very talented. I would highly recommend this movie. For those of us over 40 the energy of these kids is invigorating! I hope this movie succeeds beyond all expectations so that they will make more like it in the future.