Next Friday (2013)

I thought Next Friday was way better than the original....... The first movie was really slow in the beginning.......so slow that I fell asleep. As soon as you pop this movie in, you'll be laughing from beginning to end........ Mike Epps is hilarious as Day-Day, Craigs cousin, and Craigs father has some pretty funny lines in this one........ Rent it, you won't be sorry.......

...but a decent sequel. (But hey? It's not often that the sequel is better than the prequel.) I was mad because alot of questions were not answered and the plot was not all that good. I wanted Craig (Ice Cube) to hook up with that girl next door. All she does is have a short convo with her and at the end she blows a kiss and thats the end. I believe thats pointless for Craig's Pops (Jon Witherspoon)drops him off in Rancho Cucamonga (I don't think I spelled it right) then turns around and picks him up. Its a funny movie, but not as good as the first though.

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The events of this movie take place after Craig�s fight with Debo. Ice Cube explains what most of the characters from the last movie are doing now (like Smokey being in rehab). The premise for this story is that Debo has escaped from jail and now wants revenge. To protect his son, Craig�s father takes him to the suburbs to live with his oversexed brother and his son until things calm down.

There is plenty of drug use and another theft in this one. This doesn�t make it a bad movie, but following the formula of the last movie does not work for this one. Too many of the same gags are recycled for this movie, which means you already have an idea of what is going to happen throughout the movie. Craig�s dad is funny, but there is only so much fart humor you can take.

I would recommend giving this movie a skip and watching Friday over and over again.

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Super fast shipping and the price was reasonable! Love this movie! Never laughed so much in my life! Get all the Friday movies!

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I enjoyed each of the Friday series. I reviewed the original way back, and now after re-watching Next Friday, I thought I'd finally get around to reviewing this.

I still think I enjoyed Friday the best, but this is a good follow up. Ice Cube returns as Craig Jones who has a knack for getting into trouble. He goes to stay with family out in Rancho Cucamonga. They've just won the lottery and have this whole new place. While Chris Tucker isn't in here this time, we still get the hilarious John Witherspoon. He's fantastic. I only give this four stars because it goes a little flat during the second half, but it's still good overall. The cousin Day-Day is probably the funniest, but if you are a fan of the original, then you have got to see this. I loved it.

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Charlie's Angels (2000)

As much a tribute to pop culture as a big-screen version of the '70s

series, 'Charlie's Angels' has so much energy and tongue-in-cheek

charm that it DARES you NOT to root for its three young stars! And

while the film won't erase the images of Farrah Fawcett in a thin

tanktop on a very cold day, there is a wholesome sexiness and

accessiblity in Barrymore, Diaz, and Liu that none of the various

teamings of TV 'Angels' ever achieved!

The pre-title sequence is

outrageous, and fabulous! ...

Each Angel has a unique

backstory...Natalie (Diaz) is an ditzy, upbeat 'Soul Train'-dancing

wannabe who 'shakes her booty' at home in Spider-Man undies, looks for

'Mr. Right', and is a crack driver; Alex (Liu) is a 'leg waxer'/extra

on an action movie set, who is a lousy cook, sleeps with the film's

star (Matt LeBlanc, in a funny cameo), and is an expert in technology

and martial arts; Dylan (Barrymore) is an ex-high school 'bad

girl'/free spirit involved with a seedy, insecure hippie living in a

tugboat (humorously portrayed by Tom Green, Barrymore's real-life

boyfriend), is a master of disguise, and leads the trio.

As in the

TV series, the Angels work out of the Townsend Detective Agency (still

located in the famous colonial brick building), and communicate with

the never-seen Charlie (voiced, as always, by John Forsythe) via the

telephone. As the trio's liason, Bosley, Bill Murray is simply

perfect, hilarious in his patented 'smarmy but lovable' persona!



The plot revolves around the kidnapping of a Bill Gates-type

computer genius (Sam Rockwell, 'The Green Mile'), and a technology

that can pinpoint any person's location, anywhere in the world. The

prime suspects are competitor Roger Corwin (Tim Curry, in a

delightfully wicked turn!), and his hitman, portrayed with kinky

relish by Crispin Glover. Hired by Kelly Lynch (who has a ball in the

role of Rockwell's partner!), the Angels embark on a case with all the

twists, betrayals, action, humor, and mayhem that a fan could ask for!



Loud, good-natured, and pulsating with a soundtrack of '70s-'80s

Top Ten songs, the film combines 'Matrix'-style freeze-frames and

slow-motion FX with a ton of Pop Culture references and a

swashbuckling sense of derring-do! The film literally rocks, and never

lets up!

Is this 'Great Cinema'? Certainly not! But in its sheer

audacity, and sense of fun, no recent film can match it! And while the

original series teased with a visual sex appeal that was was largely

ignored in the storylines, the big-screen version has a 'if you got

it, flaunt it' attitude that is both refreshing and empowering! This

is a 'Girl Power' movie, in the BEST sense of the word!

I HIGHLY

recommend it!

Maybe I am speaking from the perspective of all shallow, easily pleased and lusty young men that may have seen this movie. But I am also looking at this movie as a dedicated film goer. This flick is mighty impressive, in every way. The plot is thin but who needs it?? Gorgeous people performing unbelievable stunts in an action packed movie that provides more excitement than a massage down at Madame Lou Lou's Shag Pad!!! Its great fun and if you don't come out smiling after seeing this flick you need to be ordering a hell of a lot more prozac from your therapist!!!

The sound track adds to the excitement as a constant provider of wild thumping tunes that only adds the fast paced, insane and incredibly sexy vibe that this movie produces..

Go see, go smile, go enjoy, go ogle, but just go...Buy this DVD and have a good time.

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In the history of the cinema, most feature films that are the progeny of a successful television series have been less than satisfying or able to capture the essence of the original. There are exceptions, of course, and "Charlie's Angels," directed by McG (Joseph McGinty Mitchell), and starring Cameron Diaz, Drew Barrymore and Lucy Liu, is one of them. A great movie it is not, but it is fun, the trio of Angels are engaging, and it is non-stop action from beginning to end. It starts with a dynamic skydiving stunt and never slows down. Along the way a lot of things blow up, there's music,dancing, plenty of stunts, some clever lines and a bit of comedy relief from Bill Murray (Bosley). There's just enough plot to keep things interesting, but it really doesn't make much difference; this is like a party to which everyone's been invited, and Angels Natalie (Diaz), Dylan (Barrymore) and Alex (Liu) are everything their T.V. counterparts ever hoped to be and more. This is the way Charlie's team was meant to be. What really puts this movie over, though, is the Angels themselves; there's a natural camaraderie between them that seems sincere and never forced, and they all seem to be having a great time, especially the charismatic Diaz, who could easily win an Oscar for Best Supporting Smile. Barrymore looks good and exhibits plenty of spunk, as does Liu, who has a captivating screen presence as well. It's all played pretty much straightforward, there's no attempt at parody or heavy drama, and nothing is taken too seriously, which enables the story to move along without getting bogged down with any unnecessary business. Murray is used just enough to make his presence welcome and effective, and he makes his Bosley fit nicely alongside this latest incarnation of Angels. The action sequences are well done and the choreography (by Cheung-Yan Yuen) is exciting; the influences of John Woo and "The Matrix" are obvious, and the less experienced McG was wise to draw from the best, for it adds to the success of his film. There's something of the James Bond films in here, and "Mission Impossible 2" (of course), but to McG's credit, it mainly plays like an extended, more detailed version of the original series. The supporting cast includes Tim Curry (Roger Corwin), the versatile Sam Rockwell (Knox), Kelly Lynch (Vivian Wood), Tom Green (Chad) and, in smaller but effective roles, Matt LeBlanc, Luke Wilson, and Crispin Glover. The familiar voice of Charlie is once again supplied by the man who created the original, John Forsythe. There's so much energy in this movie you get the feeling that the Angels must have always started their day's work with a triple from Starbucks; it's a high voltage romp that's upbeat and filled with fun and positive vibes. In the end, "Charlie's Angels" is an entertaining, feel-good movie that should satisfy a new, younger audience, as well as those with fond memories of the show that started it all a generation ago.

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This movie is a good example that a movie does not always have to be deep and have an excellent plot to still be fun. I appreciate deep films with deep characters and good writing, this film has none of those. However, I can't say for one minute that I was not entertained. This movie blew me away, the sound was literally a blast, and the visuals were a treat. It is easy to tell that the director has directed many music videos.

You will not like this film if you are turned off by shallow stories and mindless action. It also is an insult to anyone serious about martial arts. If you like cheap thrills and want to have fun, I highly reccomend it.

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My wife (who doesn't remember the original show) and I went into the movie with zero expectations and found ourselves having an absolute ball. The film is funny, self-aware and great fun. Any film that includes the line "for god's sake, FLIP YOUR HAIR!" isn't one that takes itself too seriously, even for a moment.

Add to that teriffic Hong Kong action-movie sequences -See Cameron Diaz question a thug with her foot! See the Angels take on a sword-cane wielding and high-flipping Crispin Glover! -and the film got a well-deserved round of applause from a packed theater in very jaded Los Angeles.

This isn't the film for those who prefer their action grim or their female heroines desexualized -the Angels go from kicking the crap out of bad guys to checking out hot guys in zero-to-60 flat -but for those looking for some light movie fare served at rocket speed, "Charlie's Angels" is the way to go.

The Angels out-Bond every James Bond movie without Sean Connery, and as we left the theater, my wife and I agreed that we would be getting the DVD ...

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Zazie dans le metro (The Criterion Collection) (1960)

A girl is left with her uncle for the weekend (or a day, I think) while Mom runs off with her new boyfriend. She has one wish while she's there...to ride the Metro train...which, naturally, is on strike.

Wackiness ensues.

Shot largely as if it were a slapstick silent film, this is one wacky, odd romp around Paris. The Eiffel tower scenes are surely one-of-a-kind and worth the price of admission alone.

You won't really find yourself laughing a lot so much as just marveling at the spectacle of the thing.

First saw Zazie years ago and remembered I'd loved it. So I was thrilled to see that it was coming out in a Criterion release. The film was as crazy and colorful as I remember it. All potty-mouthed Zazie wants to do while visiting her uncle in Paris is to ride the metro. Unfortunately it's closed due to a worker's strike. Still there are plenty of other adventures to be had and lots of colorful characters to have them with. Zazie is a real gem and I highly recommend it. The Criterion DVD is what one expects: outstanding and with great extras.

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You often hear about novels that are not possible for a film adaptation. And for author Raymond Queneau's successful 1959 novel "Zazie dans le métro", who can portray a novel about a young girl who knows way too much for her age and is so inquisitive, but yet her perspective of the absurdity of adult Parisians?

Never to back down from a challenge, French filmmaker Louise Malle known for his popular films "The Lovers" and "Elevators to the Gallows" took on a film adaptation of "Zazie dans le métro". A film which Malle would say it was a tribute to Charlie Chaplin and also a film that would lead to film experimentation with special effects and colorization.

And as for the film, the film would receive critical acclaim but also controversy as many parents thought the film was targeted towards children, and took their children to the film to find out quickly when the young 10-year-old Zazie speaks that the film is not for children.

For Louis Malle fans, many have wanted more of his films to be released by the Criterion Collection and sure enough, "Zazie dans le métro" and "Black Moon" will be released on Blu-ray and DVD in June 2011.

"Zazie dans le métro" is a film that is not easy to describe, because it is a film that has to be experienced visually. Words to describe the film would not serve the film any justice because the enjoyment goes bar beyond the written words but what takes place on screen.

VIDEO:

"Zazie dans le métro The Criterion Collection #570' is presented in 1:33:1 aspect ratio. It's important to note that the film was a big experimentation with color and filmmaking, especially special effects at that time. The film uses quite a bit of experimentation of color, unusual cuts, sped up film, etc. But for the most part, considering the film is 50-years-old, it looks great on Blu-ray!

I was actually pleased with the amount of detail, especially since this film has a vast color palette and a lot of outdoor scenes, colors are vibrant, skin tones are natural and brighter colors, especially the reds, really pop! I didn't notice any banding or edge enhancement. Nor did I see any artifacts. I did notice at some points of film damage but they were quite brief and limited to a certain area for a few seconds. But "Zazie dans le métro" looks great on Blu-ray!

According to the Criterion Collection, this new HD digital transfer was created on a Spirit Datacine from a 35 mm interpositive, thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system, while Digital Vision's DVNR system was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

"Zazie dans le métro The Criterion Collection #570' is presented in monaural French with English subtitles. Dialogue is clear and I detected no hissing, clicks or any audio problems at all.

According to the Criterion Collection, the monaural soundtrack was remastered at 24-bit from the positive print soundtrack. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

SPECIAL FEATURES:

"Zazie dans le métro The Criterion Collection #570' on Blu-ray comes with the following special features:

Louis Malle (4:54) Featuring an excerpt from JT 19h15 from October 26, 1960. Malle is interviewed by Mario Beunat and talks about taking the challenge of making the film, how the film was dedicated to Charlie Chaplilna nd screened for him and his perspective of the movie.

Catherine Demongeot (7:35) An excerpt from "Cinq Colonnes Ala", journalists Jean-Noel Ray and Pierre Dumaget interview Catherine and her parents (March 4, 1960).

Raymond Queneau Featuring two interviews with the original author of Raymone Queneau for "Zazie dans le métro". "Lectures Por Tous" (Feb. 4, 1959; 9:20) and "En Francais Dans Le Texte" (March 24, 1961; 5:52).

Le Paris de Zazie (14:57) A short documentary shot in 2000 by "Zazie dans le métro" assistant director Philipe Collin who revisits the locations of where the film was shot and talks about various scenes and how they were shot, the artistic look of the film, the characters and more.

Jean-Paul Rappeneau (10:00) Writer/collaborator Jean-Paul Rappeneau talks about working with Louis Malle on"Zazie dans le métro".

William Klein (13:06) An audio interview featuring Louis Malle's artistic consultant William Klein talks about working on "Zazie dans le métro".

Original Theatrical Trailer (2:15)

EXTRAS:

"Zazie dans le métro The Criterion Collection #570' comes with a 20-page booklet featuring the following essay "Girl Trouble" by Ginette Vincendeau.

JUDGMENT CALL:

"Zazie dans le métro" is one of those films that one can't describe because it was meant to be seen visually.

One can be described is that this 1960 film was surprising in many levels because it featured a young girl with a mouth that would surprise people because she talks about sexuality, dirty men, homosexuality so openly and doesn't relent. Like many children who are inquisitive and keep asking questions, in "Zazie dans le métro", the questions are blunt. "Are you a homosexual?", "Are you sexually repressed?", "Are you a dirty man that goes after young girls?", etc.

Zazie is a product of her upbringing and its a statement of Paris culture back then that filmmaker Louis Malle wanted to tackle, that is a comedy that showcases the absurdity and chaotic nature of Parisians at the time.

And while Zazie and the absurdity of the adult characters is a big part of the story that can be described, its what takes place in the film that can not.

In one scene, when Zazie is trying to hide and escape from a man who spends his money buying her mussels, fries and blue jeans, the chase scene resembles one of those quick-paced hilarious Benny Hill skits. Characters looking like they are running quickly while the camera focuses on their face, but then the camera goes through several jump cuts, speeds up quickly, reverts back to normal.

In some scenes, there is a little trickery as one conversation between two men, Malle quickly changes one scene with the man in black face for a quick second and very few frames.

And while this style is funny at first, it does become a little tiring but it's all about how Malle manages to make things darker as the film progresses, that becomes quite intriguing.

Also, the look and feel of the film is rather interesting as well. In the special features, you learn that advertising screens were utilized to block out things that Malle didn't want to be shown in the film and so while Zazie is running or walking, you will notice these artistic walls behind her.

Possibly one of the most jarring shots and something that you will never ever see in a film again, is the shot of actor Philippe Noiret (Uncle Gabriel) doing these close to the edge, about to fall off high above the Eiffel Tower. In fact, one scene shows Noiret on top of an elevator rising up on the tower. It's amazing how these shots were done, especially the freedom that was given to the filmmakers to shoot those scenes but anyone who is acrophobic, even for me, those shots made feel a bit uneasy because those playful shots made you feel that he could fall off the Eiffel Tower any minute.

But the efficacy of "Zazie dans le métro" lies within its structure and how different it was from the Nouvelle Vague films at that time. Speaking of the French New Wave, even Zazie has some words to say about it during the film.

While I have not read the novel "Zazie dans le métro", I do know that author Raymond Queneau was quite appreciative of the film adaptation and even Charlie Chaplin who Malle has dedicated the film to, watched the film in French no subtitles and enjoyed it.

The Blu-ray release of "Zazie dans le métro" features a good number of special features but probably the one that I found to be quite intriguing was Phillipe Collin revisiting the locations in 2005 and talking about how the shots were done. But also to see the interview with young Catherine Demongeut from 1960 as the journalists wonder if she is anything like her character and grilling her parents on playing such a part. I found it pretty cool to see the parents calm and collected, especially Catherine while the journalists were really trying to make them frustrated or angry.

While watching "Zazie dans le métro", I often wondered how both Louis Malle even Raymond Queneau would feel about how society is today, especially for Malle who wanted to take on the absurdity of adults in Paris at the time. And as for Zazie, it made me wonder how much worse children are today as the words coming out of Zazie's mouth was considered dirty, once again, if only Malle, Queneau and society then would see how children, a product of the way they were raised, are learning some things a bit too quickly than they should have at a younger age.

But put yourself in the viewers shoes back in 1960 and you can see how this film could be seen as artistic, controversial, hilarious, enjoyable, absurd, chaotic, you name it... there are many words to describe this film and for me, I found it to be entertaining, fun and one of those films where a filmmaker does something different and unique and comedic but yet is able to make a statement on society.

"Zazie dans le métro" is a film that many Louis Malle fans have been waiting for and now it's here! This Blu-ray release is recommended!

Read Best Reviews of Zazie dans le metro (The Criterion Collection) (1960) Here

I'm not quite sure whether I like this film or not. I either loved it or I hated it ... it says something about the power of the film that I'm not quite sure how I feel about it.

What starts as a very realistic look at Paris through the eyes of a 10-year-old girl gradually slips into impressionism and finally into surrealism (the final fight in the restaurant). The more I think about it, I think Malle's absurdities work very well during the various chase sequences, but go a bit over the top during the restaurant fight.

What also struck me was the sexual ambiguity of the characters. Zazie's uncle is, of course, a professional female impersonator. But watch her aunt, a beautiful woman who starts out as a very domesticed housewife and gradually becomes more and more masculine, until at the end, she looks like one of the motorcycle thugs pursuing Orpheus. And Zazie herself begins as a charming young girl, but shocks you when she accuses a man trying to prevent her from running away of being a sexual preditor. Later, as she descends the Eiffel Tower, the makes sexual overtures to a much older man.

As I say, a strange film. Funny. Thought provoking and disorienting. But entertaining ...

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This was sent to a friend whom I assume enjoyed it. I know nothing about this movie myself, but the friend was happy with it, I believe, since i hadn't heard anything to the contrary.

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Little Man (2006)

There's nothing wrong with dumb comedies. Nothing at all, but the problem with most dumb comedies is that they're just that: Dumb. There is such a thing as being so stupid it's not funny and Little Man manages to do that quite well. The Wayans brothers have been known to do comedies with utterly ridiculous plots, gross-out and sophmoric humor, and usually not giving a rip with who they make fun of. Ever since the success with Scary Movie they've made quite a name for themselves.

Little Man takes dumb comedy to the height of stupidity. The story is implausible. A comedy isn't so good when the viewer can actually see that it's trying to get some laughs. Little Man is a comedy that tries too hard. The movie is about a two foot six inch tall man named Calvin who robs a jewelry store with is incompetant partner Percy (played by Tracy Morgan). Unfortunately he drops the diamond into the purse of Vanessa Edwards (Kerry Washington). In order to get the diamond back Calvin decides to impersonate a baby and get himself dropped off on the steps of Vanessa's home. Vanessa and her husband Darryl (Shawn Wayans) decide to take the baby in.

To be honest, the movie probably would've been much more fun to watch had it just simply been about the robbers trying to break into the house and steal the diamond back. Instead, like your typical Wayans brother's movie, it opts for the more ridiculous plot. What really surprises me is that no one in the family suspects the baby of being older than he actually is. A baby that talks fluently, swears, and doesn't even look cute just takes the humor out of this movie. The people who take the "baby" in in the first place have got to be some of the most dense people on earth not realize that the baby isn't a baby at all.

This is part of the problem with the movie. Calvin discovers that he can fool just about everybody. The movie expects us to believe that all the characters on screen are idiots. Another big problem is that Calvin goes from his cute act to being the same ruthless, ill-tempered burglar he's always been. Swearing in his normal thirty-something year old voice and flipping the bird should be more than enough of a sign to these people that this "baby" is no baby at all.

I admit that the Wayans brothers can be funny guys, but this seems like a movie better suited to have been an animated feature rather than live-action. I didn't find the movie to be funny because I couldn't shake the fact that the characters on screen were really stupid about the whole situation. It sort of took the humor out of the movie.

First off, don't watch this thing expecting it to be anywhere near as funny as Scary Movie. It's PG rated, not R, so get it through ya thick skulls that it's a family movie and is not going to have adult only humor.

Little Big Man is about a small guy who is released from prison and the first thing he does is steals a diamond with someone and some things go wrong and the diamond ends up being placed into an innocent womans hand bag. Then to get the diamond back they decide to not just mug her for it, but the little guy has a shave and pretends to be an abandoned baby left on there door step. But the little guys plans to just be in and out with the diamond go wrong and he ends up staying longer then he expected pretending to be a baby.

I kind of liked the idea of it, a midget pretending to be a baby and getting up to things that only a plot like that could deliver. There are some decent gags in the film, but there are also those that didn't work and those that could've been done much better... quite frankly i'd enjoy a nurse on Alex Borsteins knee, but they played it out like she was hideous which I thought didn't work at all. Plus, the fart/poop jokes couldve been done allot better, but there are still some decent gags in the film.

I wouldn't say it's ever going to be a classic comedy, but neither was White Chicks but you can still sit from start to finish and watch it without being bored, unless you're just expecting something huge to happen, but as I said, don't expect huge laughs like they have previously made.

My 6 year old niece watched it with me and laughed at different things to me, she loved it, and wants to watch it again, so it has replay value to some.

Overall: don't go in expecting it to be something huge, its not, its more a family comedy and the only thing I didn't like was the end of it.

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...........the ONLY movie neither ebert or roper give 2 thumbs up.that alone says it all.

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I liked the movie "White Chicks" but this movie was not near as good, but it had a few good laughs. It was really hard to take this movie at all serious no matter how hard I tried. How could they not tell that he was an adult?? Little man had a tattoo, and so much more things that any normal person would realize that he isn't a baby. I know I know this is a movie but I thought that it would have been a little less stupid and more funny. They really made this movie outrageously stupid as it looked better on the previews, but I did have a feeling it would be this way.

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A man, who is anxious to be a father, mistakes an extremely short-statured, baby-faced criminal on-the-lam, to be his newly adopted son. Marlon, Shawn, and Keenon Ivory Wayans are at it again in the new comedy, Little Man. I laughed at the Wayanses' movie, it's so funny.

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This Christmas (2007)

This was a wonderful movie. The ending brought tears to my eyes. I do agree, as many reviewers have already posted that this an adult family film. So put those kiddies to bed first. I highly recommend this film for purchase or rental. Enjoy.

This Christmas looked like it was going to pass without any cinematic holiday cheer. Luckily audiences will find a special gift at their local multiplexes from Preston A. Whitmore, a filmmaker whose latest picture comes wrapped up with so much holiday mush that it would be hard for even the biggest scrooge to scowl at its spirited Christmas message

It's the most wonderful time of the year again, and the Whitfield family plans to continue their holiday tradition of bringing the entire clan back home for a few days of presents, good eating and family squabbling. The only problem with This Christmas is that each of the children has brought more than just gifts. Absence without leave, surprise pregnancies, interracial relationships, cheating husbands and angry bookies are just a few of the surprises in store for the family's matriarch, Ma Dear, making it a Christmas that will either tear the Whitfield's apart or bring them closer than they've ever been before.

With This Christmas, Preston A. Whitmore successfully bounced back from his sophomore slump. The choice to "Crossover" into the holiday genre is a big move, though looking at the filmmaker's oeuvre, he seemingly defies categorization. Written with heart, This Christmas isn't just impressive for its well balanced drama and comedy. Its ability to transcend its targeted audience to become a holiday film that can be enjoyed by anyone who has ever experienced family dysfunction makes the picture a refreshing surprise.

With an all-star, African American cast including Delroy Lindo, Loretta Devine, Idris Elba and the lovely Sharon Leal, Screen Gems certainly seems to be pushing the racial factor when marketing This Christmas. While this strategy will probably draw in adequate box-office receipts (See Tyler Perry's success), This Christmas will draw the majority of its fans next Christmas when it finds a wider audience on DVD.

Though many of the family's problems translate to touching and humorous bits of cinema, This Christmas ultimately suffers from one fatal flaw, too much conflict and no easy way out of it. There is so much going on, that the tidiest and most satisfying conclusion seems far too difficult to reach. It also seems that the character of Joe, played by Delroy Lindo, has the answers to everything. Able to pacify everyone from street thugs to the U.S. government in a single night, Joe gives Santa Claus a run for his money on this Christmas Eve.

However plausibility isn't the strong suit of the Whitfield family. There are plenty of nit-picky details audiences will pick up on that could easily take them out of the narrative. While viewers might scoff at bits such as buying the picture-perfect Christmas tree on Christmas Eve, the performances from the actors, tight editing and gorgeous cinematography will help get you through This Christmas.

If filmmakers should write what they know, then Preston A. Whitmore certainly knows Christmas and family far better than war or basketball. A solid holiday outing sure to please any audiences that comes across the film, Whitmore's well executed dramady should resonate far longer than This Christmas.

-Joe Russo

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I love this cast for me it made the xmas cut..with my movies

it's a repeater for me and with me that's important at xmas.

it was thought out well.And it's nice to see a black family

enjoy xmas traditions.... love it and chris did well with

donny hathaways song... that's a classic song.jones from NJ 12-8-2011

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I did not expect for this movie to be good at all, I can not wait to purchase this the DAY it comes out. I thought the scene where Regina King's character beats her husbands behind was hilarious, so creative! Destroying the SUV was great as well!

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This has become one of my favorite holiday movies.... but to be honest I watch it all of the time.. It doesnt have to be a holiday to enjoy a few hours with the Whitfields..

Loretta Devine one of my favorite actresses in Hollywood steals every scene she is in..

Who can forget the Baby Oil Shower Scene (Get your minds out of the gutter..) but let's just say.. Cheaters Beware...

Watching Chris Brown sing This Christmas still gives me goosebumps...

This movie is filled with great actors/actresses Idris Elba (Need I say more) Regina King Delroy Lindo and many more...

If you are looking for an entertaining & heartfelt movie.. Give "THIS CHRISTMAS" a try..

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Anuvahood

Love this film! SOoO funny and the characters are all completely lovable, especially "K" played by Adam Deacon. You will find yourself rooting for him to win and laughing the whole way. The visuals and colors are great too, such a nice touch!

This is a fun and witty film about teens trying to live up to a certain reputation. It is a fun and light-hearted film that is perfect for just sitting back and enjoying the crazy adventure it takes you on!

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This film is sooooo funny! Made in respect of films like HOUSE PARTY and FRIDAY. If you liked those films you will love this.

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Just happened to come across this movie one day, and I love it. It is a real life setting with a comical twist.

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I loved Friday and I love British accents so the combination of the two makes for a hilarious film! Highly recommended for a good laugh. It totally cheered me up after a bad day!

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Sex Drive (Unrated and Cream-filled) (2008)

Heed the director's advice and watch the R-rated theatrical version first. If you enjoy the R-rated cut, you can check out the unrated version. The unrated version is actually a joke, a jab at all those "unrated" comedies on DVD.

The movie itself is pretty funny, and the picture quality on this Blu-ray Disc is very good. Unfortunately, due to having two different versions of the film on one disc, there wasn't enough room to include HD audio.

I saw Sex Drive at a sneak preview. It's a seemingly typical teen sex comedy in the vein of Superbad meets Road Trip. Zuckerman plays Ian, a young virgin with no luck with the ladies, a crush on his childhood friend Felicia (Crew), a jerk of an older brother (Marsden), and is best friends with an Austin Powers-esquire Casanova by the name of Lance (Duke). On the internet, he poses as a football player while courting a mysterious girl online. When the girl invites him to go "all the way", he steals his brother's GTO and heads to Knoxville with Felicia and Lance. Ian's character has the usual nerdy teen virgin-in-a-movie problems: falls for the wrong girls, takes few risks, gets caught in embarrassing sexual situations. On the road trip, they run into a series of hilarious, awkward, and weird situations. And on the way, they discover that sex isn't the most important thing, and that true love can be found in both odd and familiar places.

It's not exactly stunningly original, but it's still a hilarious film. The three leads do a pretty good job, Lance being a particularly funny character. Marsden and Green steal the show in all the scenes they're in, and all of the characters in the film are interesting, even if most of them are stock characters. The script is also well-connected, with most of the characters being connected to the larger plot, and combines wit, ribaldry, and straight adult humor well. Every gag sequence gets big laughs, and the comedy never slows down or dies out. The internet cutaways are especially hilarious supplements.

It's refreshing to see a genuinely adult comedy not coming from the Apatow crew or McKay and Ferrell. Although it lacks star leads and filmmakers and will probably drop under the radar, I definitely recommend Sex Drive to anyone looking for a big laughs.

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Plenty to read about regarding this film out in the Internet world. The trailers have been playing in the store for a month now and the buzz has been positive (since no one got to see this in theaters). Analyzing a high budget teen/sex comedy for acting is pointless, so I will stick with the BD quality and extras.

The video and audio look and sound fine, typically the outer channels get used with the LARGE volume of songs played throughout; and some nice GTO throttlings. The special features have roughly 30 minutes of docus reviewing production and self loathing/lampooning of the cast: Marsden Dilemma & Duke of the Internet clips.

The big question: differences between the UR and R. Plenty to list. 20 extra minutes of gratuitous male and female nudity, longer takes of certain scenes (the two confident geeks verbiage, pool party, condom buying fiasco, left-in flubs, changed phrases, sex sounds [sheep, bjs, etc.]), most noticeably CGI-imposed nudity in 20 or so random scenes with a graphic intro by the director/writer about what to expect in the UR version.

Overall, a funny film with plenty of comedian cameos, decent writing, love searching, and sexual awakenings (even in the Amish country). A worthwhile purchase for fans of the film plus they kept it all one on disc (everything is the same as the 2 disc DVD).

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Although I'm still officially a teenager, I've never really been into movies like "American Pie"; that type of humor just struck me as shallow, immature, and to put it blunty, plain stupid. I had never even heard of "Sex Drive" until the day I went to see it with a friend. After watching the preview online, I had rather low expectations. The further the film progressed however, the more I came to like it. The plot is ok, but it's definately the actors that make this movie; I fell in love with the characters! Especially the guy with the glasses. It's a shame this movie didn't do too well at the box office; it surely deserves more attention than it's gotten! You won't be dissapointed with this film!

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I saw this in the theatre and didn't think that I would like it but it was pretty funny, way better than I expected. Typical story plot but with some off the wall humor.

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Bucky Larson: Born to Be a Star (2011)

Stay as Far as you can from this atrocity and watch something good like the Benchwarmers (I know that was horrible to but you at least laughed).

What was clearly the 1st sign of what direction "Bucky" was heading into is when we saw an inbreed farmer (probably left over from Deliverance) smacked peanut butter all over his Junk so his goat could "snack" on it, this was still in the middle of the intro credits before we even get to Bucky himself. Once the Peanut Butter and Goat credits finally ended we see Bucky at his job as a grocery sacker at "Fooders" where his boss played by Curtis Armstrong (AKA Booger) fires poor Bucky (Not clear why but it does not really matter anyways). I'll skip over the dinner seen with Bucky's Parents and get to where Bucky goes to his friends house to watch a new movie. The movie that Bucky watches (And at the same time gets off to) is a 1970's porno of his parents. At this point Bucky realizes his destiny and decides to go to Hollywood to be a porn star. The rest of this you will have to rent from Red Box and experience the holocaust yourself, I can't bring myself to type anymore. I'm having violent flashbacks as it is with the little I managed to hammer out. Please GOD, Strike down these unholy images from my brain! Take me to my special place where I may forget.

My first thoughts was to trash both my TV and Blu-Ray player so I could sanctify my entertainment system but came to my senses in time before I had found my sons metal bat in the garage. Upon returning "Bucky" back to the Red Box Kiosk I hesitated briefly because I was afraid the machine would abruptly catch fire after inserting Bucky back into it, luckily it went without incident.

I never truly recognized how bad the economy had gotten until watching Bucky, seeing good actors like Don Johnson, Christina Ricci, Stephen Doriff, Jimmy Fallen, Curtis Armstrong and Pauly Shore (Yes I said Pauly Shore, Bio-Dome was a park walk with what Nick Swardson did) give up what integrity they may have had to actually use their real names with this movie.

The really sad thing my son who is an Adam Sandler fan (as myself) is hoping that Adam just put his name on the script and can have plausible deniability that he had any "creative input" concerning this abomination. Before anybody says anything we are not defending the stuff that Adam has put out over the years but you can usually get a laugh even if it was unintentional. This cannot be said for this unholy horror. I'm just hoping after this Adam Sandler revives Rob Schneider's mediocre career, it will be a welcome site after seeing Nick's first starring role.

So in Conclusion both I and my Son who are both card carrying Golden Razzberry Members have found what will be our sure fire pick for the 32nd Razzies this year.

i saw this movie in the the theater, it was so bad i got up and left the theater with my friends, it was so stupid and ridiculous. the next time i was wasted..not completely..but enough to really love this movie cause its the "little" things that made me laugh, i.e. things in the background, peoples faces, that sort of stuff. This movie has no redeeming quality and should only be watched by those not in a sober state

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This is one for the collection.....just because it is so damn funny. I love me some Bucky! I don't purchase movies often, but this one had me in stitches....

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Funny movie! Silly humor but Nick Swardson pulls it off. I'm not quite sure how many actors could pull it off as well as he does and keep it equally as tolerable.

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This was MUCH funnier than it sounds. I laughed so hard during the entire thing, that I had tears in my eyes.

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Bad Santa (Unrated Version + Director's Cut) (2003)

If you are a fan of Bad Santa, DO NOT BUY THIS DVD. I bought it expecting extended and restored scenes, instead I got a totally different ending and hilarious scenes cut out.

This version ends with the little boy outside trying to clean up the blood on his front steps rather than giving the bully a swift kick in the nards.

One of the scenes cut out is the scene in the gym where Willie and Marcus are trying to teach the little boy how to defend himself. That was one of the funniest scenes in the movie.

The packaging is deceptive. If they had said, "new ending" on the notes, I would have left it alone. It didn't and I wasted my money. I thought I would come on here and post a warning.

For those of us who can't quite get into the Christmas spirit, "Bad Santa" is a massive preemptive strike against all of the insufferable sentimentality we're going to be subjected to a few months from now. This movie is every bit as entertaining and funny as "School Of Rock," but where "School Of Rock" succeeded through the overwhelming weight of its good intentions, "Bad Santa" (its moderately heartwarming ending notwithstanding) is all about bad intentions. This movie, especially in its powerhouse first half, displays such a commitment to mean-spiritedness that you can't help but love it.

Billy Bob Thornton's safe-cracking department-store Santa Willie is the epitome of ugliness, all the more so because he commits much of his mayhem in his work outfit. Early on we see him getting drunk and throwing up in an alley, and from there he remains in the gutter for much of the movie. He chain smokes, he wets himself in his chair, he fornicates in a dressing room, and above all, he swears. I don't find profanity inherently funny, but Thornton's acid tongue manages to turn four-letter words into weapons of unimaginable destructive power. More than anything I've seen since the "South Park" movie, "Bad Santa" manages to elevate nasty language into an art form.

Even in its moments of humanity, the movie doesn't aim too high. Willie does have a love interest, but not quite in the conventional sense: intead, it's a young bar waitress with a Santa fetish who demands that Willie wear his stocking cap during coupling. Willie also finds some meaning in his life by striking up an offbeat friendship with a fat, bullied kid named Thurman, a bond that manifests itself in one unforgettable scene when Willie beats the living hell out of the teen skateboarder who gave Thurman a black eye.

Even though it's Thornton's show, "Bad Santa" also benefits from a top-notch supporting cast. In his last film role, the late John Ritter is the picture of ineffectualism as the mall manager; Bernie Mac is admirably slimy as the self-interested security chief; and the three-foot-tall Tony Cox belies his small size with a scene-stealing performance as Willie's "elf" and partner in crime.

"Bad Santa" doesn't have an enormous level of plot development, but then it doesn't really need much. What's really important is the way the movie's cynicism slices and dices the sugary "cheer" (which is often cynical itself) that typically accompanies the holiday season. Christmas isn't all about irritating songs and people rioting in department stores over cheap presents, and we all owe a debt to "Bad Santa" for dumping a little snow on the parade.

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Not only is this Santa bad, he is vulgar, crass, dirty, foulmouthed, loose-moraled come to think of it, I can't imagine a worse Santa. In spite of this, Bad Santa is a brilliant dark comedy, full of huge laughs from beginning to end, as long as you can put up with all of the bad language, which has got to be close to setting a record.

Billy Bob Thornton plays Willie, an ex-con drunkard who gets a job every year at a different department store playing Santa, along with his own elf, Marcus (Tony Cox). The catch is that every Christmas Eve, Willie and Marcus rob the department store blind. Willie wants to get out of this game, but he's so irresponsible and undisciplined that every year he's in dire need of cash again and needs to pull another job. As Santa, he swears at kids, urinates on himself, and is generally the exact opposite of what you want your Santa to be.

This particular year, a young kid (Brett Kelly) who is oblivious to the fact that Willie is not, in fact, the real Santa, attaches himself to Santa. Lo and behold, the kid lives alone in a posh suburban house with only his catatonic granny, so Willie takes up residence with the kid. As Christmas Eve approaches, Marcus becomes increasingly concerned with Willie's condition, the kid becomes increasingly annoying, and Willie stays exactly the same drunk, angry, and generally foul.

Bad Santa is exactly my kind of movie unrelenting, unapologetic, inappropriate, completely distasteful, and utterly hilarious. It's essentially the anti-Christmas film. Billy Bob Thornton has an unbelievable knack for acting, and an almost poetic way of unleashing cuss after cuss. This movie gets a big thumbs up, but definitely is not suitable for kids or the easily offended.

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If you are a bah-humbug individual, a Billy Bob Thornton fan, and/or have an appreciation for dark comedy....THIS is the Christmas film for you! Oh, yes, it requires an open mind and the ability to appreciate the unique, but finally here is a holiday film for those who like their seasonal entertainment with a little less 'sugar and spice'.

First, do not take your 11 year old to see this film, as did the gentleman sitting behind me in the theater. He elected to remain even though I advised him this was an adult film (seems the R-Rating didn't seem to do the trick). I stressed that was probably not suitable for his son even if my answer to his inquiry: "Well, it's about Santa Claus isn't it?" was "YES". Because the entire answer was: "YES, but a very, very baaad Santa".

After the movie, the viewer told me that I was correct, that he should have left, and that he had in fact started to leave several times during the film, but didn't. He added that he himself did not like the film. This made be all the more curious as to exactly why he elected to watch until the credits were rolling.

All the other movie patrons must have checked the ratings (as they were all adults), read the reviews, watched the promos, and perhaps caught Billy Bob on every talk show on TV the previous week (where he spent an inordinate amount of time telling the public 'This is NOT a family film'). They also must have enjoyed the film, because they all laughed, actually, they all laughed a lot.

Being an avid, devoted fan of Thornton, I understand and would be first to admit that I am more than a little biased when it comes to Billy Bob. I think he is incapable of making a film that is not entertaining. That being said, I would have enjoyed 'Bad Santa' if Santa had been portrayed by some other actor (except perhaps Jim Carey, but I digress). However, I don't know any other actor who bring the pathos, the heart, the lewdness, the earthiness, the seediness, and the overall great performance to this film that Billy Bob did.

Billy Bob Thornton continues to explore the depths of his talent and take fans along for the ride by always finding new and unique characters to portray. Generally he does this via the 'independent' film method, because indie films provide the greater opportunities for his enormous creativity.

This time his choice was not a 'new' character, rather actually a very, very recognizable character recognizable at least by name Santa, and this time in a film by commercial film makers. That is where our acquaintance with the character of Santa ends. Willie Stokes' Santa may resemble a lot of characters that we know really exist, as opposed to old Kris Kringle. We know this because many of us have met just such confused people in our real lives, though usually not wearing red velvet suits. The individuals we knew were known to us in the guise of losers, con men, hard-drinkers, and otherwise less-than-perfect people who are just a little bit mixed up about who they are, where they are going, and exactly how to get there.

The only disagreement I would have with many of the reviewing film critics about this film is their insistence that "Bad Santa' does not have a 'good hearted' ending. I would beg to differ. While I won't give it away, I would tell you it has what might be considered an ending that is totally 'appropriate' for a holiday film such as 'Bad Santa'. It isn't an 'It's A Wonderful Life' ending, but then again the film isn't 'Miracle on 34th Street'. But we already know that because the title reveals it from the git-go. I may be a bit of a softie when it comes to kids, but I must tell you some of the tears in my eyes at various moments in 'Bad Santa' were not tears of laughter.

Speaking of kids, Brett Kelly, the young actor who plays 'the kid' in "Bad Santa" is priceless in this film and perfectly cast. Brett is the Coronji Calhoun (Tyrell Musgrove Monsters Ball) of this film. Thornton is excellent in acting in films with children, this film being no exception.

John Ritter, like Billy Bob, has played a variety of characters in a myriad of films during his career and is always 'absolutely on the mark' for the personality of each character. Rather than being 'sorry' for Ritter that his last film was 'Bad Santa'; I believe that making this film with his old friend (from 'Hearts Afire', the 80's TV series) Billy Bob Thornton, in their first film together since 'Sling Blade', was probably a tremendous source of fun and pleasure for Ritter. I am personally very glad that he and Billy Bob had the opportunity to co-star one last time before John's untimely death. While his on-screen time seemed short on this film, John Ritter, as usual, did an excellent job and was very funny, as was always his way.

Open your mind, prepare for laughter, and give yourself the gift of a different kind of holiday cheer this year go see 'Bad Santa'. If what you want for Christmas is a little break from the often false cheerfulness of the traditional and instead a swig of dark humor for the delight of your soul, 'Bad Santa' can definitely make all your wishes come true whether you have been bad or good.

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Bad Santa, the new anti-holiday comedy from director Terry Zwigoff is one funny movie. It is just what you'd call hilarious and Billy Bob Thorton does make one very bad santa.

Thorton plays a lascivious, acoholic who works with an elf, (hilarious Tony Cox). They're both bad allright! They're business specializes in stealing, by working at different malls around the area and waiting for the right moments to take what they want. Soon a bartender (Lauren Graham) falls for Thorton. The story works out well, it's not amazing (obviously) but it does this movie just fine. As for humor, this movie receives a high rating on my scale. Note: If you find Christmas too sacrosant to joke about or if you don't like scenes using abusive language towards children, then you should skip this. Also Brett Kelly plays a kid, who think Thorton is a real Santa and won't leave him alone.

This is a dark comedy, no doubt. If you have a dark sense of humor, you should definetly look into it. Though the film is vulgar and some of the humor might be viewed as vile, it is entertaining all the way. Bad Santa is rated R for Pervasive Language, Strong Sexual Content and Some Violence. The language is consistent and seems to never end, the sexuality is fairly explicit, you mainly hear sounds, but some is shown. There are only about 3 sex scenes but none include nudity. The violence is reasonably mild, a shootout near the end, which surprisingly isn't bloody and some fistfights. Billy Bob Thorton has also received a Golden Globe nomination for Best Actor for his performance, he does make a great, bad santa, but I'm not sure if he deserves it. Other contenders include, Bill Murray for "Lost in Translation," and yet another nomination this year for Jack Nicholson for "Something's Gotta Give. All in all, a fine comedy, the one thing I might've changed was the constant profanity but I guess it helps make the movie even more funny. Worth seeing in theatres and not a bad pick for owning on Video or DVD.

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Candyman (1992)

Eventually, anyone who makes it their business to seek out quality horror movies is going to come to the conclusion that the ones that succeed in distinguishing themselves from the pack tend to fall into three distinct categories. First, you have the horror movies that are less interested in scaring you than they are seriously exploring their subject matter, and probing into the nature of evil. Sometimes, they go the supernatural route (The Exorcist, Rosemary's Baby, Don't Look Now). Sometimes, they stay grounded (Psycho, Henry: Portrait of a Serial Killer, Se7en). Either way, they are more disturbing than they are immediately frightening. You acknowledge that what you've seen has struck a kind of nerve, but you won't lose much sleep. These movies are intellectually compelling but they do not provoke any immediate sense of terror.

On the other hand, the second breed of quality horror movies has no interest in psychology, in the "nature" of their content, and do not attempt to intellectually engage you. They only want to make you feel as if you are in immediate danger. The movies that fall into this category (Halloween, Alien) do not provide food for thought, but they know how to make you uncomfortable, and they know how to push your buttons. They are manipulative in the extreme, but they are actively frightening, and provide visceral experiences that the previous category of horror films cannot.

Finally, the third category of superlative horror films distinguish themselves by remaining conscious of themselves. They want to frighten you, but they also want to convince you that they are "above" merely pushing your buttons. At the same time, they don't want to go the intellectual route either. These films (Scream, Dawn of the Dead) are made by people who know the genre, know that the audience knows the genre, and toe a thin line between adhering to genre conventions and examining those conventions explicitly. These films are very effective, even if they are too cool for the room. You laugh knowingly, and then, bam, something truly frightening wipes that smirk right off your face.

Bernard Rose's "Candyman" is a rarity in that it falls into all three of these categories. It is intellectually stimulating and it knows a great deal about the nature of evil, but it is also, truly, viscerally frightening. It is self-aware and yet, it is not too cool for the room, and there is no comfortable distance to be found from the nightmare that unfolds on the screen. It is as immediately frightening as the orginal Halloween, it is as thought-provoking as The Exorcist, and it is as aware as itself as the Scream trilogy. You've never seen anything quite like it before, and you probably won't see anything like it again.

The plot of Candyman centers around a woman who is as much of an agnostic when it comes to the intangible world as one could imagine; she boldly pursues strides into the haunts of a malevolent spiritual force (the Cabrini Green Housing Projects in Chicago, which are dangerous enough without factoring evil spirits into the equation) in search of discovering the source of the legend of the Candyman, a man with a hook for an arm who can be summoned by repeating his name into a mirror five times. She is convinced, as any liberal pseudo-sociologist might be, that the Candyman is but a projection of the fears the urban poor have of gang/drug-related violence. The fact that there is a gang leader who has taken to calling himself the Candyman reinforces this conviction.

For this woman, the idea that there is evil in the world, pure evil, unconditioned by economic/racial (most of the residents of Cabrini Green are poor and black) factors is unthinkable. She does not believe that the Candyman is anything more than an idea. She is wrong. The Candyman is real, and he doesn't much like the challenge to his authority posed by her skepticism. Furthermore, she reminds him of someone from his past whom he wishes to be reunited with, and thus he comes to view her as a conquest on more levels than one.

For about half of the film, we follow the woman, played by Virginia Madsen, and her friend, played by Kasi Lemmons, as they trek through Cabrini, exchange notes, and conduct the affairs of their lives. Madsen's grad student is no different from a lot of young people. She is determined to make a mark on her field, she's a little suspicious about her husband's fidelity, she smokes, she's pretty, she's intelligent and she seems nice enough. She draws our sympathy.

However, midway through the film, there is a decisive rupture, and everything in Madsen's life begins to unravel at an alarming rate. The chain of events that follow a particularly frightening scene in a parking lot take on the logic of a nightmare that one is unable to escape from. Soon, everything we have come to know about the young woman we've been following, all of the connections she has to her friends, to her husband, to humanity in general seem to be undone. It would be unfair to describe exactly what happens, but let it be said that the final fifty minutes of Candyman are as frightening as anything I've seen on film.

We thought we were safe, after all. The character we'd been following had friends, family, a job, a life of her own. The possibility of coming into conflict with nothing less than pure evil was the farthest thing from her mind; she and her friend were more concerned about packing the requisite mace for their journey through the projects, more afraid of drug dealers than of demons. After all, the Candyman is an urban legend, and we know all about urban legends. They're campfire stories. There is no Boogeyman, not really.

Rose plays on the self-conscious approach we take to horror films by decisively arguing that it will not save us. He engages us intellectually by toying with the idea of whether the Candyman is literally real, or only becomes literally real if enough people are afraid of him (I'll leave that up to you to decide). And he frightens us at an immediate level by pulling the rug out from under us at a crucial moment, and by never allowing us to regain our footing. It doesn't hurt that he has an uncanny eye for frightening visuals (the bees swallowing the Chicago skyline, the Candyman's self-portrait), plus the help of a terrific soundtrack from Philip Glass (whose presence reminds us that, hey, this is a serious piece of art) and compelling performances on all levels. Not to mention a great idea, and, yes, the ability to push our buttons and manipulate us when he wants to.

Candyman is, as far as I'm concerned, the second most frightening film ever made; the original Halloween still remains the only movie that made me briefly fear for my own safety. But I would argue that the horror genre has produced no more complete work of art-no other film that engages the viewer on every conceivable level they could ask to be engaged on-than Rose's masterpiece. Halloween becomes exponentially less scary with repeated viewings, as you begin to get the sequence down and figure out what's coming. Candyman's power remains undiminished, even once you get the sequence down, because the scares give way to the ideas.

Don't miss it.

Rated R: Contains some very graphic gore (nothing that will really surprise those used to the genre, but this movie does get pretty ugly by any standard-seriously, who said this wasn't gory enough?) some language, and brief nudity (not in a sexual context).

Candyman starts out pedestrian enough. Helen Lyle (Virginia Madsen) is a graduate student attempting to wow her instructor while dealing with her cheating professor husband. Helen chooses the local urban legend Candyman to blow her teacher away. Being the detailed and dedicated researcher, she investigates the area where most of Candyman's victims are found; the Cabrini Green housing project. Helen and her fellow student interview residents of the rundown apartment complex, explore an abandoned apartment that has been transformed into a shrine to the title character, and form an unusual bond with a young, struggling mother (Vanessa Williams).

All proceeds as one would expect until a murderer using the Candyman legend as a cover is caught by the police. Helen comforts a boy by telling him that the Candyman is not the boogeyman, just a bad man trying to scare and cause harm. This is the turning point of the movie.

By destroying the boy's belief in Candyman, Helen invites the entity who describes his state as "to be but not to exist". Candyman is because others believe in him. Helen has destroyed this so he must now revive his legend and resuscitate belief in him. Helen encounters him in a parking garage where he commands her to "be my victim". The next thing she knows, she is lying in the young mother's apartment next to her dead dog with a bloody knife in her hand.

From this point Helen descends into madness with murders and a kidnapping surrounding her while her husband's cheating ways are revealed. Eventually Candyman asks Helen to join her in the non-existence of legend. To save a child, Helen agrees and sacrifices her life so the child might live. The worst thing about the movie is a rather cheesy ending that confirms Helen's entry into Urban Legend-hood.

Candyman is a well written thriller. It's overabundance of gore overshadows the existential elements. All the actors perform their parts with aplomb. Virginia Madsen is more than believable as a woman on the edge of a breakdown, while Tony Todd was born to play the Candyman. His tall and imposing stature combined with a deep and creepy voice can be truly unnerving at times. Forgive the ending and you have a great horror film.

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The incomparable Clive Barker, known for penning such horror classics as "Hellraiser" and "Lord of Illusions", hits the bullseye dead-on with "Candyman," based on yet another of his gripping short stories, "The Forbidden." This is every bit as gory and ghoulishly engrossing as you might expect and plays havoc with your fears more seriously than any sweat-inducing nightmare you've ever had. Unlike the "Scream" trilogy and "I Know What You Did Last Summer," this movie casts a hypnotic spell that haunts your very soul to the core. I dare anyone out there, as a matter of fact, to try and claim they enjoyed a peaceful night's sleep after watching it.

The whole urban legend mythos along with the tie-in to Chicago's Cabrini Green really helps in elevating the suspense level for this film. It goes without saying, as well, that Tony Todd makes an imposing ghostly presence.

I was thoroughly impressed with this film and find it hard to comprehend how any other serious horror fan could not be. If you haven't seen this rare find of a motion picture, please, do yourself a favor and check it out. It belongs in every horror fan's video collection. God Bless you, Clive Barker!

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Another Barker masterpiece, Candyman is my second favorite story from Clive Barker right next to Hellraiser, and it is one of the scariest horror films of all time. Anybody that has seen a Clive Barker movie or read one of his books knows he is the master of imagination, and Candyman is no exception. It is one of the first horror films to use the urband legend theme and the only one to do it correctly in my opinion. Virginia Madsens performance is excelleent and Tony Todd plays one of the best villians in horror history. Not quite on the same level as Hellraiser, but then again, nothing really is. By far one of the best horror films of the 90's. Highly recommended.

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I'm not a big fan of cut-em-up horror movies. Usually I find them laughable and low-brow. Candyman, however, was a HUGE surprise! Sure, it's a gorey horror movie, but it's also a psychological thriller and yes, even a love story. I will have to say, on top of all that, it's also up there with one of the most frightening movies I've ever seen. A great movie to watch, and a great movie to think about later. Definitely worth owning and re-watching, you'll notice more symbolism, allegory, etc in it the more you watch it.

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