Showing posts with label hyderabadi comedy movies. Show all posts
Showing posts with label hyderabadi comedy movies. Show all posts

The Rebound (2012)

The ReboundHey-film geek girl here(actually,woman)!! I watch a lot of rom-coms and it is hard to find ones that are really great throughout like this one. I have thought that Justin Bartha(and his gorgeously almost neon blue eyes)was adorable and funny ever since the 1st "National Treasure" movie and Catherine Zeta usually makes great film choices,this is definetely no exception.Also when I stumbled upon this in the new to video part of amazon instant,I didn't notice at first that the director was Bart Fr...Sorry,can't remember at the moment how to spell his last name. I do know that he is married to the beautiful and talented Julianne Moore and that they know about a successful relationship involving a slightly older woman.Sure can relate to liking and lusting after younger men. The chemistry between Sandy,the 40yr old mother of 2 kids that is on the rebound from a cheating,kind of awful husband and Arol(not really sure what his name was),the 25 yr old college grad,that works at a cafe and starts working for Sandy, is pretty warm and fantastic. They seem to appreciate each other and care about each other and the kids. The film doesn't rush into the walk down the aisle and quick love but reveals the strengths and passions of both of the main characters. All the travel scenery was nice too,of one of the character's,towards the end."The Rebound" is a wonderful example of how what makes a family beautiful and unique can vary so much. I gotta say,it makes me a little lonely and very much uplifted at the same time. It also stars other great people like Art Garfunkel as Aros' father and Lynn Whitfield as Sandy's eventual respectful,strong boss. I highly recommend this film for any hopeless romantics out there,that don't mind a little real life raunchiness and some bad words interspersed throughout.

Forty-year-old Sandy (played by a radiant, 41-year-old Catherine Zeta-Jones, Traffic, Chicago, The Mask of Zorro) has been a stay-at-home mother the past ten years. Her husband is a domineering man whom she's never found the courage to confront. Not even when she discovers he's been cheating on her in her own home. Instead, she simply walks out with her eight-year-old daughter (Kelly Gould) and her six-year-old son (Andrew Cherry), moving from the suburbs of metropolitan New York City into the City itself. Her obsessive hobby of compiling and charting sports statistics lands her a job at a sports broadcasting station, and further good luck leads her to an very nice apartment over a coffee shop where she meets 25-year-old Aram Finklestein (played by then 30-year-old Justin Bartha, National Treasure, The Hangover), a barista at the coffee shop.

College-educated Aram has had multiple chances for employment as a highly paid office "suit" in the City, but he's opted instead to live with his parents and work at a menial job while he searches for something more meaningful to do with his life. After Sandy runs into Aram at a full-contact, self-defense class at a local woman's center, where Aram has hilariously volunteered to be the human punching bag for outraged women who've been ill-used by men, Sandy asks him to babysit her children. This one-time favor leads to his becoming her full-time nanny, and ultimately to the two of them embarking on a May-December romance.

Academy Award-winner Zeta-Jones is a brilliant dramatic actress who is equally talented at comedy. As a big fan of romantic comedy in particular, I enjoyed her very much in America's Sweethearts and Intolerable Cruelty (though the movies themselves were not among my favorites), and I was delighted to learn she had made this film. She does a very believable job playing the downtrodden Sandy. If we had entered Sandy's life before the inciting incident of her husband's cheating, we would very likely have found her a very boring person living a passive existence. However, Sandy is anything but passive during the course of this movie. Zeta-Jones convincingly portrays Sandy's extremely interesting journey from a woman made timid by low self-esteem to one who is confident in herself both personally and professionally.

Zeta-Jones also has excellent chemistry with her romantic lead, Aram (Bartha). Aram and Sandy are both struggling with similar life issues, including a painful divorce from a betraying spouse, being taken advantage of and pushed around due to a sweet, yielding disposition, and struggling to find themselves as they face a major crossroads in their lives. Aram is the kind of guy every divorced woman with kids dreams about, intelligent, thoughtful, fun to be with, great with kids, an excellent cook, and a sensitive lover.

He sounds like a saint, doesn't he? And saints are supposed to be dull characters, or so we are told. But truly he is not. Sandy is equally nice, and the audience is rooting for her to choose kind, decent Aram, whom she deserves and wants, rather than the jerky, age-appropriate men her friends urge her to date instead of Aram in order to avoid a sexist social stigma that men don't have to worry about.

I had never seen Bartha's work before viewing this movie, having missed the films he is most known for. I was very impressed with his acting, and I will certainly be on the lookout for him in the future.

Unlike several recent romantic comedies I've watched with a huge amount of--to me gratuitous--nudity (No Strings Attached, Friends With Benefits, Love & Other Drugs), there is no nudity in this movie! Yes, there is some swearing, but I'll take that any day over endless rounds of naked bed romping.

As any romantic comedy worthy of the name should, this movie has many humorous moments, but importantly, it is quite poignant as well. It is a cliche to say, "I laughed, I cried," when reviewing a movie, but the truth is, I did, and I think that's a very good thing. I believe that this is what any romantic comedy of merit attempts to achieve for its audience.

All in all, this film is a keeper in a special place of favor on my romantic-comedy shelf!

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I found "The Rebound" a delightful Adult Romantic Comedy, written and directed by Bart Freundlich, and not your usual fare. After all, this one stars Catherine Zeta-Jones (Sandy) and Justin Bartha (Aram) as the two leads. You really can't go wrong with these two presenting a younger man and an older woman theme. Sandy's two children, Sadie (Kelly Gould) and Frank (Andrew Cherry) are just adorable and precocious as ever. The R rating is for the themes explored and for some 'bawdy' language making this a romance, with a generous lending of comedy...for grown ups.

This story basically starts with forty-year old married Sandy, on her laptop looking through video clips of Sadie. As she's perusing through her young daughter's accomplishments, she spies in the background her husband being 'unfaithful'. This issue is not explored in detail. We quickly focus on Sandy and the children moving into an apartment in New York City, above a coffee shop. This is where the very sweet Aram works and they first meet, as the children quickly take notice of him and immediately like him.

Shortly after meeting Aram, he offers babysitting services. Sandy gains work for a major sport's network as she's an avid sports fan and educated in this area. Her boss (Laura Reilly) is strongly acted by Lynn Whitfield who becomes a role model. The 'babysitter', whom the children adore and so does Sandy, is smartly employed as the kid's "nanny". The two find a comfortable friendship with each other by this time and Sandy is getting more stable and happy with her life.

Aram has a Sociology degree, although is content working in the coffee shop as he has been hit hard by a relationship also. He married a French woman who used him cruelly to gain a 'Green Card' for citizenship, then left him. He won't divorce her or she would not be able to stay in America. He lives with his parents, the Finkelstein's (Art Garfunkel acting the part of the father in an uniquely comedic role). Aram possessing a generous, warm and thoughtful nature that you cannot help but love.

One of Sandy's friends begins urging her to go on a blind date with a Chiropractor (John Schneider) as Sandy really doesn't want any part of it. Although she finally relents and leaves the kiddos with Aram to go out with him. As far as blind dates go, this one takes the cake as Schneider is a complete fool and Sandy's responses to him are equally funny. When she returns to the apartment after the date from hell, Aram is there for her after she downs a partial glass of vodka. The two begin talking and as one thing can lead to another the friendship shifts into an 'intimate' realm.

As usual with these types of movies, there is a plot twist, and this one was a big unexpected one for me. So to go on with a descriptive way of reviewing this would really be a spoiler for anyone interested in seeing this film. You will see some beautiful scenery and further explore the soundtrack that starts with a bang from the beginning, by Jim Black. From Sandy yelling out the song "B****" by Meredith Brooks in her car driving, to Aram singing "Everytime You Go Away" to Sadie so she'll fall asleep.

It is always enjoyable to see Catherine Zeta-Jones in this type of role; strong and vulnerable at the same time. She is one actress that can do this plausibly and add some sharp, dry wit. Justin Bartha has always had the innocent, sweet quality to pull the role of Aram off and bring him to life. The two share an easy rapport and screen chemistry. A great movie just in time for Valentine's Day.

Read Best Reviews of The Rebound (2012) Here

Just loved it. Not your typical cheesy totally made-up romance story, but a honest and realistic one. The movie will make you feel that love do exist and it has nothing to do with age. Love is just love even though sometimes it might take a while for people to realize it, but at the end, true love will shine. The movie put a smile on my face, and I am sure it will do the same for you. So enjoy.

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This is Michael's wife. I loved this Movie!! I loved Justin Bartha as a romantic lead and hope he does many more romantic comedys. I have to admit the first time I watched it I had to fast forward through some scenes. The "F" word is mentioned some. Not sure how many times because I muted through them (and it starts right from the beginning) The movie in my oppinion had some unnecessary crudeness for my taste but.... the romance in the movie is so good it left you wanting so much more and way out shined the language and crudeness) The chemistry between Catherine Zeta Jones and Justin Bartha just worked so wonderfully. I have watched this movie 3 times already this week and want to watch it again. You fall so in love with Aram's character. It's so rare to see a guy so faithfully devoted to his true love these days. His character made the movie. Catherine Zeta Jones did an outstanding job as well. The kids were funny too. The bowling scene was one of my favorites. For couples or women that are looking for something to do on a weekend or afternoon by themselves this is the perfect romance movie. (as long as you can handle the crudeness factor and a little language.)I still give it 5 stars because it left me wanting more.... More romance...more Aram.

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Just Married (2003)

Just MarriedI found this movie to have two distinct halves. I somehow did not find it funny when Ashton Kutcher pushed Brittany Murphy near the beginning of the film. Getting liquid all over her front was supposed to be slapstick, but I thought it was cruel and mean, even if they weren't getting along. Because of this beginning, I found it difficult to get into the movie initially.

Our story is an old one. Poor boy meets rich girl. The two fall in love. The families object. The two persist, and get married, and it turns out badly until the end of the movie; sort of like "Romeo and Juliet", only nobody dies, and it's funnier.

However, I didn't get my first laugh until about 22 minutes into the movie. I had to wait until about halfway through the movie before it started to get really funny. The movie was supposed to be funny before that, but the humor was flat. For example, Ashton Kutcher is plugging a sex toy into an electrical outlet. Of course the toy has a plug for 110 volts, and the European hotel they are in has 220 volts, the European standard. Ashton somehow believes he can get the plug in. His rather more experienced wife stands by while he jams the plug in and predictably causes all sorts of havoc.

Later the couple plows into a snow bank. Ashton throws a snow ball at a passing car that doesn't stop to help them. The old lady driving the car backs up and, again predictably, pushes their car over the edge while giving the two of them an obscene gesture (that part wasn't predictable).

While I found the first half of the movie predictable and funny only in places, the second half of the film picked up substantially. I finally identified with the characters, the movie became funny, and I thought the ending was touching.

This movie does one thing really well. Most movies about weddings and honeymoons try to paint a picture of how perfect everything is. This movie shows a honeymoon disaster. Further, it shows how two people who truly are in love with each other can find how truly difficult life can be when things go wrong.

If you like light romantic comedy, this movie may be for you. You may find more humor in the first half than I did. If so, the second half will be an absolute riot. The ending touched me. Worthy of watching at least once.

This movie was a surprise hit with me.

I found it to be very very funny, and Brittany Murphy's laughter in the film is extremely infectious.

Ashton Kutcher and Brittany Murphy were such a great pair.

The extras were pretty average, but the commentary was really inspiring and fun. The film gets 3 stars, but the great DVD commentary gives it major bonus points, equalling 4 stars overall.

Have fun checking it out.

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I was completely surprised to read so many bad reviews about this movie. It's high up on my list of favorite movies. It makes me laugh every time I see it, and it has some incredibly romantic, touching moments. Ashton Kutcher and Brittany Murphy did a fantastic job of portraying newlyweds. I adore this movie and hope people will read this and think about buying it.

Read Best Reviews of Just Married (2003) Here

Alot of people see Ashton Kutcher and Brittany Murphy and they write Just Married off as another silly teen movie made for the MTV crowd. Think again. From start to finish Just Married shows the trials and tribulations a young couple face when they fall in love too quickly and become impulsive.

The movie starts out after the honeymoon when Kutcher and Murphy are at eachother's throats wanting a divorce. They can't stand to be together, but can they bare to be apart? The movie then begins to unfold when a lonely and miserable Kutcher tells how it all started.

At first, you believe the whole movie will be shown through flashbacks and his memories, but that's not the case. Soon he starts at the beginning and that's where we watch these two people fall so madly in love. To say much else would give the movie away. So I'll shut up and just say what I liked about it.

From their first kiss to their wedding and even into their honeymoon, Kutcher and Murphy bring realism and charisma to their characters all while exuding a rare chemistry on screen that many romantic comedies lack.

The couple have the typical problems: their in-laws fight, they have different ideas about how to spend their free time and jealousy from past lovers ensue.

They also have their not so typical problems: getting married and realizing they don't know who the other person is or what they want out of life and eachother.

He just wanted a buddy, someone to give his empty life meaning, but he's too clueless and hard headed to fight for love. She wants a dream man, someone to sweep her off her feet and prove her rich, over bearing daddy wrong, but her spoiled past makes her not so willing to fight when times get tough.

Will the couple survive and have a happy ending? Before you say of course they will, watch the movie and see for yourself how this original love story unfolds.

Sometimes the most exciting thing about love is also the scariest: No one said love lasts forever.

This movie goes with this notion and fills in all the blanks with alot of funny jokes and zany mishaps the honeymooners find themselves in.

I would highly recommend this movie to anyone who wants to laugh, cry or remember what its like to fall in love. An excellant movie!

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A happy young couple, Sarah (Brittany Murphy) and Tom (Ashton Kutcher) marry against the wishes of Sarah's friends and family and go to Europe for their Honeymoon. Unfortunately for them, Sarah's parents send Sarah's ex-boyfriend Peter (Christian Kane) to break up the happy marriage.

The European honeymoon is entertaining. They happy couple spend a night in snow drift, and another night blowing electrical circuits in a castle (5 star hotel) and being ejected. Desperate to find lodging they spend a night in a cockroach infested Venice pension and a night fighting in a classy Venice hotel. As a final treat they spend a night in jail.

This movie has lots of slapstick comedy, but social lessons as well. Tom demonstrates why a man needs to avoid getting his ego in the way of his actions when he blows hotel circuits, insults a hotel manager and gets kicked out of a five star resort Sarah demonstrates why some secrets must be told and others withheld and why guilt gets in the way of starting a marriage. Both learn that love can conquer a lot of trouble if you allow the love to work.

Just Married is a comedy worth viewing. It is an above average film that can tickle your funny bone. I recommend it for a good laugh.

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Victor/Victoria

Victor/VictoriaIn the age of "Moulin Rouge" audiences would do far better by rediscovering this musical comedy gem, starring the incomparable Julie Andrews, Robert Preston, Leslie Ann Warren and James Garner. Rarely has Hollywood captured the essence of great music with outstanding performances as it has in "Victor/Victoria." There are literally a dozen or so scenes that will leave you hysterical, as in gasping-for-breath hysterical, something many films aspire to, but few ever deliver on. But more than funny, this is a poignant, character driven film where every principal is allowed to shine.

Andrews permanently sheds her "Sound of Music" virginal skin in the title role, embodying the man-pretenting-to-be-a-woman-pretending-to-be-a-man part in a way noone has ever done before or since. Of course, the audience is in on the joke, but it never becomes tired or anything less than fresh. Robert Preston is the antithesis of his former "Music Man" personna, a gay-Paree emcee who discover's Victor's startling 8-octave vocal range and turns him/her into the rage of Paris. These two performances, along with Leslie Ann Warren's unforgettable floosy all three Oscar-nominated are drop dead fabulous. These are actors at the very height of their form....funny, passionate, real and endearing. The musical highlights are truly phenomenal, certainly better than other "best loved" musicals like "Singing In the Rain" or "An American In Paris." Andrews scores on "Le Jazz Hot" and shows an indelible comic flair few people knew she was capable of in the legendary cafeteria sequence, which literally had the audience I viewed this with ROLLING in the aisles. It's a movie where even the insects cockroaches in this case are memorable. But more so, its also a lesson in what Hollywood USED to do so well in its tradition of movie musicals....and what its forgotten to do over the past two decades since Victor/Victoria was released. In a nutshell, Hollywood forgot that the power of song and music is their ability to HUMANIZE a character and progress the plot, but also lend depth and color to the principals. For me, "Victor/Victoria" IS Hollywood's last great musical, and certainly one of the most visually stunning, fully realized films of our time. This ranks far and away as Blake Edward's crowning masterpiece high above SOB or the Pink Panther flicks. And the supporting performances are some of the best ever caqptured. Just try and forget Warren's cooing to James Garner ("pooookie....I'm horny) or Alex Karras' gay gangster falling in love with Preston. From roaches to royalty, "Victor/Victoria" is quite simply one of the best films of the 80's or any other decade.

I am anxiously awaiting its release on DVD, and secretly hoping that the currently available Broadway show version silently goes away as it cannot hold a candle to the film. Rent it, buy it, LOVE IT.

This Blake Edwards film is a sort of valentine to the many gifts of his amazing wife Julie Andrews more than ten years since her last musical, and wouldn't you know it, it was a gigantic hit. It helped that the book poked a great deal of fun at the homophobia of the nascent Reagan era, that James Garner, Alex Karres, Robert Preston and (especially) Lesley Ann Warren (in her funniest role ever, as the idiot dancehall bimbo Norma). But the real reason the film takes off is because of Julie Andrews. She may be utterly unbelievable passing as a man, but she does get to show her great gift for dry humor, and she sings several fine, fine songs, including what may be one of her absolute careeer highlights, "Le Jazz Hot." No one has ever been less appropriate for a jazz number than Julie--she of course sings every single note exactly on the beat, and with her signature perfect diction--, but she gives the number so much zing and warmth and excitement it just doesn't matter. When she's up there in her Josephine Baker outfit snapping her fingers and smiling expansively, and showing off her astonishing and perfect vocal range, she is every bit as showstopping and iconic as when she was spinning round the Salzburg mountaintops in THE SOUND OF MUSIC: she's up there in movie history heaven. And if that weren't enough, you also get to hear her pronounce the word "heterosexual" (several times!) like no one before or since.

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This is most definitely musical gender-bending at it's best!

Not many musical/comedies are produced nowadays, let alone good ones like Rocky Horror Picture Show & Little Shop Of Horrors to name a few that come to my mind.

This 80's musical/comedy is set in 1934 GAY and I DO MEAN GAY Paree! This film is quite unparalled in the fact that Victor/Victoria was a movie BEFORE it made it to The Great White Way. Julie Andrews played Victor/Victoria in both movie and on stage.

Great songs in Julie's "Le Jazz Hot" & Lesley Warren's bimboesque "Kings Can-Can". The sexual chemistry is A+++ between Andrews & a sexually confused James Garner who plays "King Marchand" a Chicago club owner, who is so TOTALLY out of his element in Paris, let alone being sexually frustrated and confused over his crush on the beautiful, stylish and gay, Victor.

Great cast, great songs and a greater storyline with lots of slapstick comedy make Victor/Victoria a classic of it's time!

Happy Watching!

Read Best Reviews of Victor/Victoria Here

Blake Edwards created a musical, comical, award-winning masterpiece with his film "Victor/Victoria", starring Julie Andrews, Robert Preston, James Garner, Lesley Ann Warren and Alex Karras.

Julie Andrews received an Oscar nomination for Best Actress and won a Golden Globe for Best Actress for her portrayal of Victoria Grant/Count Victor Grezhinski, a divorced, American lounge singer struggling to make ends meet in 1934 Paris. Unable to pay for rent or food, she decides to use a ruse at a restaurant to earn a free meal. There she meets Carroll Todd ("Toddy"), played by Robert Preston who earned Best Actor nominations for both the Oscar and Golden Globe. Also having financial difficulties, Toddy is inspired by Victoria's somewhat masculine-sounding voice when she gets angry to have her pretend to be gay male drag queen. She agrees and she becomes an overnight success after her first performance at one of the most upscale nightclubs in Paris. In the audience are King Marchand (James Garner), his girlfriend Norma Cassady (Lesley Ann Warren, who was nominated for Best Supporting Actress for both the Oscar & Golden Globe) and his bodygaurd Squash Bernstein (Alex Karras).

What makes this film such a masterpiece is not just the excellent comedic writing by Blake Edwards, but also the Oscar-winning music composed by Henry Mancini. Count Victor Grezhinski (Julie Andrews) sings two of the most memorable songs "Le Jazz Hot" during her first nightclub performance and "The Shady Dame from Seville" during another nightclub performance. She also sings the theme song "Crazy World" during a tear-felt nightclub performance. Robert Preston as Toddy sings the fun song "Gay Paree" during a gay nightclub performance and does a hilarious reprise of "The Shady Dame from Seville" at the conclusion of the film. He also sings "You and Me" with Victor at an impromptu performance at the same gay nightclub. Another hilarious performance comes from Lesley Ann Warren singing "Chicago, Illinois" at King Marchand's nightclub in Chicago.

The rendering of the film onto DVD is superb, as is the Dolby 5.1 sound quality. You simply cannot go wrong owning this DVD because you will be able to enjoy it for years to come!

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Blake Edwards had a unique style of film; all the films seemed to have a certain atmosphere while each maintaining an individual character. Of course, Julie Andrews was a frequent actress in his films Edwards and Andrews are married, and have been since 1969, an astonishing longevity for Hollywood.

In 'Victor/Victoria', Edwards returns to a Parisian settings familiar to fans of his work in the Pink Panther series there is some minor elements of slapstick (the clutzy waiter, the bumbling detective, perhaps a nod in the direction of the Pink Panther films), but the real narrative plot is drawn along by the stylish comedy of Julie Andrews (Victoria Grant/Victor) and Robert Preston (Carroll Todd), in one of his last films.

The film is actually based on a much older piece, from 1933, written by Reinhold Schünzel, a German actor and writing, known in Europe primarily from the 1920s to the 1950s (perhaps English-speaking audiences would know him best from his role in Alfred Hitchcock's 'Notorius'). This was not the first, nor the last remake of this piece.

Preston plays an aging, gay, musical theatre man-about-town, who we take it is various a performer, talent scout, and director. Through a strange set of circumstances, he happens to be in a restaurant with a down-on-her-luck singer, who has just flopped at her last audition, and was willing to sell her virtue to the hotel manager for a meatball. She has captured a cockroach, and intends to plant the bug in the salad, thus avoiding payment of the bill Carroll Todd ('Toddy' to his friends) and Victoria escape the restaurant, and come to share a room together while figuring out what to do.

Toddy comes up with the idea of dressing up Victoria as a man to then present her as the greatest drag queen, with the absurd name of Count Victor Grezhinski, a gay Polish count. 'Who would ever believe it?' Victoria protests. 'A woman pretending to be a man pretending to be woman.'

'It's perfect!' Toddy insists.

'Everyone will know he's a phony,' Victoria insists.

'Exactly! Everyone will know HE's a phony.'

Victoria as Victor auditions for Andre Cassell (John Rhys-Davies), the greatest talent and booking agent in Paris. He schedules Victor to open in a grand venue, and the deception seems complete. That is, until King Marchand (James Garner), a Chicago gangster and nightclub owner, arrives, complete with bodyguard (Alex Karras) and moll in tow (Leslie Ann Warren). He doesn't believe the act, and is determined to discover the truth.

While Victor/Victoria is not a musical in the sense of 'Cats' or 'Showboat', it does have some really stunning musical numbers, as one would expect from a Julie Andrews production. 'Le Hot Jazz' and 'The Shady Dame from Seville' are excellent numbers (Preston does his own reprise of 'The Shady Dame' for the big finale), and other numbers are fun; Leslie Ann Warren does her own over-the-top tribute to Chicago. The original music is done by Henry Mancini, and thus another Pink Panther connection.

The costumes (done by Patricia Norris, a very experienced and wide-ranging costumer) are perfect, both for the stage production numbers (dramatic and with flair, as might befit a drag queen, then or now), and off the stage the period setting of inter-war Paris, with the genteel poverty of some and the opulence of others side-by-side is very well done.

This is the first film in which I recall major gay figures it was a popular film in part because the primary actors were well know, and the issue of gay life was presented both in a distant and a non-controversial manner. If there are politics in it at all, it is that sex shouldn't be a political issue. King Marchand, a bit upset at being identified as someone who might date a man (Victor) has one scene in which he re-affirms his masculinity (by going to a seedy bar and picking a fight), only to discover that people aren't always what he thought they were.

This could be a theme throughout the whole film people are never what you think they are, and life never turns out as expected. The tone of the film is rather lighthearted throughout, and the situations play very well. Does King Marchand get the girl/guy? Does Carroll Toddy become the toast of Paris? Does Chicago get an airport?? See the film and find out.

Metropolitan (The Criterion Collection) (1990)

MetropolitanThis 1990 film by writer-director Whit Stillman is wonderfully refreshing and intelligent. It is sure to please audiences with a taste for the avant-garde or those just looking for something a little different.

The story follows a group of upper-crust New York preppies during the Christmas debutante season. These are kids for whom black-tie balls at the Plaza Hotel and charming little soirees in Park Avenue apartments are serious matters. They are the UHB-"urban haute bourgeoisie"-a social circle carrying out traditions so anachronistic as to seem alien; traditions, in fact, which were outdated before these characters were even born.

A middle class outsider and budding socialist named Tom Townsend (Edward Clements) happens into this elite group and briefly livens things up. He shocks them with his leftist rhetoric (he is a devotee of Fourier) and anti-deb outlook, but they nonetheless find themselves drawn to him. Tom finds a kindred spirit in the cynically fatalistic Nick (Christopher Eigeman). Nick is the most self-aware member of the inner circle and he provides comic relief with his devastating ongoing critique of their lives and behavior.

Stillman's characters seem to have everything going for them. They are bright and educated and come from very wealthy families. We learn, though, that privilege is both their blessing and their curse. These children of status are destined to always remain in the shadow of their very successful parents. As one of them puts it, "We're doomed to failure." We come to realize that even though they are well-off in many ways, they still must struggle with the same insecurities and fears as the rest of us.

The characters in "Metropolitan" are the kind of people that F. Scott Fitzgerald knew so well. Indeed, if Fitzgerald had been a director rather than a writer, this is the type of film he might have made. It is intelligent and literate with dialogue that almost crackles with its liveliness and wit. "Metropolitan" gives us a rare glimpse into a world that scarcely exists anymore, if it ever really did. It is a real treasure.

This movie glistens like a piece of old Belleek. Whether in the subtle gold of an off the shoulder evening gown, or in the vast expanse of a deep, plush, ivory colored carpet, nearly every frame shimmers with champagne like iridescence.

And gold is an apt visual metaphor, particularly when juxtaposed against the black satin of a tuxedo lapel or the wintry Manhattan night scape, for a world seemingly vanishing right before our eyes--a world too sleek, too soigné, too genteel to survive the steam roller of galloping blue-jeaned egalitarianism.

That the denizens of this vanishing breed, as depicted in the film, are themselves, insecure late adolescents, make its departure all the more poignant.

"This is probably the last Deb season..." one of them observes resignedly, "...because of the stock market, the economy, Everything..." Yes, everything...the huge smothering subject that hovers all around the plot itself and from which its characters are only temporarily insulated.

In particular, the focus here is on a group of privileged Eastern Seaboard collegians enjoying the Christmas holidays in a series of Park Avenue, "after dance parties," in which they loll about and ruefully anticipate the disappearance of their youth, their success, and their kind.

That they are one at the same time cerebral, immature, literate, prankish, frightened, polished, well educated but vulnerable and inexperienced, puts them well outside the troglodyte teens that inhabit the deconstructionist zoo in most post 1970 films, (with the exception of a unfortunate and mis-placed "strip poker" sequence which violates the picture's otherwise overall mood.)

Indeed, they seem to exist outside their own time, belonging rather to that group Cecil Beaton dubbed "the smart young things" from the 1920's, in his "The Glass of Fashion." Certainly, one imagines them far more comfortable with Ivor Novello than Mick Jagger. And like many "smart sets" they seem rather a closed corporation.

Until that is, into their number unexpectedly arrives a young man of reduced circumstances, Tom Townsend, (Edward Clements) who by virtue of his sincerity and intelligence, is invited to "sup at their table--on a borrowed pass" so to speak. His romantic misadventures with the beguiling Audrey Rouget(Carolyn Farina)forms the cynosure of the charmingly fragile plot.

Audrey and Tom stand out from the pack, in their earnestess and integrity, though it is assuredly Nick, (Christopher Eigeman) their figurehead and chief quip master who is the groups' un-elected leader. As interpreted by Mr. Eigeman, Nick is the embodiment of the cocktail fueled, cigarette wielding bon vivant--trenchant, self absorbed, far from virtuous, and with a ready verbal arrow that never misses its target. He is George Sander's heir presumptive.

Nick's observations are worth the whole price of admission as they say, whether it be bemoaning the Protestant Reformation, the social climbing Surrealists, or the scarcity of detachable collars.

Since the film's short, bouffant,cocktail dresses and automobiles unmistakably place the film in very late modernity--the Reagan era in fact, and long after the Ray Anthony's Orchestra, top hatted milieu it depicts, we cannot fail to miss the film's core observation--the parallel evanescence of the groups' own social connections, as placed against the simultaneous collapse of civilized life as we once knew it.

As the Christmas season ends, so do the nightly gatherings, and each character is forced to come to terms with impermanence--their own and everything else's. In a melancholy bar scene, an older man warns the youngsters of disappointment ahead, "I'm not destitute but...it's all so mediocre."

That Producer/Director Whit Stillman manages to fuse the personal with the sociological in such and intriguing and entrancing way is a testament to the penetration of his vision.

And, lest we miss the point, he includes a cunning shot of a significant book left on bedside table--none other than Spengler's "Decline of the West."

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One editorial review remarks "as the innocent, easily manipulated Audrey..". I seriously doubt it. You really must watch this picture several times before the parts fall into place. Take the opening scene when Tom 'accidentally' runs into Audrey's crowd. As the film later reveals Tom was given the ticket and has been sitting behind Audrey's table all night. He even went to the trouble to rent a tux for the occasion! He went to all this trouble in search of a woman by the name of Serena. The film also makes clear that he has never met anybody in the group. It's Audrey who's been looking him over. When Tom finally meets the woman, Serena, he learns that everybody writes to her and she never keeps any of them. She usually reads the very bad or the very good to her girl friends at the dorm but quickly assures him that his letters were always quite good. In fact her roommate liked them so much that she fell in love with him and kept them. Tom is horrified at this lack of privacy then stunned when he learns that Audrey was the roommate! Audrey wasn't an easily manipulated woman. One can only suspect that she manipulated Tom through the movie with the assistance of friends from time to time. Isn't it interesting that she's reading The Rector of Justin in the tanning scene? Or how she's dressed? Audrey deserves far more study in this film. Tom is far more related to Holly Martins of The Third Man. They are both struggling to learn what's happening around them. This film isn't for the one and done club. It needs more than one viewing to fully appreciate it. It was truly well done.

Read Best Reviews of Metropolitan (The Criterion Collection) (1990) Here

Back in 1984, Whit Stillman began work on his screenplay for "Metropolitan", a screenplay that would be completed in 1988. At the time, Stillman ran his own illustration agency but in order to get his screenplay created for the big screen, Stillman sold his apartment in New York for $50,000 and whatever money friends and family could contribute to his project.

"Metropolitan" is loosely based on Stillman's experience while attending his first year at Harvard and while living with his divorced mother during the week of Christmas break. The film focuses on a small group of preps who live in Upper East Side Manhattan and attending the debutante balls during their first year of college. The term "Urban Haute Bourgeoisie" was coined from this film and while many people would consider the film about WASP-students, ironically Stillman's grandfather E. Digby Baltzell was responsible for coining the term WASP.

The film featured intellectual dialogue reminiscent of French New Wave director Eric Rohmer and the film would go on to receive an Academy Award nomination back in 1991 for "Best Original Screenplay", a nomination for Grand Jury Prize (Drama) at the 1990 Sundance Film Festival and winning "Best New Director" at the New York Film Critics Circle Award in 1990.

"Metropolitan" is a film that revolves around a group of Upper East Side Manhattanites who are preparing for a party at Sally Fowler's. Princeton student Tom Townsend (played by Edward Clements) is trying to catch a cab in which the group (known as the Sally Fowler Rat Pack) is also trying to catch. Because Tom allows them to take the cab, Nick Smith (played by Chris Eigeman) invites Tom to join them for their party.

We are introduced to a group of individuals who love to discuss socio-economics, literary discussions, politics and the life of young adults. Tom who is an intellectual himself meets the rat pack leader Nick (who becomes a good friend of Tom and allows him to be part of their circle); the blonde singer Sally Fowler (played by Dylan Hundley); the often-drunk and always sleeping Fred Neff (played by Bryan Leder); the very opinionated Jane Clark (played by Allison Rutledge); the sexy Cynthia McLean (played by Isabel Gillies); the bespectacled and often-opinionated Charlie Black (played by Taylor Nichols) and the sensitive, literary loving Audrey Rouget (played by Carolyn Farina).

After the party is over, it is revealed that unlike his new friends, Tom doesn't live in the Upper East Side. He and his mother try to live with whatever money they have and despite going to a nice college, he tries to conceal his lack of finances by renting tuxedo's and thus he is seen as a man who is skeptical about upper-class values, but even though his new friend Nick figures him out, Nick doesn't mind because of a "severe escort shortage" and that Tom is good in conversations with him and his friends.

Meanwhile, Audrey has fallen for Tom but Tom has always been in love with Serena Slocum (played by Elizabeth Thompson) who is dating a baron named Rick Von Sloneker (played by Will Kempe) who Nick despises.

The film spotlights on the friendship and relationships of Tom and his group of upper-class friends which Charlie has crafted the new name of "Urban Haute Bourgeoisie".

VIDEO:

"Metropolitan THE CRITERION COLLECTION #382' is presented in 1:66:1 color. It's probably one of the few Criterion Collection films that looks its age but considering this was a low budget indie film, I'm not going to be too picky on picture quality. There is a fine layer of grain and I'm guessing noise that can be seen on the print.

According to THE CRITERION COLLECTION, the DVD release is presented in its original Super 16mm. Director Whit Stillman and director of photography John Thomas supervised the new HD transfer, which was created on a Spirit Datacine from a 35mm blow-up interpositive. Thousands of instances of dirt, debris and scratches were removed using the MTI Digital Restoration System.

AUDIO:

According to THE CRITERION COLLECTION, the soundtrack for "Metropolitan" was mastered at 24-bit from the 35mm magnetic stems and audio restoration tools were used to reduce clicks, pops, hiss and crackle. The film is Dolby Digital 1.0 and thus is center channel-driven. I chose to set my receiver to stereo on all channels for a more immersive soundtrack.

Subtitles are in English.

SPECIAL FEATURES:

"Metropolitan THE CRITERION COLLECTION #326" comes with the following special features:

* Audio Commentary Audio commentary by writer/director Whit Stillman, actors Christopher Eigeman and Taylor Nichols and editor Christopher Tellefsen. Informative commentary on how certain scenes were filmed, filmmaking with a budget to reasons why some of the cast was stereotyped and unable to find work after "Metropolitan". A pretty entertaining commentary!

* Outtakes (9:23) Outtakes from "Metropolitan".

* Memorial (1:00) Behind-the-scenes footage of line producer Brian Greenbaum who died in 1992.

* Alternate Casting Featuring two alternate castings that were not used in the film. One titled "Record Producer Allen" starring Lloyd Kaufman (2:27) and the other "Nick Smith" (1:52) featuring Will Kempe (who plays Van Sloneker in the film) playing the character of Nick. An optional commentary is included with Whit Stillman discussing why he changed the cast for those roles.

* Original Theatrical Trailer (2:06) The original theatrical trailer.

EXTRAS:

"Metropolitan THE CRITERION COLLECTION #326" comes with a quad-fold insert featuring an essay by Luc Sante titled "After the Ball".

"Metropolitan" is a fantastic, entertaining and highly enjoyable film that many people have probably not heard of.

And after they see the trailer or read a little about it, I wouldn't be surprised if people tend to pass on the film because of its unknown actors and that it is a film that focuses on upper-class WASP students. Correction... as the Charlie would say, "Urban Haute Bourgeoisie" (or "UHB") students which are neither a preppie or a WASP but a member of a group that because of its specific status, has nowhere to go but down.

It's a film that showcases intellectual conversation, engrossing dialogue and for those who are able to follow it and understand the humor within the film and its witty dialogue, you will easily find "Metropolitan" quite entertaining.

It's pretty interesting because I tend to bring up a film such as Eric Rohmer's "My Night at Maud's" or his earlier films in which the conversations were intellectual and engrossing but its what made Rohmer's films so intellectually stimulating. They weren't meant for humor, "Metropolitan" is well-crafted for one to follow it and just laugh of the exchanges between the characters.

I absolutely enjoyed how the screenplay is written and the conversations that Stillman includes in this film. For example, here is a conversation between the literary loving Audrey and the intellectual, Fourier admiring character, Tom.

AUDREY: I read that Lionel Trilling essay that you mentioned. You really like Trilling?

TOM: Yes.

AUDREY: I think he's very strange. He says that nobody can like the heroine of "Mansfield Park". I like her. And then he goes on, and on, about how we modern people of today with our modern attitudes bitterly resentments for the park because its heroine is virtuous. What's wrong with a novel having a virtuous heroine?

TOM: His point is that the novels premise there is something immoral in a group of young people putting on a play is pretty absurd.

AUDREY: You found Fanny Price unlikeable?

TOM: She sounds pretty unbearable but I haven't read the book?

AUDREY: What?

TOM: You don't have to read a book to have an opinion on it. I haven't read the bible either.

AUDREY: What Jane Austen novels have you read?

TOM: None. I don't read novels. I prefer good literary criticism. That way you get both the novelist's ideas as well as the critics thinking. With fiction, I can never forget that none of it ever really happened, that its all just made up by the author.

This is just but one of the few conversations featured in the film.

"Metropolitan" is probably one of those romantic comedies that definitely does its best in showcasing the life of young Manhattan debutantes. And I have read that because Stillman's father was an attorney for President Kennedy (and his parents was divorced), he had the opportunity to see life in both worlds of rich and not rich at all and definitely provided some insight to the (disappearing?) lifestyle of young upperclass students.

I loved the characters of this film. Personally, with the way the film is ostentatiously written, especially how characters (especially Charlie) who has this opprobrium feel to his fellow upperclass friends, he senses doom. In no different of how a conservative views a liberal. I loved the character of Audrey who is the most reminiscent of early Rohmer films with her discussions of literary likes. And as a person who took part in high school book clubs to have these literary discussions, I have found Tom the most interesting of them all. Not just in regards to his comment of not reading novels and following criticism (because even those of us who review films are guilty of reading reviews and essays from Sarris, Kael, Rosenbaum, Agee, etc. of films we may have not seen yet) but it's his take towards the upperclass and not being a fan of the debutante balls but yet hangs out with the UHB's and thus, there is a hypocrisy that begins to be unraveled as he starts to sort out his emotions and the way people around him have started to have an affect on him.

By no means is "Metropolitan" a film that is pedantic nor does it asks its viewer to be an erudite on literary and socio-economic topics. But it does make for an engrossing film for those who know what the characters are talking about and for the most part, this is an independent film that it so well written and for a low budget film that deals with the upperclass, Whit Stillman has done a fantastic job with this film and definitely helped set things up for the writer/director for his next two films "Barcelona" and "The Last Days of Disco". If anything, it has been over a decade since we have seen anything else from Stillman which is a shame because he is fine director and I hope we continue to see more films from the director.

As for the DVD, it may not be a release that has the typical CRITERION COLLECTION style of being loaded with bells and whistles, nor may it be one of their better looking films in the collection but for those who are fans of Stillman's work or a person who is craving for humorous but smart, engrossing dialogue will find "Metropolitan" to be to their liking.

Overall, "Metropolitan" is a film that I very much love but by saying that, I know this film is not for everyone. But still "Metropolitan" is definitely a DVD release still worth recommending!

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Whit Stillman's "METROPOLITAN" is the brilliant and clever study of late 80s-early 90s youths in Manhattan, living would-be intelligent and affluent lifestyles as they wax philosphical on every topic which lies at their fingertips (ultimately, they just want sex)...

Chris Eigeman is way more charming and funny than he has any right to be as the smarmy and downright obnoxious fraud who one night, by chance ?, befriends a Conan O'Brien look-alike in a baje-colored overcoat.

It's through this meeting that our hero (the carrot top) meets Audrey, a charming and sadly insecure young lady who finds him intriguing, if he would only reciprocate those feelings. Yes, the heartstrings and nerves of these bright young things are very tangled, indeed.

Stillman, who made his fearsome, forceful writing-directorial debut here, has crafted a bittersweet and wonderfully eloquent take on the yuppie lifestyle and the love lives of a particular circle of friends within that strata of society.

The great news: The Criterion Collection, known for their brilliant and astonishing treatments of great films, have wisely decided to release this film for the first time ever on DVD! On 2/14/06, "Metropolitan" will be available to own with, I'm sure, some great extra features! If we could just get another Stillman commentary (like on the "Barcelona" DVD available from Warner Home Video), then we'd be in business. Anything else is just gravy.

This is a masterpiece of ultra-independent cinema, with a young first time writer-director strutting his stuff and leaving an indelible impression of his viewers. This is where Stillman gets a loyal audience. And it won't just be available in the Netherlands anymore!!!

See also: "Barcelona" (1993) and "The Last Days of Disco" (1998), at least while waiting for Stillman to get off his bum and do another film!!!

PLEASE!

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Planes Trains & Automobiles

Planes Trains & AutomobilesWhen I think of "Planes, Trains & Automobiles" I smile. It is an absolutely wonderful movie. Yes, it is regarded as a comedy but when I think of it I think of it as more of a drama. The jokes don't get old. This is probably my favorite comedy of all time. Hughes takes the traveling nightmare genre to a whole new level. It's more a triumph in script writing than anything

For those who don't already know Planes, Trains and Automobiles is simple in its approach. Everything that can go wrong does. It's a comic routine that can be funny, but here it is a trip to hysterical. The plot is simple enough as well. Neal Page (Steve Martin) is on his way home for Thanksgiving. He's your typical businessman that works in New York and has a family he wants to see in Chicago. The only problem is everything from delayed flights to ripped up car tickets happen on the way. Only worsening matters, Del Griffith (John Candy), is along for the ride. An annoying shower curtain ring salesman, Neal can't get rid of him no matter how hard he tries.

John Candy gives the performance of his too short career as the traveling shower curtain ring salesman Del Griffith. What makes Candy's performance so impressive is that while Del is an obnoxious, annoying slob, Candy shows that this is a very lonely, sweet, kind, and caring man with a great heart. This is a man who is putting his needs behind the needs of another person, a complete stranger in Neil Page. Candy creates an incredibly complex man, who the audience really gets to know and genuinely care about. They say comedies are the hardest films to get nominated for Oscars, which is true. And while "PT & A" is no Best Picture winner, it certainly in my mind has a performance not just worthy of a nomination but of an Oscar as well. It would be interesting to see how Candy's performance would be regarded if the film came out today.

The ending, whew!, it's a rough one. And again, despite all the wonderful comedy in this film, whenever I think of "PT & A" I think of the wonderful character of Del Griffith and the powerful ending. If you haven't seen this movie, rent it. I strongly recommend it as a first rate comedy that doesn't come along often. Whether it's the music capturing the perfect mood in the hilarious bedroom scene or meeting Owen, it's an earnestly frantic and tender trip through the modern transportation system.

A stellar performance from Steve Martin and the late, great John Candy.

I don't know where that guys doing the Editorial Reviews are coming from, this movie is great!

Steve Martin is stuffy ad executive Neil "I can take anything" Page and John Candy is the bungling but warm-hearted shower-curtain-ring guy (I know what you mean), Del "Extra set of fingers" Griffith. We follow this mismatched pair half way across the States and back again as they encounter one crisis after another. As the title says, our heros travel whatever way they can to get to Chicagofrom planes to trains to cars.

One of the funniest scenes is when after Del gets his coat caught behind the driver's seat, panics and sends the car on a tailspin causing him to go the wrong way down the Interstate. We see their car get caught between two semis. During the squeeze, Neil looks and sees Del as the Devil, complete with pitchfork and horns.

In all, this movie is great! You will not be disappointed, that I can promise you because it's "filled with helium, which makes it 10% lighter."

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For those of you thinking about buying this new DVD version, here are the extras on it: 3 featurettes ("Getting There is Half the Fun: The Story of Planes Trains and Automobiles", "John Hughes for Adults", "John Candy"), and a deleted scene ("Airplane Food").

Not bad, but would have liked to see more deleted scenes since apparently Hughes had a 3 hour version of this movie. Maybe those will come out eventually.

Read Best Reviews of Planes Trains & Automobiles Here

Planes, Trains, and Automobiles is THE funniest movie I have ever seen. It combines two comedy greats, Steve Martin and John Candy together, on a roadtrip to get home for christmas.

What happens is Steve martin, a buisness from Chicago, needs to get home for christmas. Not only is his flight cancelled, train wrecked, and car not in the rent-a-car parking spot, he meet John Candy. In this movie Candy plays an extremely nice guy that can't keep his mouth closed. On the other hand, Martin plays a quiet-type person that can get annoyed very easily.

As you can see, they could never travel together....

....or could they?

This movie brings out a real common bond or friendship that can form between two absolute strangers that have absolutely nothing in common.

Planes, Trains, and Autos has comedy written everywhere. Jokes, pranks, and all sorts of fun are performed well in the movie. I recommend this movie to anyone that wants to laugh!! Honestly folks, this movie is the best and should really be recognized. I guarantee you will love it!

Thanks for reading my review and have a nice day!

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First of all, the two stars I've given here are based solely on the dvd itself, NOT the movie. I LOVE the movie but this supposedly new dvd treatment is nothing to get excited about.

'Planes, Trains and Automobiles' is just one of many 80's movies from Paramount Studios that have supposedly been rereleased as 2-Disc special editions this month. (August 2008) These are basically just repackaged dvds with some new cover designs intended to tie-in with vH1's 'I love the 80's' merchandising and the second 'disc' is really just a bonus audio music cd of popular 80's singles with all of a whopping 4 tracks on the disc. The movie does have some newly enhanced audio and an alledged deleted scene somewhere within the movie according to the back cover but I never noticed anything strikingly different from the original version.

This 'I love the 80's' movie series from Paramount rereleases are fine if all you're after is just the movie itself. But just don't expect anything different or new and if you're hoping for a two-disc MOVIE special edition loaded with all kinds of extra features like I was, you might be a little ticked off. My advice is that it's probably best to just skip these and wait for some REAL special editions of these films if there ever are any in the works.

Paramount can do better and it's clear they didn't put any real thought or care into these releases.

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She's Out of My League (2010)

She's Out of My League Most comedies out there today are complete and utter garbage. Most romantic comedies could be written by brain-dead zombies and have more originality. After watching hours of that drivel (my wife likes them), She's Out of My League was refreshing. For the first time in far too long, I laughed out loud at a romantic comedy. The movie was genuinely funny, meaningful, and not always predictable.

Despite the scenario (hot girl, deadbeat guy), She's Out of My League doesn't peddle the usual bromides about "love being blind" or "good things happen to good people." Rather, it's about self-esteem. This makes the characters and plot more interesting and subtle. I'm not going to claim that there's Oscar-winning character development in She's Out of My League, but Molly, the hot girl, and Kirk, the not so hot guy, do seem like realistic personalities. Kirk does not "refashion" himself into a stud (although there is one incident with shaving a certain area...). Molly isn't the "perfect" hot girl, but has insecurities of her own and a need to play it safe. They're helped by a decent script with dialogue that doesn't seem too forced or awkward (except for the cursing see below). It is kind of possible to see why they fall in love with each other it makes sense in a way that most romantic comedies don't.

My only problem with the movie is the overload of cursing and sex references. I understand that's standard fare in most comedies nowadays. Frankly, I found most of it funny. Sometimes, however, it just became too much (how many times do you really need to drop the f-bomb? You don't actually need it to express anger in every scene). It got to a point where it seemed like the scriptwriters couldn't think of anything better to fill the space. Fortunately, this doesn't take away from the movie too much, but it might not be a good idea to watch this with anybody who's sensitive about those sorts of things.

She's Out of My League had real potential, and I'd like to see more work from this set of directors, scriptwriters, and actors (well, maybe better scriptwriters). Overall, 4 stars.

Ok, we've all seen this story before. average guy gets the hot chick, an unbelievably hot chick I might add. Its the same storyline in a lot of romantic comedies, but what keeps us from going to watch them when we know they are all alike? They each have there own little twist. The particular twist in League is that the guy is an unattractive Security worker at an airport who meets the hot chick by a series of events that we all wish would happen (dont deny it you guys we all wish life worked like it does in the movies). Anyway, after seeing the previews your either thinking 'Hmmm... this might be a good movie' or 'OH GOD another stupid comedy about a loser and a girl' there is no 'WOW, this looks amazing' crowd. I was in the group that thought it looked good, so I had to check it out for myself. I was downright happy with this movie. It was funny, it was loving, not to mention the disney movie references the fat guy kept making. I dont think I'm the only one who thought Stainer, one of the friends in the movie, had a Napolean Dynamite vibe to him. The way he talked and looked just screamed 'Frickin Idiot'. It was good enough to see twice ad it is good enough to be going in my dvd collection when it comes out. I gave it 4 stars because lets face it, its been done before, and I can't help but to think that its just gonna make all the single unattractive guys out there feel a little down!

Buy She's Out of My League (2010) Now

'She's out of my league' is a movie that works. Rather than relying on tired dirty jokes and cliche's, and despite it's goofy looking promo poster, it is quite insightful into our shallow perceptions of relationships.

Part of it's success is the main character, Kirk, is just very average and humble. He's not self-deprecating in a rediculous way, he's just very straight-forward, with a dose of low self-esteem. Even his more-attractive love affair, Molly, is a pleasant person, rather then some poster-girl stereo-type. Even better is the fat guy (forgotten his name) who's mature outlook helps him to lead a contented life. It's the good characters that make this movie worth watching.

On the whole, everything is good; the dialogue is usually interesting, the jokes are ok, etc. As you can guess, the movie is about a really hot woman who starts falling in love with a man who considers himself unattractive. The man finds it difficult to accept such a hot girl could like him, or that their relationship is justifiable. There is a raft of side-plots and characters that add to the overall entertainment. Overall, the whole movie is very enjoyable. Rating ***1/2

Read Best Reviews of She's Out of My League (2010) Here

When I started to see the previews for the film, I thought it could be a nice mid day typical funny movie. However I was laughing so hard, and when it was over I knew I had to see it again soon. This movie is so funny and because of the somewhat unknown cast, the jokes became funnier.

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Emaciated and timid, Kirk (Jay Barachul) is a man who is referred to by his friends as a moodle man poodle. He's the fixer-upper who never gets the girls. When graded by his friend Stainer (TJ Miller), the best Kirk can be is a 6 out of 10, and that's being generous considering his atrocious car. It's Kirk's fortuitous encounter with Molly (Alice Eve), however, that begins to change not only his mind, but the opinions of his unsupportive friends and family.

Filmed in Pittsburgh Primanti Brothers and Mellon Arena are highlighted the movie really comes off as genuine. Sure, the hot chick never goes for the guy who is so skinny his nipples touch, but it was even less believable thanr that execrable disgrace The New Guy; somehow it worked, and it even had a little Serendipity vibe to it. Tal Bachman said it best with their definitive song: "She's so high above me, she's so lovely." She's too good for him, yet realism oozes out of the movie.

Perhaps it's because the actors played who they actually probably are in real life. Alice Eve looks like she has always been the over-achieving cheerleading captain who buckles men's knees, so the role was probably not a stretch. Similarly, there is no doubt in my mind that Jay Barachul has received multiple toilet swirlies in his time. Stealing every scene, however, is TJ Miller. What a cool, socially aware Napoleon Dynamite might be, Miller is hilarious, and looks like the guy who got big laughs since he was a child. For such a young, somewhat inexperienced cast, there are no lulls or weak links.

The one glaring flaw in the screenplay (other than the aforementioned improbable skinny dude and hot chick connection) is an uncomfortable ball shaving scene the most unbelievable scene in movie history. Yes, more unbelievable than Ben Affleck as an oil worker who goes into outerspace as a temp astronaut to land on an asteroid and mine into it to deposit a bomb which will split the asteroid which is the size of Texas into multiple pieces that will narrowly miss the Earth and avoid an extinction level event.

Fun, quick-moving, and worth the time. I recommend it, even if it does toe the line of chick flick.

Jason Elin

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Billy Elliot (Blu-ray + DVD + Digital Copy) (2000)

Billy ElliotBeginning with an exuberant title sequence, this charming, offbeat, coming-of-age story revolves around Billy Elliot (Jamie Bell), the younger of two sons of a widower coal miner (Gary Lewis) near Newcastle in Northern England. It's 1984, and the National Union of Mine Workers is engaged in a long, bitter strike, marked by street battles with riot police and protests against the busloads of scabs crossing the picket lines.

Following the family tradition, Billy is expected to learn boxing at the Everington Boys Club where, instead, the 11 year-old becomes enthralled by the girls' dancing class, led by a chain-smoking teacher (Julie Walters) who soon recognizes his raw talent. He loves watching Fred Astaire in old movies and is instantly drawn towards the ballet class, but when his macho father and rabble-rousing brother (Jamie Draven) discover he's taking ballet classes, they ridicule Billy "Lads do boxing and football and wrestling, not friggin' ballet!" forcing him to hide his slippers under the mattress and sneak off to class. Then come the auditions for the Royal Ballet School and Billy's defiantly joyful, foot-stompin' "I Want to Boogie" sequence.

What makes this heartfelt English import such a gem is the collaboration of screenwriter Lee Hall, cinematographer Brian Tufano ("Trainspotting") and former stage director Stephen Daldry ("An Inspector Calls"), who despite the simplistic predictability of the plot create eccentric, lovable characters and evocative imagery. One haunting sequences focuses on a little neighborhood girl dragging a stick along a brick wall, which dissolves into a phalanx of plastic police shields. Another involves the father grimly chopping up Billy's mother's beloved piano for needed firewood. While some of the authentic, heavily accented dialogue may be indecipherable to some, the musical soundtrack, combining classical and pop, is terrific.

In the title role, newcomer Jamie Bell embodies awkward determination, juggling grim reality with a surreal fantasy world, explaining, "Just because I like ballet doesn't mean I'm a pouf!" As Billy's father, Gary Lewis ("My Name is Joe") is tough-yet-tender, and Julie Walters ("Educating Rita") scores as Billy's crusty yet compassionate teacher. ("I feel like a sissy," Billy tells her. "Well, don't act like one," she retorts.) Jamie Draven and Stuart Wells lend strong support. Jean Heywood is touching as Billy's senile grandmother, whom he tenderly cares for and who repeatedly recalls, "I could have been a professional dancer."

While the bleak setting, in the 1984 miners' strike in northeastern England, is reminiscent of "The Full Monty," the energetic mood evokes "Flashdance" and it was a bit hit at both the Toronto and Cannes Film Festivals. On the `Lund Movie Scale' of 1 to 10, "Billy Elliot" is an exhilarating 9. Combining comedy and poignancy, it's all about being able to express yourself.

Jamie Bell is pure magic in this wonderful coming-0f-age film that tells the story of a working class English lad who takes up ballet as a way to hone his boxing skills. In the process, he discovers himself, learnes some valuable life lessons, and fills a deep void left by the death of his beloved mum. Despite his family's strong objections (and financial straits) Billy ends up studying dance from a local teacher (the effervescent Julie Walters, who won an Oscar nomination for her work here). Her lessons both technical and moral serve as the basis for a devastatingly real connection between Billy and his disgusted macho father. What ensues is a dramatic comedy that inspires us at every turn without condescension or pity. The heartening interaction that develops between father and son is truly evocative, especially so for anyone who ever followed (or didn't) their dreams despite their family's objections. Not only does Billy "Dance!!" for his supper...he befriends the local outcast gay teenager and copes with questions about his own sexual orientation heady topics for a movie about a dancing teen. All of this is handled in a mature, thoughtful manner, which makes the film a visceral, haunting experience. You can take or leave it's many messages, but theere is no denying its emotional core.

It's rare for a movie to challenge social mores and values by focusing on the dominant male principals. But "Billy Elliot" succeeds on more levels than other underdog-come-from-behind flicks. First, its based on a true story and resonates with truth, integrity and spirit. And, Bell's brash, authentic portrayal is pure magic. His feet literally take over his soul...he dances in the street, mimmicking Gene Kelly, and in the process taps his way into your heart. The performance is so accomplished it's a wonder Bell didn't receive an Oscar nomination. Even Russell Crowe who won the 2000 BAFTA and Oscar for "Gladiator" admitted Bell deserved the BAFTA Prize instead. Having resisted "Billy Elliot" at the movies, I finally caught it recently on HBO and was taken in immediately. This is a film your entire family can and should enjoy...if they don't, perhaps a little side trip to an English coal-mining town will help them appreciate this wonderful heartwarming film. Seriously, in this day and age, every one of us could use more Billy Elliots and fewer Scorpion Kings. A keeper!

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If you love intimate, moving character films like Cinema Paradiso, you will love love love Billy Elliot. A small, rousing British film with cleverly written characters, this movie is both sentimental and expertly crafted. The performances, particularly from Julie Walters as the dance instructor, and that winsome, melancholy but excpetionally gifted boy as Billy, will truly steal your heart. The simple premise is instantly grabbing -an artistic boy, only 11, is unfortunately the most forgotten element in a fractured, sad little family, which includes a pre-Alzheimer's grandmother, an angry older brother and a defeated, sad and tense father. While Dad and bro are on strike, money is tight the year is 1984 at the height of British strike/tensions. Billy is sent to boxing lessons, where, by happenstance, he discovers a true vent for his budding creativity -and especially his joy in dancing. Filled with infectiously appealing pop and light-classical music, this film is part Rocky, part Hollywood musical, part Flashdance and part Cinema Paradiso. The chance that these disparate, unlikely approaches might actually add up to something compelling are unlikely, but you must experience this movie to understand how exciting, moving and intensely gratifying it can be. Painted in bold, creative colors and shot with a springy exuberance, Billy Elliot is terrific.

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My son dressed up like Beauty(Belle from Beauty and The Beast...not the concept of beauty) for halloween. He dressed like the Mother Superior when we took him to the sing-along Sound Of Music. The other day he got a superman toy and was putting a Barbie Shoe on it. I am living in the world of the unique child.And I know there will be a day where someone will try to change my son........ This is why I cried in Billy Elliot......This is a beautiful film about being different in an uncompromising world. It is a film about economics and society, and how art is developed through frustration and need...but with all that aside it is a truly entertaining and fabulous film. Stephen Daldry, the reknowned theatre director, makes his debut here. The direction is the thing that gives this it's guts. This is a much better film than it needed to be. And the performances....Julie Walters, Jaime Bell and Gary Lewis(such an amazing performance as the dAd)...Just check this out. The movie goes places that you don't expect, and thankfully, places you do. I have just been thinking about the end of the film, and how it is an ugly duckling story...the coolest thing about it is that more than Billy turn into a swan. It seems like the entire community turns swanish. Art and individuality can do that. I was the quasimodo of ducks before my som came along.

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Billy Elliot is an 11-year-old boy played by Jamie Bell. On his way to a boxing lesson, he happened upon a ballet dancing class. Soon he discovered that he was very good at ballet, and he then wanted to become a dancer despite his family's wishes. This is a really touching and inspirational film about achieving dreams that will leave you cheering!

This is easily one of the best movies I have ever seen, and I have seen quite a few considering that I'm only 14. "Billy Elliot" is very similar to "October Sky", which is another great movie. (Even the kid's dad is a coal miner!) But it is also very different in the way that it is much more complex and subtle. I have noticed that because this is a British movie, it seems to be a lot more daring than most American movies, with a lot of things that Americans might consider extraneous. But that's what I like about it; Every character is so well developed even if they have a very small role (e.g. Billy's supposedly gay friend). These little aspects of these minor characters add a really nice touch to the already powerful story.

Also, DON'T let the R-rating fool you. THIS IS A FAMILY MOVIE. This movie is NOT pornographic, or violent, or chock-full of coke-sniffing. It just contains some language that little kids shouldn't use. Even so, the profanity is used very maturely. It is never gratuitous or unnecessary, it's just how these British people speak. And the film never seems to glorify the use of such language.

This film was WAY overlooked at the Oscars. It's definitely better than "Gladiator". "Gladiator" may have cool combat actoin, but it's got a very straightforward plot which doesn't make you think. I have NO IDEA why Jamie Bell wasn't nominated for his act. He has a very auspicious start in his filom career with this movie!

If there's one thing to criticize about this movie, it's the fact that the dialogue is spoken with heavy British accents, making it hard to understand at times. But that's not enough to keep me from saying that this is one of the best movies I have ever seen! Watch "October Sky" first, to give you an idea of how an American movie tells a dream, then watch "Billy Elliot" for a more sophisticated British idea.

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Top Gear - Great Adventures 3 (2010)

Top Gear - Great Adventures 3Watch out, this does not play in the Playstation 3 and a handful of other blu-ray players. Works in my friend's LG, but that's about it. Uses a 1080i/50 encoding that is not supported by most. This should not be marketed towards Americans.

Watch out! (1) TopGear: The Great Adventures 3, (2) TopGear: Apocalypse and (3) Clarkson: The Italian Job Blu-rays DO NOT PLAY on my new state of the art Samsung players. Both of my NEW Samsung Blu-ray players are up to date but they complain about changing the resolution of my NEW Samsung TV. It is interesting to note that TopGear 14 and TopGear 15 play stunningly!!! I will be sending them back for exchange or refund. I would prefer an exchange as I "love" TopGear UK".

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I purchased this first from Bluflick and i thought it was the disc.They told me to update my firmware on my Blu-Ray player but even after that it still didn't work!So i sent it back to them and ended up buying it from another seller Once again it did not work in my PS3.So i ended up buying a NEW Blu-Ray Player and not just any Blu-Ray player i bought the Denon DBP-2010ci! and guess what still did not work.Found out it was really made for European player it plays at 1080i/@50hz that only a few player support not sure if any american player will even play it! DON'T BUY THIS!!!!

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Purchased this Blu-ray from a dealer on Amazon, without having read the comments (my bad, sorry). I LOVE 'Top Gear'. Love watching Jeremy, James, and Richard. So, when I found out that the disc wouldn't play on my player, I was pretty upset--especially since my Polar expedition disc, and series 14 and 15 discs played without a hitch on my PS3. Thankfully, someone had posted (in the comments section) a link to a list of Blu-ray players that would play discs that had been programmed to play only on PAL systems. However, I couldn't find a player where I live, that was on the list, and at an affordable price. Happily, I estimated from the list and purchased a LG BD630 Network Blu-ray Disc Player that I found in a store here and IT WORKED! I am also happy to report that 'Top Gear-Great Adventures 3 [Blu-ray]' was so worth the money, aggrevation, and stress!!! If you are a fan, and enjoyed watching the episodes that aired on the TV, you are going to love the Director's Cut and extras!

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Did not work in a newer Toshiba Blu Ray. Got the Blu Ray to work in an old Samsung BD-P1500, and it is great... The South American adventure is the best they've done so far, and they threw in a commentary by James May, as well as Bonneville and Romania. Necessary addition to a Top Gear collection, and nearly worth finding a compatible Blu Ray player.

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Red Heat (1988)

Red HeatArnold Schwartzenegger in the role of humorless, ultra-disciplined Soviet police-captain Vanya Danko, teamed with Chicago PD screw-up Art Ritsek (Jim Belushi), to track a Georgean drug kingpin... this is one of Arnold's greatest, but least-appreciated, action-films. The best scenes take place in Russia, in the banya (public bath), over the rooftops around Red Square, in the mafiya cafe. Arnold's Russian, spoken with his Austrian accent, is pretty terrific! What impressed me was the film's close attention to detail: Even Danko's handwriting and numbers were authentically Russian-style. The machismo of the personal battle between Ivan Danko and the smuggler was intensely Russian, as was Danko's unswerving conviction of Soviet superiority. His terse correction of the hotel clerk's question "Is [Viktor] another Russian, like you?" Danko: "Soviet.", is right-on -Georgeans are not Russians, although many Americans don't know that. The scripting of a Georgean as the loathesome criminal is actually quite revealing, and surely a reflection of the film's "official" Russian input . Despite the grimness of the plot and Arnold's character, there is plenty of dark humor, mainly provided by Belushi's portrayal of undisciplined officer Ritsek. The humor frequently contrasts the strictly indoctrinated Soviet structure with the (to Danko) near-anarchy of American freedom. Much of the mayhem and carnage wrought during the process of Danko's personal war defies credibility; as Ritsek puts it: "Why aren't there any cops around when you need one!" The action genre's obligatory high-speed chase scene was ludicrous, yet appropriately Russian (everything Russian always seems so much "bigger"...). And the protagonists' exchange in the end, in which Vanya gets the better deal, is also typically Russian -and proves that Danko is not so humorless after all. By the way, this movie (like all of Arnold's action-films) is extremely popular here, where it has been dubbed into the Russian language. Ironically, in the russkiy version, all the obscenities have been deleted from the dialogue.

Don't bother wasting your money if you think you are upgrading like I did. The earlier ARTISAN release is still much better than this special edition. The image is better and ALSO the sound. I don't know what Lions gate thought they were doing, but remastered? no. I compared both several times before writing this even though I only had to compare once. Might as well wait for a HD DVD to come out, this is a waste unless you want the additional features.

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Schwarzenegger and James Belushi make a great team in this crazed action film. Schwarzenegger plays the serious Captain Ivan Danko, a Russian detective. Opposite him, James Belushi, is the comical cop, Art Ridzik, always good for a laugh. Who could guess what would happen when these two got stuck together?

On the downside of the film the beggining is all Russian. You'll be forced to read English subtitles not able to enjoy any of the visuals, until around ten to twenty minutes into the film. Unless of course you speak Russian.

The final word. If you're looking for something to do on a boring afternoon, I recommend sitting back and enjoying Red Heat.

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Cannot beat this deal for a fun 1980s film in BD that actually came across as good as can be without Lionsgate dumping too much money into it.

The clarity gave a decent showing even with the amount of skin tones being shown by our fearless leader in that beginning Russian spa scene. The color was vivid, maybe too much so once they hit the snow with the flesh tones and fake injuries contrasting against the white. But the credit (pink colors) looked clear with no grain at all, and admittedly that DNR thingy (or whatever they call the removal process for some of these upgrades) did not blur/fuzz things at all. The Chicago street scenes looked good and the background signs are actually readable now. The DTS is mostly channeled to the front three, but they managed to add some decent bass here and there.

The supplements are from the 2004 edition in low def, but it is always nice to see that stunt man memorial featurette, recommend that if you pick only one to watch. The included TV spots and such are always nice for a before and after comparison on quality. For what they put into this, and the price being offered I feel you won't be disappointed.

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The film was funny just before the fall of the Berlin Wall, but I must say it has become hilarious today after the fall. It is not even a real caricature because there is a nostalgic dimension to it. Nostalgic about a time when things were simple in the world where there was us and there was them. We were necessarily on the right side by identifying with the side we were geographically on. And the rest was only politics.

But with the distance, there is no us and no them, there is only one global mess and we all have to live in it, parakeet or not, East-German watch or not, Georgian mafia against Chicagoan mafia. And now this mafia or these mafias have turned into terrorist armies. All over the world the game because it is a game, a killing game is no longer Miranda versus totalitarianism. It is kill them first versus totalitarianism.

These mafiosi are choir boys when compared with the Ben Laden and the Prabhakaran of today, and note I took two dead examples for whom there were no Miranda rights. These people are responsible for thousands of people killed, hundreds of thousands of people mutilated by mines or other assault weapons. They have no rights any more. They lost them when they decided to enter a war against humanity, a war of pure violence and crime.

The film is showing that so well including with allusions to Dirty Harry or Dr Zhivago. These people do not sell drugs to make money but they are selling drugs to break the law, make money and kill anyone they can come across on their way. They kill for the pleasure of killing. When the Berlin Wall fell, the Soviet system came down, and we were liberated of the good terrorists who were fighting for the liberation of humanity. For those people who admired such "patriotic" heroes people like Gaddafi or Prabhakaran were revolutionaries. All that has changed and they have become what they were all the time, nasty terrorists.

After the fall of the Berlin Wall, little by little all the self-calling "revolutionary" movements in the world have had to change identity and enter the political arena with only political weapons and drop the other weapons in some kind of ditch forever. The guerilla movements in Angola and Mozambique were forced to drop their weapons, the IRA was forced to move towards a political solution, the various diamonds wars in Africa were also forced to drop their weapons and their diamonds had to go back on the market without any blood stain, the Sandinistas were obliged to concede a defeat before then regaining power in elections.

We could multiply examples. The Basque ETA is a die-hard movement like the Corsican independence movement. The LTTE was in Sri Lanka the first major victory against that terrorism and since then many things have changed in the Arab world and as for Al Qaida. That's why this film has become so funny with years.

Some could have said it was a Cold War comic film at the end of those events. But now it is the most hilarious film on the subject of the end of a revolutionary vision that was not really revolutionary but just violent. But today it is the Soviet of the old days who are right: criminals may have Miranda rights, but that is only if they survive their arrest. If they don't they have no other right than to shut up. That's why these criminals are not supposed to survive their arrest. Just make sure they have the fair chance to shoot or try to shoot first and that they are the real big ones, not some manipulated non-entities.

In 1988 the film was advocating Dirty Harry's methods. Today it justifies the use of such methods: these scumbags have to be brought home, but in a corpse bag if possible. The bullets are already too much of an expense to bring them back home, so let's avoid the trial that would ensue if they were still able to speak or at least move one single toe. Something changed in 1989, even if the Bushes Sr. and Jr. did not understand it properly. I can imagine the mess the Bushes would have done in Libya sending the Cavalry for sure.

Dr Jacques COULARDEAU

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