Good Luck Chuck (Unrated) (2007)

Having seen Dane Cook as a stand-up comedian and been entertained by his humor and delivery, GOOD LUCK CHUCK seemed like an innocuous brainless evening entertainment. Unfortunately the story and script and direction are so sub par that even the most devoted of potty mouth movie fans will likely find this dud a bore. Hopefully Cook will be given better material for his next outing.

The story is meager but deals with a childhood hex placed on Cook's character, dentist Charlie Logan, which prevents him from finding lasting love: every woman with whom he sleeps (and there are countless encounters in the buff on endless multi-screen images) will marry the man she meets after her liaison with 'good luck' Charlie Logan. His obnoxious breast augmenter best friend Stu (Dan Fogler) sees Chuck's hex as a godsend for open sex, but when Chuck meets Klutz penguin trainer (Jessica Alba) and falls in love, there are problems the solutions of which are so disgusting and unfunny that hardly need repeating.

This is a film, apparently with an audience (!), that is gross and so over the top that it completely wastes the talents of Cook and Alba. The film is being advertised as the 'chance to extensively see Dane Cook in the buff', but even that is an overstatement. Maybe if the viewer is on strong drugs....No, probably not even then. Pass on this one. Grady Harp, January 08

Crude? Yep! So what! The movie was hysterical. My boyfriend AND my 62 yr old mother were laughing, and so was everyone in the theater. Its fun! The 1st thing my mom said when the credits started to roll was, "I'm buying that THAT was funny, and not the stupid funny either really funny!"

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"Good Luck Chuck" is not a romantic comedy, but rather a raunchy comedy that is sort of about romance. If there was some notion of romance at the heart of this movie, it would have a chance of working, but of the different organs and body parts that are prominent in this 2007 film, the heart would not be one of them. When we get to the big moment at the end of "Good Luck Chuck," compare it to the same scene in "The Wedding Singer," and you can see how short this one falls of the mark. In other words, this is really not a date film, because first-time director Mark Helfrich's final product is slanted way towards the male of the species. You might check this film out for Jessica Alba, but the focus is on Dane Cook and that along should tell you this movie is going to favor comedy over women, and comedy that favors men over women.

That is not to say that the premise is not promising. The titular Chuck is Charlie Logan (Cook), and, no, the film is not bothered by the fact that nobody calls him Chuck. Because of what happened during an adolescent game of Spin the Bottle, Charlie is cursed: any woman he loves will leave him and immediately find and marry the man of her dreams. As Charlie comes to realize his peculiar situation there is good news--women are throwing themselves at him in order to leap out of his bed and find the guy for them--and bad news--he meets Cam Wexler (Alba), who is cute, a klutz, and works with penguins, allowing the film to show how far the penguin fever of "March of the Penguins", "Happy Feet," et al., has fallen. More importantly, she looks like Jessica Alba, so we instantly understand why Cam is a keeper from Charlie's perspective, even if his best friend Stu (Dan Fogler), a plastic surgeon whose practice is limited to boob jobs, probably thinks too little of her. This creates the ultimate paradox for Charlie, because to love this woman is to lose her, which is a pretty interesting Catch-22.

I am sure that if I added up the minutes that Charlie really does spend more time with Cam than he does with Stu, but it sure does not feel that way. But the real problem in this film comes in the sequences that it is proudest of: the sex montage. There is a whole special feature devoted to it as the "Sex Matrix." My immediate reaction to all of this was to wonder if I had ever seen a motion picture with more naked women in it than this one, and while I am sure I have this is a concerted effort in "Good Luck Chuck" to prove otherwise. But when you are watching a guy have sex with dozens of women, it is hard to lend credence to the idea that he is really in love with the woman he is not having sex with. To offer a rejoinder to Stu, while it is true that sex without love is still sex, it is still without love, and love is supposed to be at the heart of a romantic comedy, which is why this film is not one.

My favorite romantic comedy of recent vintage is probably "50 First Dates," and I gave that one only four stars because the raunchy stuff with Rob Schneider took away from the wonderful stuff happening with Adam Sandler and Drew Barrymore. But "Good Luck Chuck" is following more in the steps of contemporary comedies like "Knocked Up" and "Superbad," where the goal is to produce a unrated DVD edition. So "50 First Dates" is now looking more like a classic romantic comedy to me. If "50 First Dates" had been made the way they made "Good Luck Chuck," then the opening montage of past lovers in the former would have been in the middle, in which case they are no longer past lovers and the decks are not cleared for a real romance. By the time Charlie and Cam get to anything remotely like the romantic part, it is too little too late. When you get to the last in a long line of women, it is hard not to focus on the long line rather than the last woman. The screenplay by Josh Stolberg ("Kids in America") does come up with a decent enough way of resolving the dilemma, but given everything that has come before it, the ending fails to redeem this movie.

Read Best Reviews of Good Luck Chuck (Unrated) (2007) Here

Mr. Bernabo and Ms. Richards wrote all the true words in their reviews to warn me away, but the opportunity to see more "on-screen Jessica Alba" was so overpowering, I went on and watched it anyway. Was I ever sorry!

Dane Cook and Dan Fogler are two of the worst actors I've ever seen. As best as I can remember (I'm trying hard to forget this movie) all of the humor was based on two guy sidekicks saying the most inappropriate words at all the most inappropriate times imaginable. I cannot think of a role either actor would be suited for. It's not even worth a review -think of this as a warning to your entertainment welfare.

The writing for this movie was just awful. And lord knows I adore Jessica Alba, but even that darling couldn't make this movie worth watching.

An overall abysmal effort.

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I thought the movie was funny. Paced a bit fast, and the jokes could have been written a bit better, but I thought the movie was actually fun to watch. I was expecting Jessica Alba to be horrible in her perfomance (ie Honey), but I liked her acting in this movie, she fits the romantic-comedy genre better than anything she's done thus far. And Dane Cook was also funny, albeit sometimes over did some of his reactions. All in all, it's a fun movie, nothing you'll go telling your friends to go out to buy, but still worth a watch!

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Shoot 'Em Up (2008)

Whoah! If you're looking for mindless action, THIS is the movie for you.

It's over the top, totally unbelievable, physically impossible, but absolutely brilliant all at the same time.

2 minute version:

Clive Owen eats a lot of carrots, and values his privacy. There are many things that he absolutely hates, and he comes into contact with most of these things when he unwillingly gets involved in a plot to kill a very pregnant young woman. Suddenly faced with a nanny job, he shoots his way out of the frying pan and into the fire, each scenario more draw-dropping-ly impossible than the last. Paul Giamatti plays an unlikely criminal mastermind and Monica Bellucci is under-utilized as the proverbial professional with a heart of gold except she's also got a chest of milk to go with it. Things get political, and hopelessly complicated, and of course there's lots and lots (and lots) of shooting, during any (and I do mean ANY) situation.

Good stuff:

1. Clive Owen

2. Clive Owen's one-liners

3. Clive Owen's stunts

4. The hilariously bad but breathtaking, yet impossible scenarios

5. Paul Giamatti's cell phone calls

6. The body count

7. Clive Owen's nude scene

8. Clive Owen

Bad stuff:

1. Carrots are DEFINITELY not good for some people

2. Not enough Bellucci

3. Plot (nuff said) but then again, we don't need no steenkin' plot

If you can forget that this movie professes to have a plot, you're in for a rollicking good (but extremely violent) time. Definitely a must-see if you're looking for mindless adult entertainment, and don't mind looking at Clive Owen.

Rated: 4.5 stars

Amanda Richards, December 9, 2007

SHOOT 'EM UP is well named: this is a whompingly good action movie that is as much parody of its genre as it is a good story. It never for a moment takes itself seriously and it is played by a strong cast of top-drawer actors having a terrific time. Writer/director Michael Davis has found his niche and let's hope there will be more dark comedies that are as much fun to watch as this one.

The story is negligible: lone man Smith (Clive Owen at his best) observes a pregnant woman in chased distress, delivers her baby, then finishes off the huge gang of bad guys who are in pursuit, taking the newborn boy to transient safety. Smith finds a lactating prostitute Donna (beautiful Monica Bellucci), takes her from her business of kinky sex and makes her the baby's surrogate mother. A smarmy gangster Hertz (Paul Giamatti in another career forming role), connected to an illicit arms manufacturer Hammerson (Stephen McHattie), is in pursuit of both Smith and the baby for reasons that are finally disclosed: the baby is part of a ring of potential bone marrow donors for an important Senator. The ending is, well, an ending. But it is the getting there that is all the fun.

The dialog is peppered with hilarious one-liners that have a real edge and the methods of the endless killings include several using the carrot that Smith keeps at hand as a weapon. The shootings are fast and impossible but actually hilarious in the choreography. Clive Owen plays the role straight, with a real gift for humor as well as action. Paul Giamatti is a sinister delight and able to match Owens one-liner for one-liner. Monica Bellucci makes her impossible role credible and as always is gorgeous to look at! This is a fast paced, finely written and acted parody definitely deserving of the comic book title! Grady Harp, January 08

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Yes, this movie is completely over the top. That's the point !!!!!!!!!! The film is a caricature of action films. The action hero is named "Mr. Smith." The hooker has a heart of gold. The body count is enormous! They have a baby in a bulletproof vest!!! I have no idea how anyone could take this movie seriously. You aren't supposed to!!! If you love action movies, and have a good sense of humor, you will enjoy this movie. This movie is great fun. I laughed my *ss off! And Clive Owen is seriously hot!!! (and for the guys.... Monica Bellucci is beautiful.)

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Almost every low review written about "Shoot 'Em UP" is from a person who COMPLETELY missed the point. Anyone who watches this movie needs to understand that this movie is a "S P O O F" !!!!!!

This is one of the funniest spoofs I have ever seen. Hands down.

"Shoot 'Em Up" does not have in depth characters, it IS SUPPOSED TO BE misogynistic, and if you try to take it seriously for one second..... you're going to hate it. Watch this film when you need a good laugh. The dialog is hysterical. Every scene from start to finish is completely "Over the Top", but still executed with big budget precision. The acting is absolutely dead on perfect. I think it was marketed very badly, and THAT'S why it did poorly at the box office.

Watch this movie when you need a good laugh, you won't regret it.

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What should you expect when you have a movie whose stunt crew is about 3 times the size of the cast? One thing's for sure...you should get a lot of action packed sequences. and Shoot 'Em Up delivers.

In fact, it was no surprise to hear that the script was written around a lot of preconceived action . That fact certainly didn't make Shoot 'Em Up a bad movie; it was actually pretty good. But it did come across as a plethora of spectacular stunts that just needed a halfway decent story to get produced as a movie.

The stunts are spectacular. They go nicely with the 100% deliberate hokeyness of the film. A black comedy to some...a kind-of comic book/animation come to life to others. The death defying feats are way over the top, but again, it's all intentional on the part of Writer/Director Michael Davis.

Clive Owen, who's really made a name for himself lately (Sin City, Children of Men, Inside Man), does a fabulous job as leading man in Shoot "Em Up. And Paul Giamatti, in his one billionth role I think, is as fun to watch as ever.

Owen is the carrot-eating good guy and Giamatti is the bad guy. Owen by chance inserts himself a political conspiracy that is run by Giamatti, and the result is a fast-past, surreal, action-packed...well...Shoot 'Em Up.

I was thoroughly entertained, but found myself saying out loud, "oh, yeah, right" over and over throughout the movie. So if you don't mind a little over the top silliness with your action, Shoot 'Em Up is right up your alley.

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The Graduate (Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1967)

The Graduate is a great film and I grow to love it more with each viewing. Everything is nearly perfect about it. The script, Mike Nichols' direction, the performances of Dustin Hoffman, Anne Bancroft and Katherine Ross, the music of Simon and Garfunkel. It's funny yet dramatic, moving and profound all at the same time. A very enjoyable film all around. Dustin Hoffman has rarely been better than in The Graduate, although he has certainly given many other fine performances (Midnight Cowboy, Rain Man, Kramer Vs. Kramer). However, even more than those pictures, Hoffman will always be remembered for The Graduate and his portrayal of an awkward young man trying to get a hold on his life.

Also worth noting in particular is the direction of Mike Nichols. He truly gives the film a unique visual style to make it an experience rather than just a comedy/drama. Note the opening credits with Hoffman on an airport moving sidewalk set to the tune of Simon and Garfunkel's "The Sound of Silence". Nichols' uses cuts very interestingly in several scenes such as the scene where Benjamin jumps up on his raft in the pool, and lands in bed with Mrs. Robinson. He also uses zooms to great effect throughout the film. Nichols' Best Director Oscar for this film was well-deserved. I think that Hoffman's performance should have won also, as well as the screenplay by Calder Willingham and Buck Henry.

One other thing that I must mention is that The Graduate absolutely must been seen in its original aspect ratio! If you're not watching a widescreen version, then you're not watching The Graduate. The film was shot in the Panavision process with an aspect ratio of 2.35:1. Mike Nichols makes wonderful use of the 2.35:1 frame, so the film will be absolutely botched in pan and scan. If you watch The Graduate in full-screen pan and scan, you're really, really missing out. The visual impact of the film will be irreparably damaged.

The DVD is adequate, but this film deserves much better. The disc is labeled a special edition, but it's really too skimpy to be that. At very least you're getting a widescreen version of the film. However, the transfer is not enhanced for 16:9 televisions. What we need is a fully remastered 16:9 transfer which would be immensely beneficial. The picture quality is fair, but could be so much better. It's really stunning what difference a brand new remastered 16:9 transfer can make for an older film like this. Just look at the new DVD of One Flew Over The Cuckoo's Nest. The film also deserves better supplemental materials. A better documentary and a commentary by the filmmakers would be great. A seperate commentary by Dustin Hoffman would be even better. I'm convinced that someday The Graduate will receive a worthy DVD edition, and I will wait until then to purchase it.

Looks like MGM finally is giving "The Graduate" a grownup DVD.

The Mike Nichols film has suffered through the DVD era so far, represented by a series of double-dip issues that perpetuated the same sorry source materials: grainy picture, grating audio -the typical first-generation DVD blahs.

Here comes "The Graduate: 40th Anniversary Edition," due Sept. 11. Fox's specs show 2.35:1 widescreen with DTS and Dolby Surround. This appears to be in true widescreen. (The previous DVDs' version apparently was created by throwing letterboxing atop the full-screen version. Seems the guy who was so big on plastics got into the home video business.)

Check out the new extras:

* Commentary by Dustin Hoffman and Katherine Ross

* Commentary by director Nichols and Steven Soderbergh

* Retrospective documentary that interviews "Graduate" write Buck Henry, producer Lawrence Turman, Richard Roeper and some random others.

* "Coming of Age: The Making of The Graduate" featurette

* "Would You Like Me To Seduce You: The Seduction Scene Revisited" featurette

Along with some odds and ends ported over from the older discs.

Disc 2 has a pleasant surprise: Simon & Garfunkle's soundtrack, in CD form.

I'll be revisiting the film for Hoffman's sonic boom of a breakout performance; the "Mrs. Robinson" song and seduction scene; and Ross' beautifully naturalistic presence. Koo-koo-ka-choo.

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They re-release the Graduate on DVD in 2005 only to distribute the EXACT SAME product only without a very attractive interface and special features, but with the same crappy picture and sound quality!

I give the film "The Graduate" from 1967 as many stars as any ratings measure can grant, but this DVD is a very poor represntation that is disrespectful of the genuine classic piece of cinematic art and cultural revolutionary comedy-piece that this movie was and always will be!

It's a shame. The picture is still grainy and the "widescreen" is still a full-screen image with black bars at top & bottom and NOT a true 16X9 formatted image for widescreen televisions! This true masterpiece of film demands nothing short of the best optimization that current-day technology can (and should) provide! Anything less is completely unacceptable! I'm sorry, but this is a travesy. The Graduate deserves the most pristine image and sound quality that the DVD format can give and viewers should demand nothing short of that high-standard of excellence.

The sound is in a lousy mono and the picture is fuzzy at times, desaturated, grainy, noisy, and compressed too much. The producers of this DVD obviously aren't die-hard fans and did a half-a** job here. Most fans of this film would gladly pay a few extra dollars for a better version, so why go cheap on such a great classic is beyond me?!? That's just a moronic business decision of a cheap corporation that doesn't know art from a hole in the ground, always cutting corners to salvage every penny. For shame!

I wish the Criterion Collection would remaster the Graduate and finally do it right! Amen.

Read Best Reviews of The Graduate (Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1967) Here

The previous reviews posted here are all based on what the reviewers HOPED would be on the new 40th Anniversary and raised some questions. I can answer most of the concerns having watched the DVD this week.

As for how important this film is, let's just say it defined a generation in the 1970s. And nearly anyone in either high school or college (or a recent "graduate" entering the working world) when the film was released can quote verbatim important lines and whole scenes. Try "Are you trying to seduce me Mrs. Robinson?" or even the mention of one word ""Plastics!". I have only watched the film (on VHS) once since my original viewing on the big screen forty years ago. Of course I remember many of the great moments (the finale at the church, for one) and the Simon & Garfunkel soundtrack. (Dave Grusin wrote the incidental music.). I did not see the "25th Anniversary" reissue. So much of the supplemental material was new to me.

First off the transfer is great! It must have been remastered. And yes, it's in Wide Screen. It HAS to be. The hardest video to pan and scan was always this film as Director Mike Nichols spaced his characters at the far sides of the screen. I watched this on an 25 year old 26 in TV and it was still perfect.

Okay, now the bonus features. It's a 2 "disc" set because one disc is a CD of FOUR songs from the film. So it's really more of a CD single.", That's fine with me, but most of us have the music in our collection.

There are TWO commentary tracks: One is Hoffman and Ross talking. Since Ross doesn't even appear in the film until almost half way through, she has little to say for a while. And there are long periods where Hoffman says nothing so you get to hear the soundtrack dialogue at that point. The second commentary is with Director Mike Nichols and Director Stephen Soderburgh. It more that SS is interviewing Nichols. And Nichols is very outgoing here. Where I found a small problem is that the conversation often does not match what is on the screen. During the "Seduction" scene I expected to hear details about the set up. But Nichols was talking about Screen Tests or something else. I have not made it all the way through the commentaries. Too much other good stuff here.

There is a NEW 25-minute documentary: "Students of the Graduate" which has interviews with young directors who learned techniques from Nichols direction. The Directors of "Little Miss Sunshine" were ones I remember. It's interesting. There is a short 8-minute one on "the Seduction" as well. This appears to be new.

The other featurettes are from the 25th Anniversary release. One is obvious as it's title is "The Graduate at 25". You can see from the excerpted scenes how poor the 25th Anniversary print was. And what I found MOST interesting was a "One on One" featurette with Dustin Hoffman which runs 22 minutes. It was recorded for the 25th similar comments appear in the "Graduate at 25" feature but Hoffman tells GREAT stories and I was on the floor laughing!

ONE of the tywo screen tests that Ross did with Charles Grodin is included in the "at 25" featurette but the announced "two screen tests with introduction" are not on the final DVD. NEITHER is the "Coming of Age: The Making of the Graduate" one.

So there is lots to watch here and moments to remember. I, for one, loved this set and the special featurettes which rarely, though sometimes, repeat themselves briefing out things you missed and make you want to playback some scenes.

This should be a hot release for September!

Steve Ramm

"Anything Phonographic"

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This movie was groundbreaking when released, and it is now a classic. The screenplay by Buck Henry is great, Mike Nichols did an outstanding job directing, and all the key parts were cast and acted perfectly. The great Simon & Garfunkel music helped to make the film what it became. AFI ranked it #7 on its list of the top 100 American movies, and I agree. I think it is that good. I saw it on TV when I was teenager, and have rented it or seen it on TV several times since then. It has always been one of my favorite films. I even read the novel by Charles Webb (to which the movie stayed pretty close).

Unfortunately, this DVD does not do it justice. The main problem is the audio. The sound track is just ever so slightly out of sync with the picture throughout the entire film. In one scene, when Benjamin's mother confronts him about his nocturnal activities, the problem is extremely noticeable. The sound is mixed badly throughout, especially during the second half of the film, when Benjamin starts seeing Elaine (Katherine Ross). Crucial dialog is drowned out by sound effects. By the end, you have to crank up the volume on your TV to wake-up-the-neighbors levels just to hear what the characters are saying. This is inexcusable. I also note, from an earlier review, that the laserdisk version had a director's commentary, so why doesn't the DVD?

Some day, they'll put out a good DVD version of the movie, until then we'll have to be content with VHS and Turner Classic Movies.

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God's Little Acre (1958)

Perhaps one seeing this film for the first time, in this day and age, will not realize just how racy this picture was when it was produced (in 1958). I watch it now, and I still can't believe that they "got away with it". The picture, a yarn concerning a Georgia hayseed family, took the "Ma And Pa Kettle" concept to new heights!

The gist of the story is that Ti-Ti, and his strapping sons, are digging for his pappy's gold, which, legend has it, is buried somewhere on their Georgia farm. They've been digging in the ground for fifteen years.....and haven't found anything yet. The characters seem, to me, to be the basis for the Clampetts on the Beverly Hillbillies........especially Darlin' Jill (who surely was the model for Ellie Mae).

The picture includes one of the hottest forbidden love scenes to ever be committed to celuloid (between Tina Louise and Aldo Ray). This was back in the days when things had to be creatively SUGGESTED (to avoid censorship). Things are different today, when anything goes and a "love scene" is thrown in for mere titillation, showing yet another improbable, sexual acrobatic endeavor between two participants. This scene between "Griselda" and "Will" has actual BEARING on this story. Those were the days.

It might seem quite campy (it is!). It certainly is hilarious, and even tragic at times. I recommend "GOD'S LITTLE ACRE" highly!

Released in 1958, Anthony Mann's God's Little Acre caused a scandal in theaters and was even banned in many places. Now 50 years later, the DVD format lets viewers see what they may have missed. In 1930s rural Georgia, Ty Ty Walden and his family live on a farm, barely scraping by. Ty Ty was told by his great grandfather there's gold buried on the farm, and he's convinced it's still there. Helped out by his sons, he's been digging for 15 years without luck. The gold story serves as a jumping off point for the rest of the story, the relationships and dynamics of Ty Ty's family. Directed by Anthony Mann, this is a beautifully shot movie, in more ways than one, as the story of the Walden family develops. The relationships are real, the love and hot believable as Ty Ty tries to find the gold while also continuing to be able to live. It's not a well-known movie, but it's an enjoyable movie, if for nothing else than to see what all the scandal was about. It seems tame compared to movies now, but you can see why it caused a stir.

In what's really an ensemble cast, Robert Ryan gives one of his best performances as Ty Ty Walden, the family patriarch trying to keep his family together, all the while searching for his great grandfather's gold. Ryan pulls off the dramatic and comedic scenes equally well throughout, especially the scenes with the cross on his farm's God's little acre. Aldo Ray plays Will Thompson, Ty's son-in-law who's been out of a job for six months since a mill closed. Will married Ty's daughter Rosamund (Helen Westcott) but really loves Griselda, married to Ty's son Buck. They have a history together, and it's their scenes together that caused a stir upon the movie's release. Tina Louise of Gilligan's Island fame shows off what a good actress she is in her first movie role as Griselda, the beautiful wife of Buck who still has feelings for Will. Mann puts Louise on display throughout, and she looks more beautiful here than any of her Ginger Grant days. Jack Lord and Vic Morrow are very good as Ty's sons, Buck, the jealous husband who worries his wife doesn't love him, and Shaw, the younger son still growing up. Buddy Hackett has a funny part as Pluto Swint, a local man running for sheriff who's fallen in love with Ty's youngest daughter, Darling Jill (Fay Spain). Also worth mentioning is Michael Landon as Dave Dawson, an albino who Ty is convinced will lead them to the gold.

The DVD doesn't have any special features, but the movie looks great in a widescreen presentation, Ernest Haller's cinematography never looked better. This isn't a great movie, but it's positives heavily outweight the negatives. So for a good story with great performances from Robert Ryan and Tina Louise, check out God's Little Acre!

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Review are you kidding, they just don't make movies like this anymore. Two plots going on at the same time the main being a treasure hunt which causes men to test what their true treasure is and the love story which for its time was almost scandelous. This is a good old fashhion movie. Did I say good. I mean great.

Read Best Reviews of God's Little Acre (1958) Here

Here's a movie that I'd not expected. Robert Ryan, Vic Morrow, Michael Landon, Jack Lord, Buddy Hackett, and Tina Louise really set the screen on fire. A good surprise for me.

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I'm not sure what the other reviewer got for his dollar but I have the dvd pictured & yes it is in a slim case but the picture looks fabulous. Maybe they were reviewing the case? If you liked Peyton Place or anything Tenesse Williams, you will like this one. And yes, Tina Louise is stunning in it but who knew Jack Lord was so damn hot back in the day? You won't recogize Michael Landon for a while (at least I didn't).It's a good story & well worth the I paid.

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Napoleon Dynamite (2004)

In high school, I was one of the nameless, faceless rabble who drew little attention, maintained a low profile, and caused little trouble all in the hopes of getting out relatively unscathed, a goal I managed to accomplish, partly due to my sometimes intimidating presence, but mainly because I was able to fit in, sort of like a fish within a shoal...but there were those who weren't so fortunate, as obvious physical characteristics or personality traits (or both) tended to enunciate their presence regardless of vain attempts to `blend in' or enjoy the anonymity I, and those like me, tended to take for granted. Napoleon Dynamite (2004) is a film about one of those individuals.

The film, written and directed by Jared Hess, takes place in a small Idaho town and stars Jon Heder as the title character (he reminded me a lot of Timothy Busfield's character of Arnold Poindexter in the 1984 film Revenge of the Nerds). Also appearing is Jon Gries (Real Genius, Fright Night Part II), Aaron Ruell, Efren Ramirez (Kazaam), Tina Majorino (she played the little girl with the map on her back in Kevin Costner's flopperino Waterworld), and Haylie Duff, sister to the more famous Hillary Duff, who both share a surname that's the same as Homer Simpson's favorite alcoholic beverage, Duff Beer.

Napoleon Dynamite is an odd character for sure, with his shaggy red afro, moon boots (he wears them year `round), and t-shirts usually featuring those glossy iron-ons so popular in the 70's (he seems to purchase much of his wardrobe at the local thrift store) with a penchant for drawing mythical creatures, boasting about fictional girlfriends who live in other states (don't they always?), and touting his non-existent martial arts abilities, "You know, there's like a b*tt-load of gangs at this school. This one gang kept wanting me to join because I'm pretty good with a bowstaff". Oh yeah, he breathes mostly through his mouth, and his vernacular includes, but isn't limited to, the liberal usage of such words like sweet, flippin', gosh, freakin', and heck, and he, along with his 32 year old brother Kip (Ruell), live with their grandmother, who owns a llama named Tina. After an ATV accident sends grandma to the hospital, Uncle Rico (Gries) arrives to watch over the boys, and involves Kip in his schemes to make some sweet cash. Napoleon, meanwhile, finds a friend in a newly arrived Hispanic student named Pedro (Ramirez) and he and their shy and kinda dorky friend Deb (Majorino) assist Pedro in his bid to become the next student body president, their competition being Summer (Duff), member of the cheerleading squad and the most popular girl in school. Do the trio have a chance in beating the juggernaut that is Summer? Perhaps, but it requires Napoleon to pull forth from within something no one would have realized he had, not even himself...

The film is very odd...it's kind of a mix of the Coen brothers (Fargo, Raising Arizona), John Waters (Crybaby), and the earlier films of John Hughes (Sixteen Candles). There's not much of a story at the beginning, more of a series of innocuous, unrelated, comical events, but later on we do see some development in this area with regards to Napoleon and Deb helping Pedro in his running for student body president. Some scenes will make little or no sense in relation to what you may perceive as the story, so my recommendation is to just let it go, and enjoy the film for what it is, whatever it is...the real fun lies within Heder and his complete submersion into the character of Napoleon, wallowing in his own uncoolness. Initially most will probably find him annoying and off-putting, but he sort of grew on me, and I actually found myself quietly rooting for him, in his most simple of endeavors (like trying to find a sweet fanny pack at the local thrift store), but don't get the wrong impression. This isn't a triumphant nerd film (the nerd beats the jocks and/or gets the head cheerleader in the end), but a character-driven slice of weirdness that has a tendency to amuse. The dialogue contains tons of quotable lines, and comes across genuine sense of realism. The composed music by John Swihart and chosen pre-recorded material used to make the soundtrack complemented the film very well. I think my favorite scene is when Napoleon discovers his uncle's crude time machine (which he purchased of the internet), and decides to give it a try...does it work? Well, it does something, but I won't tell you what...one thing I really noticed was an absolute absence of profanity. I'm not against its' usage in films, and have even become used to it (for better or worse), so it was kinda refreshing.

The picture quality, presented in both 1.85:1 anamorphic wide screen and 1.33:1 full screen (both sides of the DVD are used), looks sharp and clear, with the Dolby Digital 5.1 audio coming through very well. Special features are numerous and include a commentary track by the director/writer Hess, actor Heder, and producer Jeremy Coon, along with deleted scenes (with optional commentary), a short film entitled `Peluca' (basically the original concept for the character of Napoleon Dynamite, also with commentary), a number of MTV promotional spots, a still gallery, a featurette on the shooting of the final scene (keep watching the film after the credits to see a newly filmed 4 minute sequence shot a year after the film was released, made especially for the DVD release), and a promo for the FOX television series Arrested Development. The special features are split between the two sides of the discs, so be sure to flip it over once you've finished one side. My recommendation is to rent the film before buying, as it's not for everyone (I wouldn't bother showing it to my mother, as I know she wouldn't attempt to understand the where the humor comes from within this film).

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I knew absolutley nothing about this flick when my 14 year old red-headed math whiz son said Dad let's go see this movie. From the opening credits I was entertained. This movie, is essentially a "day in the life of an Idaho high school nerd as he moves through various life cycle events and characters." Though the word "nerd" hardly seems to do justice to the timeless nature of title character Napoleon Dynamite. With little or no plot, Napoleon turned out to be more than part nostalgia. It was a stroll down memory lane. If I did not know that the writers in fact lived in Idaho, I would have sworn they had gone to my High School in South Florda in the late 70's. Our Senior Class Vice-President was in fact PEDRO from Mexico, our class Secretary, Melanie a blonde buxom cheerleader incarnate of this films' fictional "Summer" character and our Treasurer sported a huge Afro and all were clad in their finest disco outfits.

I guess this is why this sleeper film has gained such popularity. Forty-something dads and their teen kids can both see this movie together and come out repeating its hysterical dialogue. The current crop of teen viewers are living these absurd stereotypes and situations (dating, class elections, high school dances, the cafeteria). The oldsters in the audience either were, or knew one or more of this film's quirky characters.

The acting and dialogue are pure genius in their simplicity and absurdity. As other reviewers have mentioned, lines from this flick will become folklore. I found myself sitting around our family dinner table spouting off Napoleonisms reminiscent of the best of Monty Python.

Definitely go see this movie without any pre-conceptions, or expectations, you will be pleasantly surprised.

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For the past few years there has been a movement in American film you could call "The New Mormon Cinema." Young Latter-day Saint filmmakers (definitely inspired by the Sundance Film Festival which is held right in their own backyard) have been making inexpensive independent films that are targeted at the Mormon population that stretches in the west from Alberta in Canada down past the Mexican border (the so-called "Mormon Corridor.") Most of these movies have been really bad, cheaply done sit-com influenced "comedies" that have had absolutely no influence on non-Mormon audiences. (With the honorable exeception of Richard Dutcher, the director of good movies like the missionary drama "God's Army" and the thriller "Brigham City.") Things began to change this year with widespread recognition going to the tough-minded World War II drama "Saints and Soldiers" and this twisted little comic masterpiece, "Napoleon Dynamite."

Jared and Jerusha Hess are products of Brigham Young University's film school and they made ND with a bunch of their friends. The unspoken assumption of this film is that most of the kids are Mormons. Some critics who misunderstood the movie as "condescending" have no experience with real people like these. I live in rural Utah and I can testify that Hess is only mildly exaggerating. The critics somehow miss the love with which the characters are drawn, just as some Minnesotans weren't too thrilled with the Coen brothers' "Fargo." Napoleon's pathetic older brother Kip has been singled out as particularly unbelievable. But believe me, Kips are a dime a dozen in Idaho (and Utah, too.)

Napoleon himself is not so much acted as incarnated by Jon Heder, who would win some sort of Oscar if people could only see he was playing a role, not living it. Napoleon is the real nerd deal, not some idealized John-Hughes-style Hollywood version. You really feel the anguish of his life, even as it provokes guilty belly laughs. The genius of the movie is how the Hesses take the angst of Todd Solondz ("Welcome to the Dollhouse" and "Happiness") and put their triumphantly uniquely Mormon spin on it.

Hess is the second Mormon director, after Neil LaBute in "The Shape of Things", to make reference to singer Elvis Costello ("Napoleon Dynamite" is one of Costello's aliases.) The movie Napoleon is as physically unprepossessing as Costello is, until he starts to sing. You see, Mormons are always worrying about what other people think of them, because of their long-time outsider status in American society. This overwhelming self-consciousness can make them feel as awkward and crushed by the culture as Napoleon is. But inside they just know they are as dynamic as the very name "Napoleon Dynamite." The opportunity awaits for them to strut their true stuff. An individual like Napoleon can't be destroyed if he doesn't want to be. There's something eternal in him that will win out. The importance of this thought is why the Hesses avoid the very appearance of sentimentality in their presentation of Napoleon. You have to learn to love him in spite of his monstrous imperfections, because he is human. And you rejoice in Napoleon's final dance, which is five or six of the most joyous minutes in a movie this year.

It's also important that Kip and Napoleon redeem themselves by reaching out to others not like them. Kip hilariously to La Fawnduh, and Napoleon to Pedro and Deb. The Hesses are brave enough to make sympathetic jokes about multiculturalism here. Certainly, Preston Idaho, won't save them; but maybe Detroit and Mexico will. I left "Napoleon Dynamite" with genuinely earned good feelings about humanity in general and the future of Mormon movies in particular.

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Here is the essence of why this film is a rare gem: it portrays High School Misfits as they actually are. When I was in high school, the "nerds" and "dweebs" were not like the Hollywood stereotypes...you know, really smart, eager to please the "jocks" by doing their homework for them, into computers, etc...the sterotype that began with Revenge of the Nerds and never died. No, the bottom feeders in my school were like Nappy D. They just didn't look right. They weren't eager to please, they were irratable & antagonistic, like Napoleon. They did weird things (Napoleon throws an action figure on a string out the bus window; I remember a kid who walked around in the halls making truck noises). No, this is the perfect embodiment of what it is like to be a teenage nothing, and how in their world, everything is OK.

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For people like Roger Ebert who pan this movie... you just don't get it.

I'm not claiming any intellectual superiority or great film taste... it's just that I get it.

Perhaps because I see elements of Napoleon Dynamite in me. For instance... his response on the bus "whatever I feel like. Gosh!" When I was in 4th grade I moved from a northern town in Illinois (Geneseo) to a small town called Lousville (pronounced Lewis-ville) in very southern Illinois where the culture was very different and people had Alabama-like accents. When I was riding on the schoolbus, my first day in mid-semester, I was petrified. Everyone stared at me as they stopped at my delapidated trailer to pick me up. A little girl turned around and asked "What's your naaaaame?" To which I replied "shuuuuuuuuuuuut uuuuuup!" And from that day on was greeted by everyone in unison shouting "HI SHUUUUUTUUUP" as I walked on the bus. My reply was out of a vain effort at self-defense... not mean-ness.. and so was Napoleons.

Napoleon's journey was a remarkable, willful transformation, as was that of Deb and Pedro. Kip was amusingly transformed, but not so much with self-awareness. Uncle Rico was the only static character, which made it all the more funny because he had not changed since 1982.

Of all the lines, the one where Napleon told Deb to get her stuff because there wasn't enough room for his nunchucks made me laugh the most histerically.

Almost all the humor, other than "the dance" was rooted in hilarious subtlety and satire. I mean, how could I not be floored by someone bragging about chatting with hot babes online.... ALL DAY!

The bizarre time-period (An elegant collage of the 70's, 80's, and 90's) gives this film a wide audience and uses silly things from all decades to make it more hilarious.

My conclusion is that people who don't like this movie are either 1) TOO nerdy to realize they are only the one side of the nerdy characters 2) They ARE Summer Wheatley 3) People like Roger Ebert who are absolutely clueless about the level of subtle humor in this film.

To the people comparing this to laughing at clowns... their reviews had me laughing as much as the movie... it's a total comedy in itself. ND is not a clown, he's flippin Superman in moonboots with a fro!

The ONLY other DVD I own is Monty Python's the Holy Grail... which also has incredibly intelligent subtle humor woven into the surface silliness.

For the intellect and the funny bone, I give ND a 5/5 stars. As far as those complaining about the "terrible" soundtrack, I wish I could give it 6/5 stars for having "Forever Young" by Alphaville and "The Promise" by When In Rome as too of the main songs in the soundtrack.

This thing just gets funnier the more I watch it.

P.S. Dear Roger Ebert... please watch this film again, then watch the piece of junk that "Garfield" is, and look at yourself in the mirror and cry.

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The Cable Guy (15th Anniversary Edition) (1996)

Too, too bad that this marvelously wicked comedy didn't get the respect it deserves when it was originally released. Ben Stiller captured a unique modern nightmare: having the strained small talk we exchange with the cable guy, plumber or repairman inadvertantly turn into an invitation for a full-fledged friendship. Jim Carey's performance is a tour de force that works on multiple levels. Carey's notrious and spectacular over-the-top antics are beautifully combined with subtle emotional nuances. One moment it's so funny that you cry; the next it's so sad that you laugh. Carey conveys much more depth here than you've seen in his other roles without moderating his comic genius. Matthew Broderick plays the perfect straight man. Frequently the funniest moments are his horrified reactions to Carey's outrageousness. Look for hilarious cameos by Owen Wilson and the guy from "High Fidelity."

"The Cable Guy," as most know by now, was a major departure for Jim Carrey. The rubber-faced goofball of hits like "Dumb And Dumber" and "Ace Ventura: Pet Detective" was still present, but he was appearing in a radically different form. With Carrey playing a cable installer fixated on an unsuspecting customer, "The Cable Guy" is easily his darkest movie. However, I've got a soft spot for a good black comedy, and this one is about as black (and as good) as they come.

Although goofy behavior had been Carrey's trademark since his "In Living Color" days (remember Fire Marshal Bill?), "The Cable Guy" was the first movie in which his madcap antics hinted at something dark beneath the surface. Indeed, by playing such a twisted character, Carrey was finally able to let loose and reveal the full range of his comedic gifts (aren't bad guys always more fun?). In contrast to the likes of "Ace Ventura" and "Dumb And Dumber," which were basically just live-action cartoons (albeit amusing ones), "The Cable Guy" provides Carrey with a creepy, unsettling vehicle where he gets to show some real malevolence. When Carrey plays basketball prison-style while Filter's "Hey Man Nice Shot" plays in the background, it's both hilarious and disturbing at the same time. And even when Carrey hams it up, as when he does a vibrato-heavy rendition of Jefferson Airplane's "Somebody To Love" while a group of freaky friends dances around him, there's an undercurrent of the surreal.

In an equally dramatic departure from Carrey's norm, "The Cable Guy" even had a message mixed in with all its weirdness. It turns out Carrey's nameless cable installer, who gets his pseudonyms from old TV shows, was left by his mother to be raised by the TV, and has attachment issues stemming from his inability to relate to others. The plot is set against the backdrop of a former child star's trial for killing his twin brother, and director Ben Stiller (who also plays the murderous brother) takes several opportunities for pointed satire of our TV-addled culture. It's not until the end that the subject is addressed at length, but the pernicious effects of TV are a prominent theme of the movie. When the cable guy laments in his closing monologue that he learned about the facts of life from watching "The Facts Of Life," it's strangely poignant.

And how about a hand for Matthew Broderick as Steven Kovacs, the unfortunate object of Carrey's fixation? It's hard to believe this guy almost faded into obscurity in the five years or so after "Ferris Bueller's Day Off." If not for his classic turn in "Election," I'd say Steven was the role Broderick was born to play. At first Steven just regards the cable guy as a nuisance, but his annoyance over his new friend's increasingly creepy behavior grows as the film wears on until it turns to outright fear and desperation, and Broderick captures it perfectly. Few, if any actors, make a better hapless guy than Broderick, which is especially ironic given that he became a star playing the uber-cool Ferris Bueller.

Watching this movie, it's hard to believe it was such a letdown at the box office. I firmly believe entertainers should be rewarded for taking risks, but apparently Carrey's fans weren't quite ready for him to play such a troubled character in such a dark movie. That's too bad, because those who haven't seen this movie are really missing out. "The Cable Guy" doesn't go down as easy as Carrey's other comedies, but it's a lot more rewarding in the end.

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I'm with most other Amazon reviewers -I don't know why this movie got such a bum rap from most critics. I think it's because Carrey wasn't doing his usual Ace Ventura shtick which I personally don't care for (was not able to sit through either of the Ace Ventura movies). This movie was very funny, good dialogue, good characterization -the Stephen character was very real and so was the Cable Guy even though he was nutty. My least favorite scene was the one where he beats up Robin's date. Not because it was violent but because it was pretty pointless, didn't contribute anything to the plot, just not very funny IMO (though I see that some other people disagree). I also thought the karaoke scene dragged on a bit. But the whole Medieval Times episode was a scream! Ditto for the Porno Password scene and the basketball game and the scene where the Cable Guy visits Steve in jail, as well as the Menendez brothers-like trial subplot with Ben Stiller. The way the Cable Guy kept modeling everything in his life on TV shows and movies was an inspired touch -it may not be terribly profound or original social commentary but it was an interesting way of making the point. Finally, I thought the ending was just perfect. The Cable Guy is being airlifted to the hospital and the paramedic in the chopper says "Hang in there, buddy!." The Cable Guy asks, his eyes lighting up, "Hey! Am I really your buddy?" "Sure you are," replies the unsuspecting paramedic ... and we see the Cable Guy's face dissolve into a demented grin. Wow!

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Directed by Ben Stiller, "The Cable Guy" is an underrated film with many layers. Matthew Broderick's cable-challenged character Steven, and his crazy friend Rick, played by Jack Black, are trying solve his problematic relationship with his girlfriend. Jim Carrey stars as Chip the not so mentally stable Cable Guy, who puts in one of the most incredible, gut-wrenching performances of his entire career. His uncanny performance of "Somebody To Love" is like watching John Belushi's SNL duet with Joe Cocker.

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Jim Carrey is "The Cable Guy" in this dark comedy from director Ben Stiller. In one of his best (and underrated) performances, Carrey stars as a lonely, pathetic and very disturbed individual desperately in need of friendship and some very serious psychiatric care. Neglected by his mother as a child, and left in the care of the "babysitter" (the television) for nurturing, he has grown into adulthood as a man orbiting somewhere along the fringes of reality. Even his name is an enigma; using various aliases from the sitcoms he grew up with, he is "Chip Douglas" (My Three Sons) when he happens into the life of the unsuspecting Steven Kovacs (Matthew Broderick). Steven is coping with problems of his own; when he proposes to his girlfriend, Robin (Leslie Mann), she responds by kicking him out of their apartment. Steven rents a new place and, of course, has to get the cable hooked up. Enter the Cable Guy. Acting on the advice of his friend, Rick (Jack Black), Steven approaches Chip with the idea of setting him up with free movie channels for a fifty dollar gratuity. "Ever hear of anything like that?" he inquires. Chip responds with a feigned admonition about "Illegal cable," then readily agrees to "Juice him up." Unwittingly, Steven thereby forms a bond with Chip, who he later learns can be "His best friend, or his worst enemy." For comedy to work, it must be taken seriously; real laughs come from playing it straight, and Stiller is a master of this technic (As both actor and director). He is to be commended here for extracting a tempered performance from Carrey by reining in his natural tendency toward over exuberance (which has worked for him in other projects, but would have been detrimental here). There are some hilarious moments in this film: Chip throwing a Karaoke party for Steven; a scene that takes place at a Medieval Times restaurant (with a terrific cameo by Janeane Garofalo as their waitress); and a bit with ongoing news coverage of a murder trial in which Stiller plays twin brothers Stan and Sam Sweet. But there are just as many uncomfortable moments, which tend to leave the viewer somewhat uneasy, such as the scene in which Chip dupes Steven's family into playing "Porno Password." We feel Steven's discomfort as well as his frustration with his own inability to control what ultimately becomes an ugly situation. Or when Chip confronts Robin's date (Owen Wilson) in the restroom of a restaurant. There is an edgy humor to these scenes, but the underlying hostility has an unnerving effect. With a supporting cast that includes George Segal and Diane Baker (as Steven's parents), Andy Dick (as the Medieval Host), and Eric Roberts (as himself), "The Cable Guy" is a tense and entertaining film. Some Jim Carrey fans may be a bit put off by this one, though, for it is not the typical Carrey offering. This is a glimpse at the effects of a deranged mind. It is a dark and somewhat disturbing movie, and in the end, issues are left unresolved; but addressing Chip's psychoses was never intended here. This film was made, not to enlighten, but to entertain; and in that, it succeeds. If it is just laughs and light fare you're looking for, however, be advised: this is definitely not where you want to go.

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The Big Lebowski (Blu-ray + Digital Copy + UltraViolet) (1998)

The Big Lebowski is on my top ten list of all time best films. I've seen A LOT of films by the way. I don't need to explain to anyone why this movie is so brilliant, and why it continues to be a cultural phenomenon. I mention these things first because I don't want people to feel like I'm giving the film one star. If I could I would give the movie 100 stars. What I'm giving such a poor review for is my distaste for movie studios pumping out special editon dvd's every few years because they know a film has a huge following. This new "bowling ball" edition of Lebowski is further proof that Universal has nothing but contempt for the fans of Big Lebowski. They wrap it up in a nice big package and make it look slick, but that's as far as the creativity goes into supplying anything new in terms of extras. Does anyone remember the terrible repackage they gave it a few years ago with a towel and coasters? No actual extras existed, but they still put it out as a revamped "deluxe edition". Well, don't expect much more here.

The only new extras to this edition are four very brief featurettes. They feature new interviews with all of the major players (with the exception of the Coen brothers, of course), but they mostly just sit around and say stuff like, "It's a great film! It's hilarious! Coen Brothers are geniuses!". Err, yeah, we know all of that. It also has a featurette that centers around the Lebowski Fest which is vaguely interesting for a few minutes until it turns into the same old "Lebowski is great!" territory. The featurettes are a snooze fest to say the least.

What really annoyed me with this DVD, though, is that they included the SAME "Making of Big Lebowski" documentary that has been on every release of this film! Not only that, it looks as if it was recorded from an old VHS tape and plastered onto a full screen format. It looks horrible, and what's more, we've all seen it before! How many times is Universal going to pump out the same damn extras to the same audience?? It's an insult to be charged more and more money for the same mediocre extras that were never that good to begin with. Luckily I was able to rent this and didn't actually buy it! "The Big Lebowski" will NEVER have proper extras until the people who created it (the Coen Brothers) are involved. We want a commentary, a full length documentary with in-depth interviews, and deleted scenes (and plenty of them!).

DON'T BUY THIS EDITION. It's junk! Simply keep the edition you already have (the very first edition) safely knowing that you are not missing anything with any other edition!

"The Big Lebowski" is just perfect. Everything about this movie is a laugh riot, even the bits of dialogue that aren't punchlines. The cast is perfect, the writing is perfect... this movie has both Julianne Moore and Flea in it, what other movies can you say that about? Well, there was the Gus Van Sant "Psycho" remake, but that doesn't count. I found this movie by accident and I haven't let go of it since. I may not be a stoner but I will say I've found more happiness since I embraced my inner Dude.

Every time I go back to "Lebowski" I come away with something new that wasn't there before. Like the realization, this time around, that Jeff Bridges is not seen to throw a single bowling ball in the entire movie. And that Steve Buscemi's character rolls a strike every time we see him... except for the very final scene, for reasons that become clear a few moments later.

The rest of the cast is just superb. Remember Philip Seymour Hoffman as an unctuous PR man? I'd forgotten about that. Jon Polito (late of "Homicide") shows up as a P.I. in a familiar-looking purple VW bug. Even Aimee Mann is in one scene, speaking German. Oh, and Tara Reid, before her career completely and utterly collapsed. Top supporting honors go to Sam Elliott, who according to the DVD documentary wasn't even sure what he was doing in the movie, but his opening narration gets funnier every time out ("And in English, too!").

Another great thing is the dialogue. You'd think the whole movie was done by improv, the way the dialogue is so natural. Every character has their own particular jargon, and just like in real life, people keep repeating phrases they've heard elsewhere. Jeff Bridges can't seem to finish a sentence, and neither can Steve Buscemi, although that's because John Goodman won't let him. George Bush gets quoted a lot ("This aggression will not stand, man").

Finally, I love the totally unglamorous portrayal of L.A. and Hollywood, limited to tiny theaters, a seedy bowling alley, a weapons store in the barrio, and the In 'n Out Burger (on Camrose). The actor and artist type characters who show up are all obnoxious or pathetic, particularly David Thewlis's "video artist", and the chubby dancer/landlord who forgoes collecting rent from the Dude so long as the Dude shows up for his performances. Not to mention Karl Hungus and the great Ben Gazarra cameo.

But in the end, Jeff Bridges is the glue holding this movie together... and John Goodman... and John Turturro... and... and... aah! Lost my train of thought here. But... ah, , I've done introduced 'em enough.

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Picture and sound quality is a bit improved, but other than that you are spending money on the exact same DVD. Usually, when a "Collector's Edition" is released, especially after a movie gains such a huge cult following like Lebowski has, people actually go through the effort of including cast commentaries, more bonus features, and...well, more than just repackaging the old DVD with a new name, a new cover, and a higher retail price.

Shame on Universal and Focus Features.

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In what has to be the most brilliantly disjointed and anarchic look at the alienation, apathetic stupor, and pedestrian self-absorption of the pathetic Southern California lifestyle ever filmed, the two Coen brothers (`Fargo') produced and directed this near `cult' film to explore the plethora of cultural cop-outs parading as lifestyles in this zany yet affectionate look at a totally burned out and yet eminently likeable basket case by the name of Jeff Lebowski, who is played masterfully by Jeff Bridges, in yet another of his consistently underestimated character portrayals. Lebowski prefers to go by his street name of "Dude", and seems to be the ultimate California case of a one-time fairly intelligent `n'er-do-well' now perpetually down on his luck and reduced to only occasional flashes of clarity and full functioning after way too many years of sex, drugs, and rock and roll, and then some more drugs tossed in on the side.

The Coens' penchant for offbeat characters is having a field day here, with everyone in the cast allowed to vent in a kind of wacko 'Disneyland on the strip' approach to making the endless days of gorgeous LA sunshine pass, as our protagonist finds trouble in the promised land. Particularly memorable here is John Goodman weighing in as the paranoid and unpredictably violent Walter Sobchak, the `Dude's' best friend and perpetual bowling partner. The holy ceremony of bowling and the seriousness that it plays in the lives of the several losers like the Dude, Sobchak, and the preening eccentric Jesus Quintana (a wonderfully over-the-top John Turturro) and the rest of the motley crew on the Dude's team provides a kind of key that unlocks the mystery of their uniformly alienated, pointless, and directionless lives, as each tumbles from crisis to crisis, and with each attempt that Dude makes to cope with the circumstances that mysteriously start to swirl around his drug addled self-absorption and wake him into a groggy yet sober recognition that something very serious and potentially deadly is going on around him, he is repeatedly sabotaged and blind-sided by the myopic and near-psychotic antics of his friends.

Dude seems to approach crisis management as an exercise in spin control, and tries, sometimes quite ingeniously, to talk his way out of the staccato violence that punctuates his days with increasingly urgent frequency. But as the mystery deepens and Lebowski is sucked farther into the quicksand of coincidences, mistaken identities, and sheer madness that lurks just beneath the cover of these friendly skies, we are introduced to the powers and the principalities that are driving the madcap antics and the increasing shrill intensities of everyone but the Dude. The plot often seems disjointed, yet in a macabre way that seems to shout that not only is truth sometimes stranger than fiction, it is sometimes absolutely insane. Yet it eventually resolves itself into a semi-rational resemblance to plausible reality, or at least almost. And one walks way from the outstanding ensemble cast's performance thinking that something magic and allegorical has happened here, and it is perhaps exactly the insanity of the proceeding activity that is the point. They are indeed, every last one of them, just California crazy! This is a wild roller coaster of a film experience, but one absolutely worth the taking. Buckle up, kids, you're in for a bumpy ride! Enjoy!

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The Big Lebowski doesn't need a review, so if you're here to read about the film, this won't be helpful. This is a review of the Blu-ray Limited Edition with book.

That being said, this is a very nice edition. The photographs in the book are great and are fun to see behind the scenes action, especially Jeff Bridges' photos. He's a talented photographer utilizing his unique pano camera.

The Blu-ray conversion is clean, crisp and well done. The picture and sound are excellent. The digital copy is a nice plus, but consider that the coupon expires on 12/31/12. Its more than a year away, but its worth noting in case it's something you forget to take advantage of.

However, my biggest complaint is this. The size of the book (which holds the physical disc) is actually just a little larger than standard Blu-ray cases. While this may not be a big deal to most people, if you're like me and have bookshelves fit to the height of a Blu-Ray, this movie can't stand on end. It has to be laid flat, or sideways on the shelf. It's a little thing, but for those with extensive collections on shelves, it can be annoying.

Overall, the Blu-ray edition is a nice step-up for those looking to upgrade their DVD or add it to their collection.

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Chandni Chowk to China (2009)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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In Bruges (Blu-ray + DVD + Digital Copy) (2008)

Martin Mc Donagh's "In Bruges" proves at least one thing once and for all: Colin Farrell is a thoughtful, emotionally open, soon to do very great things on the screen, actor...something that anyone who has seen "Tigerland" and "Home at the End of the World" already knows despite evidence to the contrary: "S.W.A.T," "Alexander," "Miami Vice," etc. etc.

'If I'd grown up on a farm, and was retarded, Bruges might impress me. But I didn't, so it doesn't" says Ray (Farrell) to his fellow hit man, Ken (burly Brendan Gleeson): both sent to Bruges, Belgium to cool off after a bloody hit that unfortunately went woefully wrong.

This is McDonagh's first film as Director/Writer and it is evident that he has a great eye for detail both in the sparkling, smart-*ss dialogue as well as with the stunning visual vocabulary of movies. Bruges is a beautiful city: ancient, redolent of the many lives lived there with its cobblestone streets, masonry buildings and outdoor plazas. As such, staid, old lady of Belgium Bruges stands in vivid contrast to the Irish duo of middle-aged, seen-it-all, supposedly Gay, interested in the sights and history of the city Ken and the emotionally over-wrought, painfully sensitive Ray: nervous, anxious, wanting to party, sporadically breaking out in sobs...literally an open emotional wound desperate for succor, blatantly remorseful, seeking redemption in all the wrong places.

"In Bruges" roils over with goofy, silly dialogue (mostly spoken by Farrell who proves very adept at delivering it in droll, wry, ironic style) and profanity, violent bursts of gunfire, and jokes at the expense of dwarfs and Americans. Screenwriter McDonagh steers his odd couple Irishmen through a series of strange/odd situations in which questions of honor, friendship and mortality are mulled. The older Gleeson also proves to be the grounded one: good at what he does (that is kill people) and able, by his very presence to calm Ray down.

Ralph Fiennes is also on hand here and plays Ray and Ken's boss, a mean-spirited bloke who talks in Michael Caine-Cockney cadences and arrives in Bruges to make sure that a hit, assigned to Ken is carried out without fail.

"In Bruges" shares many of the surface traits of such films as Tarantino's "Pulp Fiction" but, though great as "Pulp Fiction" is, it doesn't have the heart and soul of Mc Donagh's "In Bruges": a film that satisfies the thriller/action genes of us all but also digs very deep below and reveals the true natures of its very conflicted, ultimately very human characters.

How to describe this deceptively simple film is the hardest place to begin. The plot's fairly simple: Two Irish hit-men, Ray (Colin Farrell) and Ken (Brendan Gleeson), are sent to Bruges (in Belgium) to wait out the consequences of an assassination gone terribly awry.

The younger of the two, Ray, is bored and angtsy with the whole place. He's got a guilty conscience, having been the bloke who totally screwed up the hit. Ken, older and more sanguine about the whole matter, is the total opposite. He's enjoying the sights and quiet cadence of the city, seeing it as a brief respite from what he knows is a powder keg about to blow up in both their faces.

Without giving away key plot points (all brilliantly revealed as the beginning of the end begins to play out toward its tragic conclusion), all I can say is WOW! Though I have never been a huge Colin Farrell fan, I found the actor to be an absolute revelation. The man can actually act, excellently conveying Ray's guilty conscience with a manic, twitchy angst that practically sets the screen on fire. When Ray's mistake is finally revealed in all its heartbreaking glory, Farrell manages to portray Ray's guilt and attempt at redemption in a scene that awes as well as chills the viewer. This is definitely an Oscar caliber performance, and one would hope the actor will continue to make such smart choices in future roles. The fact that Farrell gets to use his actual Irish accent is definitely a plus for the character. His Ray is a charming, annoying, childish, totally screwed up nut about to crack.

Gleeson, too, is equally convincing in his quiet, calm portrayal. His Ken, world weary and tried of the whole business of death, nevertheless knows he's got to pull back his shoulders and soldier on--even if it means he has to face the bad end of a gun himself from mob boss, Harry (an excellent Ralph Feinnes channeling an evil more vicious than even Lord Voldemort). Harry's riff on the Uzi he is offered by a gun supplier is hilarious, as is Ray's in run with a racist dwarf, among others as he ambles through Bruges seeking a solace neither drink nor drugs, or even a pretty girl, can offer.

The end for these three men is tragic, but totally fitting. I thoroughly enjoyed In Bruges and watched it several times just to soak in the early subtle clues leading up to Ray's mental meltdown. I admit that I had to watch the film with English subtitles on as I couldn't understand the actor's thick accents, but that wasn't any distraction or detriment.

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Two hit men, Ray (Colin Farrell) and Ken (Brendan Gleeson) are on a sort of makeshift holiday in Bruges, Belgium after a hit gone wrong. While awaiting word from their boss, Harry (Ralph Fiennes), Ken is interested in sightseeing and the history of the place, while Ray couldn't be more unimpressed and can't wait to escape.

After hearing so many wonderful things about this film I was absolutely prepared to be let down. Movies rarely live up to the hype for me, but I am happy to say this one did and then some.

In Bruges had me laughing out loud, hard and repeatedly, as the political incorrectness and the way Ray and Ken play off each other is hilarious. It had me sobbing big ugly girly tears as the emotion that pours from Ray, his guilt, his sadness, is absolutely palpable and heartbreaking. This movie had me gasping at the violence, on the edge of my seat and on an emotional roller coaster from one minute to the next. It was great.

The performances are grand by all three main characters and the supporting cast lends equally wonderful and interesting performances. I found this to be a multi-dimensional and complex film filled with irony, humor, action and sadness. I was really stunned at the power behind Colin Farrell's performance. He goes from a sort of spazzy, funny, slightly inept and combustible sidekick to a sensitive, deeply tortured soul in about 2 seconds and every facet of his character is believable and brilliant.

In Bruges is one of those quotable films with a billion awesome one-liners and moments. This is easily one of my favorite movies this year and definitely upon my list of all time favorites. I loved every fricken minute of it.

5+ stars

Cherise Everhard, August 2008

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Much like a comedian, "In Bruges" is a film that uses humor to mask pain. It tells jokes and we laugh at them, but it's by no means a comedy; the story is deadly serious and at times downright shocking, and we're ultimately left in limbo about what we should and shouldn't find funny. This is actually one of the film's greatest strengths, simply because life itself is often hilarious in the face of tragedy. Writer and director Martin McDonagh seemed to know that all too well, which is good because it made for a unique and surprisingly engaging film. But be aware that not everyone will be this receptive: the subject matter is anything but light; most of the characters inhabit that massive gray area between decency and amorality; the ending is appropriate but definitely unconventional, leaving us unsure as to whether or not everyone got what they deserved.

The film opens with two Irish hitmen--Ray (Colin Farrell) and Ken (Brendan Gleeson)--arriving in Bruges, a Belgian city that's known for being the most preserved medieval village in all of Europe. They were sent there after a job in England went horribly wrong. I won't say what happened, but I will say that Ray is now an emotional wreck, unable to forgive himself for what he has done. Anyway, both men are told to wait in Bruges until further notice. In the meantime, they might as well enjoy a little sightseeing, and indeed, Bruges is a beautiful, picturesque place. While Ken is more than willing to take everything in, Ray behaves like an immature teenager, shooting his mouth off about how awful Bruges is. He even gets into hot water with tourists, especially the American ones--it seems he's still bitter over the Vietnam War and the murder of John Lennon.

But it's much more likely that the past few days have taken their toll on him, with the incident in England weighing heavily on him. His only outlet is beer, cocaine, and Chloë (Clémence Poésy), a young woman working with a film crew. They share a fascinating if odd relationship, him being a hitman on the brink of suicide, her being a drug dealer and occasional robber. It's through her that Ray meets Jimmy (Jordan Prentice), a dwarf acting in the film being shot in Bruges. They, too, share an interesting relationship, not only because both are pent up fountains of anger, but also because of how they express that anger. Here's an example for Jimmy: there's a scene in which he's high on cocaine, ranting about how there will eventually be a race war between the blacks and the whites, and he feels that every ethnicity from the Vietnamese to the Pakistanis will side with the blacks. "What about black midgets and white midgets?" Ray asks. "Yes!" Jimmy emphatically responds. "Now there's a movie!" chuckles Ray, who quickly notices how offensive Ken is finding this conversation.

After a few days, Ken in finally contacted by Harry (Ralph Fiennes), who gives specific instructions that I won't reveal. I will say Harry is probably the film's only evil character, despite the fact that he has strict principles about who and who not to kill. He apparently first saw Bruges when he was only seven years old, and he loved it so much that he wanted both Ken and Ray to experience it. Bruges is like a city in a fairy tale, Harry says, and woe to those who don't feel the same way--one gets the sense that, in his eyes, disliking Bruges is akin to disliking the air we breathe. As irrational as this line of thinking is, Ken goes along with everything Harry says and always obeys. But then the next hit is ordered, and at that point, Ken reconsiders the life he leads and why he leads it. This, in turn, forces Harry to come back to Bruges.

All this paves the way for the final sequences, which are cleverly written to say the least. They serve as brutal counterparts to many earlier scenes, many of which have Ray and Ken discussing the existence of heaven, hell, and purgatory. They also wonder what it means to be a truly good person; Ken feels that he's generally a nice guy, yet he's well aware that he has killed people. He also asserts that, with one exception, his victims were all bad people who deserved to be killed. This begs the question: Where is the line drawn, since justified murder is still murder? Ken and Ray grapple with this, knowing perfectly well that their feelings could mean the difference between life and death.

There's a scene that sees both men in the Basilica of the Holy Blood, which displays a fragment of cloth said to have been soaked with the blood of Jesus Christ. Ken wants to see this cloth while Ray is desperate to leave, and that's an interesting duality since both men are sinners and unsure about what the hereafter has in store for them. Ray believes that hell is an eternity in Bruges, which is the only reason why he doesn't want to die there. Ken eventually believes that his purpose is to send Ray off to find his own purpose. Both have a lot to pay for. Whether or not they actually do pay, I'm not sure; much like the film's overall sense of humor, the ending of "In Bruges" is ambivalent, leaving us in a thick fog. But at the very least, it's a lovely, almost magical fog, much like the one shrouding Bruges every evening.

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Another delightful little British black gangster comedy. Think of: Sexy Biest (w Ben KIngsley). Snatch (w Brad Pitt, Benicio dT ...). Layer Cake (w Daniel Craig). These guys have figured it out. Usually high class actors (here R.Fiennes, who is much more convincing as a bad guy than otherwise, and the quite capable Colin F., who had been a bit overrated for a while, but he really is quite talented).

A basically simple plot (a hit man has screwed up, causing collateral damage; the boss needs to remove him, orders the partner to get it done, which turns out a problem...) runs into obstacles because the protagonists develop unexpected attitudes. Slapstick with guns.

(Disclaimer: let me add that the headline is not my opinion, but a quote from Colin Farrell's character Ray, who thinks that Bruges is a s-hole; I fully disagree with that crass opinion, Bruges is as nice a place as you are likely to find in the whole of Belgium. On Tottenham I am not an expert.)

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