One Touch of Venus (1948)

After being married to Jennifer Jones (who is/was my particular 1940's screen love goddess), Robert Walker stars opposite a very erotic Ava Gardner, described by film critics in "The Naked Contessa" (1954) as, "...the most beautiful woman in the world", so she was aptly cast to play Venus, the goddess of love, in this 1948 production.

Robert Walker plays Eddie Hatch a lowly paid window dresser at the store owned by Whitfield Savory II (played by Tom Conway a relative of the suave George Sanders).Eddie is instructed to ensure that the curtain will not snag at the forthcoming unveiling ceremony of the recently acquired statue of Venus.When finished, he impulsively (he's finished the boss' drink) kisses the statue which promptly comes to life!! Eddie is to marry Gloria (Olga San Juan), who rather irritatingly, keeps reminding him they are to marry each other.They have drifted into their relationship and marriage just seems the next logical move but who said love is logical!! However, Eddie's friend Joe, (Dick Haymes), is secretly in love with Gloria himself but he doesn't know it.Whitfield Savory II is likewise ignorant of his subconcious love for his efficient secretary, Molly Stewart, played by Eve Arden in one of her typical wise-cracking, comic roles; (see her as Mildred Pierce's efficient manager in the Oscar winning film of the same name (1945) opposite Joan Crawford.

I was mesmerized by Ava Gardner as she spreads her instinctive love to bring all these true lovers together, while working her magic on Eddie himself who is soon in love with her.She seems reluctant to return to Mount Olympus as she is having so much fun here on Earth.She loves helping people but when her task is over, Jupiter, the head of The Gods, (who communicates by thunderflashes), summons her back to Mount Olympus.Reluctantly her effigy returns as a statue at the store, much to the relief of the Whitfield Savory II who thought Eddie had stolen the statue whilst she is in her live alter-ego on Earth.This sub-plot gives rise to some comic Keystone Cops type chases especially when Venus comically turns one of the "gumshoes" into an owl, albeit temporarily as she loves everyone really!.Molly believes Eddie is innocent good for her I say!

Watch out for Sara Algood who plays Eddie's landlady, (see her in previous roles as Mrs Beth Morgan in "How Green Was My Valley (1941) and as Mrs Maile in "Cluny Brown" (1946).The lovely song "Speak Low" is sung by Dick Haymes miming to his own recording while Ava effectivly mimes to another well matched singer's voice.Another song about men, sung in the ladies dressing room as a trio, featuring Ava, Olga & Eve.

The audience feels strong sympathy for Eddie and he is finally given his divine award (including a modest pay rise) when a very beautiful new store recruit called "Venus Jones" (Ava),appears in normal human form to him there.We have to assume this will eventually become another love match engineered by Mount Olympus!

I found this film hugely enjoyable as I love classic 1940's films having made them something of a speciality.It has fewer of the songs than in the original Broadway musical but this seems to fit the plot.It is a difficult title to find on video.I obtained mine by winning an e-Bay auction after searching on Robert Walker.

This 1948 comedy was adapted from a Broadway musical that starred Mary Martin and featured a score by Kurt Weill. Sadly, the music, except for three songs, has been cut from the movie.

The film, directed by William A. Seiter, is reminiscent of TOPPER, HERE COMES MR. JORDAN and other like fantasy-comedies that were popular with movie audiences during the 1930s and 40s.

[During the 1960s, TV shows like BEWITCHED and I DREAM OF JEANNIE filled this void.]

Robert Walker stars as a shy window dresser for a big department store, who impulsively kisses the store's invaluable statue of the Greek goddess, Venus. A moment later, the statue, played by Ava Gardner, has come to life and Walker faints on the spot.

Upon awakening, poor Robert discovers that he's in very big trouble. He's being pursued by the cops for stealing the statute and, if that isn't bad enough, it appears that Venus won't return to her pedestal because she has fallen in love with him. Even worse, his jealous girl friend (Olga San Juan) is convinced that he's been unfaithful.

Dick Haymes, Eve Arden and Tom Conway co-star in what is still a clever, if somewhat silly, romp that should entertain the entire family.

© Michael B. Druxman

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I'm not as well spoken as the previous reviewers, still, I grew up with this movie and watched it every time I saw it listed on TV. In fact, I'm always looking for a black and white copy I can afford to buy. It is just one of my favorite all time movies. I love the characters and most of the actors Eve Arden being my favorite by far and Ava looking so gorgeous, as well as Walker looking so vulnerable, confused and frustrated. It's a fun time 90 minutes or so of losing yourself in a far out comedic love story. I enjoyed the music and I'm one who tires of musicals after awhile this one did not bore me. Dick Haymes' singing is a joy. I recommend it highly to anyone even the more serious curmudgeons who feel they might not like it.

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This adaptation by director William A Seiter of the musical with music by Kurt Weill and lyrics by S J Perelman and Ogden Nash is generally considered a bowlderisation, with songs cut and Mary Martin's stage performance lost in favour of the usual Broadway to Hollywood compromises. However there can be no doubt that casting beautiful Ava Gardner as Venus, the goddess of love, is apt. Here Gardner is more playful than usual, and even making her chase a reluctant Robert Walker can be forgiven. Although it is thought that great beauties are all the more desirable when passive rather than active, Walker not realising Gardner's worth is true to the slapstick comedy tone. The idea of Gardner as a marble statue on display in the art gallery of a department store, brought to life by window dresser Walker's drunken kiss at midnight during a lightning storm, introduces the unrealistic romantic narrative, with songs that appear without the musical genre strictly being adhered to. If I am happy to not have I'm a Stranger Here Myself from the stage show, it's because I don't like the song anyway, and even when Speak Low is presented unsatisfactorily and that Gardner is dubbed whilst singing it, cannot detract from it being one of the loveliest melodies Kurt Weill ever composed. I like how it is used as a siren song, where Seiter intercuts between Gardner and Walker, and Dick Haymes and Olga San Juan, with Gardner and Haymes both singing to departed lovers in a duet. As the only one of the cast who appears able to sing, Haymes also gets the bulk of My Foolish Heart, even if given new lyrics and a generally unappealing romantic partner in San Juan. The other song to survive is That's Him, where Eve Arden gets to join in as Gardner is dressed. Arden talks most of her lyrics but still it's nice to see her in this context, in addition to the barbs she delivers as comic relief otherwise, thanks to the screenplay by Frank Tashlin and Harry Kurnitz. I also liked Walker's line re San Juan "She's so terribly one track minded. Even when we have dinner together she eats rice", and there is a lowbrow moment when James Flavin as a detective is turned into a human owl by Gardner. If the others running around tend to become tiresome, there is still Gardner, looking ravishing in black late in the proceedings, and given a gorgeous closeup. And Seiter adds a sweet conclusion.

Want One Touch of Venus (1948) Discount?

ONE TOUCH OF VENUS is a musical comedy/fantasy about a window dresser named Eddie who kisses a statue of the goddess that then comes to life in the exquisite form of Ava Gardner. Venus falls in love with him; matters are further complicated when Eddie's boss is smitten by her loveliness.

The 1951 version of SHOW BOAT is another stage-to-screen musical that features Miss Gardner.

Parenthetical number prior to title is a 1 to 10 viewer poll rating found at a film research website.

(6.5) One Touch of Venus (1948) Robert Walker/Ava Gardner/Dick Haymes/Eve Arden/Olga San Juan/Tom Conway (uncredited: Arthur O'Connell)

"ONE TOUCH" TRIVIA--

Mary Martin was Venus on Broadway. Elia Kazan directed this S.J. Perelman play.

Mary Pickford bought the screen rights, intending to bring the original cast to the screen. Later plans included Miss Martin, Frank Sinatra, Clifton Webb and Bert Lahr, but when Mary became pregnant, Pickford sold the rights to UNIVERSAL and the movie was entirely recast. Plans to shoot in Technicolor were also abandoned.

The Venus statue of Ava Gardner originally depicted her in the nude; the studio demanded (and got) a more modest version.

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Air America (1990)

This is a movie about air delivery: airdrop by parachutes, and amazing short field landings by STOL aircraft like the amazing Pilatus TurboPorter and the larger C-123. If you like Airborne things, this movie is for you, its funny and upbeat compared to your typical Vietnam movie and in a way does greater honor to the courage of the pilots who lived on the edge while flying these hairy missions. The TurboPorter landing on the side of the mountain makes the whole movie worthwhile...add to it '60s music and sexy Nancy Travis, what more do you want?

I find this movie far more interesting than the Lethal Weapon series, so it soars in my book as one of Mel Gibson's best movies.

Air America was the United States "airforce" stationed in Laos

during the Vietnam war aiding our allies (amongst other things)

Mel Gibson plays veteran air american Gene Ryback and Robert Downey plays Billy Covington the FNG to the outfit.(He ends up being recruited in the states by a fast talking agent of the CIA after he (Downey) is grounded for being an...in the air.

The Film explores the adventures and antics..or hi-jinks as the pencil necked air america geek notes of t he pilots. Which includes drunken whorehouse parties, target practice with silencers on a miniature golf course and my favorite, gun running and landing an aircraft on a mountain.

A serio-comic movie it delivers the goods and was is enjoyable to watch

Thumbs up^

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I saw this film in the theater when it was released and feel the same way about it now as I did then. The characters are all unique and it's a different look at the Vietnam war. Some of the music from the soundtrack may sound a little off. I don't know if it was a licensing problem but some of the tunes are not the originals. Not a big deal though for what is a good flick

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Another Great Movie by Mario Kassar & Andrew Vajna , I saw Air America when first released on Video & again on DVD with a good picture & sound and now even better on Blu Ray with a clearer picture & sound a well recorded Blu Ray with good acting especially by Mel Gibson & Robert Downey jr with action adventure and sence of humor .... Recommended .

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This movie was pretty good. Seemed short and like the story line movied fast, but deff worth watching!

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Mere Brother Ki Dulhan (2011)

This is not the first time that this story has been unfolded on the silver screen. In fact, the producers did not want any of the viewers to assume that it was indeed some ground breaking plot that they had thought of, which is why they actually announced the plot through the very title of the movie.

So if it is NOT a new idea then what is good about it? First, the presence of Katrina and Imran adds such dignity and charm of eras gone by as makes the viewer part of the goings on. Katrina is not only a goddess in the looks department but also her spontaneity with comedy and her ability to emote make her a true deserver of the global success and adulation she enjoys. Imran Khan is evolving a certain style of acting which not many leading actors have had underplaying and underacting. On celluloid, underacting is a very powerful style of acting as was proved for decades by Dilip Kumar. I also like the boy's "sharifness" and wish that he becomes the role model for today's rambunctious and arrogant youth and helps mellow them down. The movie is charming and entertaining and the pace never slackens. The music is not great but a few numbers are surely foot tapping. Had at least one song been a maga chartbuster this movie would have raked in a lot more mullah for its producers. Ali Zafar with a Punjabi lilt to his diction is a natural comedian. He has in some scenes expressions which are typical of a stand-up comedian who has broken into movies (I do not know if he ever was a stand up comedian) but that is not necessarily (at least for me) a bad thing. The three of them, it is clear from the way they look and act on screen, must have had a ball while shooting for the movie, which is what the audiences always sense and admire. It is a charming movie about normal people of our generation who have fun filled and happy lives.

This movie will remind you of "While You Were Sleeping." The brother isn't in a coma but the younger brother falling for his older brother's "girl" is the same. This brother also is too interested in another woman and thinks very highly of himself. The younger brother keeps praising the older as in "While You Were Sleeping." The marriage preparations get farther along in the movie, but all turns out well in the end.

There are a few references to other Bollywood figures (SRK) and movies. However this would be a good intro to Bollywood movies. It's age appropriate for teens and up. Dimple, the female lead, gives sleeping pills, a lot of them, to one character. That might be hard to explain to younger children. Also there's some drinking, including a binge fest. There's also minor smoking.

If you liked "While You Were Sleeping" check this movie out.

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Those of you who love the filmi dialogues and acting that a good Bollywood flick provide will enjoy this film. Imran shines as the chocolate hero Khush to the free-spirited and loveable Katrina Dimple. While the premise of boy meets girl while searching for a bride for his brother and then falls in love with her is formulaic, the film is anything but. Sure there is some of the typical Bollywood twists and turns, but the film continually surprises by throwing a creative solution to a problem. The music numbers are catchy and fun, and the cinematography is fresh. You won't be disappointed!

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I like this movie a lot. I am a fan of Imran Khan. The songs are very good. It is a very well made romantic comedy.

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One of the first few bollywood movies I've watched. I first saw it on netflix, I thought the story was funny, it really entertained me and I ended up really liking it, even the song and dance numbers. So I brought the movie on Amazon like a month later. Now it's one of my favorite comedy films. Only thing I didn't like was It's a little long for this type of story, other than that, I've already recommended and watched with a few friends, that also liked it.

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Sunflower: Sophia Loren Award Collection (1970)

Vittorio De Sica's Sunflower is one of those nice ideas for a love story that doesn't really pay off. Sophia Loren is the devoted wife who refuses to believe missing husband Marcello Mastroianni is dead on the Russian front after the end of the Second World War and determines to find him. Unfortunately the stars never really convince, playing almost parodic working class characters who are more mildly irritating than engaging with his exaggerated nasal accent and her bad wig they just remind you of one of those couples who you end up constantly sharing a dinner table with on holiday despite all your best efforts not to. It's a slave to clichés not one, but THREE railway station separations! but despite the sizeable budget often feels too rushed and half-baked to allow many of them to work even as a production line tearjerker. There's even some surprisingly poor camerawork at times in the Italian scenes that makes you wonder if anybody was that bothered about the final result. A few moments stand out, like the cabin packed with soldiers sleeping on their feet in the Russian winter or a field of sunflowers that are the only marker for the graves of unknown soldiers and peasants, and the last half hour is fairly effective, but it doesn't add up to much.

This is another title that has had a troubled history on DVD, from a decent transfer as part of Lionsgate's Sophia Loren 4-Film Collection (Neapolitan Carousel / Attila / Madame Sans-Gene / Sunflower) to a dire public domain release from Jef Films. Kino Lorber's US DVD and region-free Blu-ray release is certainly the best of the bunch, with a good widescreen transfer in the original Italian with English subtitles, stills gallery and Italian trailer. That edition is also available as part of the Sophia Loren: Award Collection [Blu-ray] (Yesterday, Today & Tomorrow / Marriage Italian Style / Sunflower / Vittorio D / Boccaccio '70) with Boccaccio '70, Yesterday, Today and Tomorrow, Marriage Italian Style and feature-length documentary Vittorio D.

[SUNFLOWER (1970) Directed by Vittorio De Sica Widescreen Italian w/ English subtitles 107 min.] During WWII, a new army recruit, Antonio (Mastroianni) and his lover, Giovanna (Loren) wed and enjoy the marriage furlough awarded him before he's shipped off to the Russian front, never to be seen or heard from again. After the war is declared over, and fraught with despair upon hearing that he was last seen on a frozen battlefield attempting to return against impossible odds, Giovanna promises Antonio's mother that she will set out on an odyssey search for him, and won't return without knowledge of his fate. It's critical to them both to know, despite the outcome. Their mourning may never cease, but they may take dark comfort in closure.

She searches and searches, showing his picture to scores of women who don't even understand her language, in relentless pursuit of a possible lead to his whereabouts, even after being led to a site of unmarked graves acknowledged solely by wooden crosses that stretch out forever. She eventually discovers he's alive and where he is currently dwelling, but their reunion is anything but blissful. Why didn't he return to her after the war? Who is this person he currently resides with? Why wasn't there even a letter sent? Did he no longer love Giovanna, his family, friends and homeland? The answers to these questions aren't easy to comprehend.

As always, the pairing of Marcello and Sophia on screen insures a cinematic event not to be missed by lovers of world cinema, and adding the brilliant directorial skills of De Sica is more than just icing on this multi-tiered cake, it makes for mandatory viewing. At the time of its release, its lack of a Hollywood (read: cop-out) ending insured it dismal box-office receipts and lukewarm reviews due to it going against the grain of what was then the contemporary film trend America was (for the first time) seriously anti-war thanks to Vietnam, and almost all portrayals of WWII were of the 'MASH', 'Kelly's Heroes' or 'Catch 22' variety, unless we're speaking of 'Patton'. But this film seriously demands careful reconsideration now, as it showcases a heart-wrenching performance by Sophia Loren, the always understated brilliance of Marcello Mastroianni, and the keen, mindful eye and expertise of Vittorio De Sica.

A great, gripping drama that doesn't dwell too long in its melodrama, and a bittersweet ending that's thought-provoking long after the end credits roll, 'Sunflower' is a film about life, war, marriage, love and loss, even if there's a twinge of belladonna in the air. Highly recommended.

The Lorber Films blu-ray release offers a stunning print with exceptional colors and great audio quality, and there is a stills gallery and trailers for a few other Loren/Mastroianni must-see films.

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Beautiful movie..i love sophia loren! Living legend..very sexy and elegant. I wish i were more like her! Ahaha well sbout the dvd, i was happy to watch this beautiful movie in my blueray :] came just in time!

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I am so HAPPY WHEN I GOT THE BLURAY! I have been looking for this movie to many years.

LOVE IT!

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When Amazon.com a couple of years or more ago released the normal nstc version of Sunflower, I immediately Bought it, but when I tried to watch it, there was nothing to watch except grey grains. I'm still expecting Amazon to conpenate me. I hope that when Amazon.co.uk release a decent copy of Sunflower, they will send me a Blu-Ray copy free of charge.

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Lady Cop and Papa Crook (2011)

Two of Hong Kong's most popular talent and pop stars Sammi Cheng and Eason Chan. For Eason Chan, he is still in the main forefront of cinema and music while Sammi Cheng had been on hiatus and taking a break from the entertainment industry.

"Lady Cop & Papa Crook" is Sammi's return to cinema since her 2005 film "Everlasting Regret" and brings back the romantic comedy side of Cheng and the serious side of Eason Chan films. Fortunately, the film has two talented directors and writers involved with Alan Mak (writer of the "Infernal Affairs" films, director for "A War Named Desire", "Final Romance", "Rave Fever") and Felix Chong (writer for "Infernal Affairs" films, "Tokyo Raiders", "Initial D").

The writing duo wanted to create a film that would feature the cops and gangsters having to work together to solve a case and being stuck in one place.

"Lady Cop & Papa Crook" revolves around a illegal diesel kingpin named John Fok (played by Eason Chan). One day as Hong Kong and mainland Chinese were trying to arrest one of his men, the police chase ends tragically as an innocent mother and her son were killed in an accident. Despite being an underground kingpin, John cares for his family including his pregnant wife and his young six-year-old named Jimmy.

Meanwhile, Senior Inspector Maureen Szeto (played by Sammi Cheng) is known for solving cases and busting criminals. Her personal life is not as great as she has been dating a sculptor for a decade and their relationship has not really progressed. In fact, she hasn't had sex for a long time and she has been waiting for marriage and literally losing her patience.

Both John Fok and Maureen Szeto's path would cross when Fok's son is kidnapped. The kidnappers want $80 million dollars while his family members full of members of the Triad or his own organization want to find Jimmy on their own but Szeto who is assigned to the case, reminds Fok that most kidnappings are done by family members and people they know. Chances are that one of the people in his family have some involvement and that the police are known to solve these cases.

Fearing that his child may be killed, John Fok decides to have this uneasy alliance between his family members along with the Szeto and the Hong Kong police. Tempers clash and even the mainland Chinese police force are not too thrilled that Szeto and the HK police are aiding a criminal organization in their case. Will Senior Inspector Maureen Szeto find the young boy in time?

VIDEO:

"Lady Cop & Papa Crook" looks gorgeous on Blu-ray. Cinematography by Yuen Man Fung showcases an artistic side as he uses colors to great effect. Each scene, you can expect blues, reds and sometime a filter utilizing grays with color bursting out. Definitely an HK film that utilizes HD quite effectively.

Blacks are nice and deep, I didn't notice any edge enhancement or major compression artifacts.

AUDIO & SUBTITLES:

"Lady Cop & Papa Crook" comes with a crystal clear lossless Dolby TrueHD 7.1 Cantonese soundtrack and also a Dolby Digital 5.1 Cantonese and Mandarin soundtrack. During the action sequences, you can expect to hear an immersive soundtrack with glass break, vehicles crashing, explosions, etc. Surround channels are used quite effectively throughout the film, especially during the musical sequences. Front channel and center channel feature the dialogue and music and for the most part, dialogue is clear and understandable.

Subtitles are in English and for the most part, English subtitles are well-done with maybe two instances where the subtitles translates "$80 million" to "$80 millions" but having had watched a fair share of Asian cinema with bad subtitling, the subtitles for this film are good and easily readable.

SPECIAL FEATURES:

"Lady Cop & Papa Crook" comes with the following special features (note: There following special feature are only in Chinese, no English subtitles):

* Making of Featurette 1

* Making of Featurette 2

* Making of Featurette 3

* Trailer

JUDGMENT CALL:

For those of you who are familiar with HK films, Sammi Cheng has always been an actress known for romantic comedies. If anything, one would wonder since her breakout with films such as "Feel 100%" and "Needing You" if we would see a Julia Roberts style of transition. The ability for her to take on a main lead role outside of her comfort zone and shine.

With "Lady Cop and Papa Crook", Sammi Cheng plays a police officer and you wonder, could this film be her breakout serious role? But with this film directed by Alan Mak and Felix Chong, the film tries to incorporate Eason Chan and his scenes being more towards the serious side when showing him working in the Triad and then you get Sammi Cheng who plays the comedic cop but yet worrying about if her boyfriend will marry her?

In other words, you still get the romantic comedy Sammi Cheng during her scenes and then you get the serious Triad film with Eason Chan's scenes. The film is enjoyable but among Sammi's films, this is not her best but it's her best looking film courtesy of it being on Blu-ray.

For the Blu-ray release, included is the director's cut which has about seven more minutes and the original theatrical cut. The director's cut has a more fleshed out extended alternate ending that I prefer.

As for audio, definitely really good use with the Dolby TrueHD 7.1 track. From the action scenes to the music, surround channels were used and even a little LFE.

But I do have one bone to pick with this release with Tai Seng Entertainment. Why did they forget to include the English subtitles with the special features. You have three special features included and although the subtitle option is there, they don't work. Sure, this is no different from me having to import the releases since the HK releases tend to only focus on the main film but I figured with Tai Seng and distributing it to the US, they would at least include the English subtitles on the special features and makes me wonder if other Tai Seng Entertainment releases are like that.

But overall, "Lady Cop and Papa Crook" is a fun and entertaining film. And if you can find a good deal on this Blu-ray release and are an HK or Asian cinema fan, it's definitely worth checking out.

I have come to expect Hong Kong films to be saturated with action, bullets, and general mayhem. If you're looking for that, this isn't the film for you. A gang leader has his son kidnapped, and proceeds to his normal modus operandi of sending his men looking for the kid. But then in come the police, led by a slightly flaky female detective, and our gangster is reduced to sitting around worrying about things, but unable to do anything about them. There are a (very) few fights and we spend most of our time locked up in the gangster's mansion watching a police procedural. It's not an awful film, but it's not very entertaining, either.

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The Legend of Drunken Master (1994)

In 1978, Jackie Chan's "Drunken Master" (or Jui Kuen) was an exciting film that is considered a classic and help popularize the drunken boxing style of martial arts which has been copied on various video games and other films. Over 16 years later, Chan returned for "Drunken Master II" (Jui Kuen II) which was not a direct sequel but followed the character with the same name, Wong Fei Hung.

For those not familiar with the name Wong Fei-hung (or Hong), the real man lived from 1847 through 1924 and was a master of the no-shadow kick, drunken boxing, the lion dance and Hung fist. The character has been explored in a number of films which include the Jet Li "Once Upon a Time in China" films and for Jackie Chan in the "Drunken Master" films

The film revolves around a man named Wong Fei Hung who travels with his father (a doctor) and a student named Tsao via train after obtaining more medicine to bring back home. But because they must pay duty fees for the items they bring with them, Wong would rather not pay for them (despite his father telling him to) and hides his items through one of the non-Chinese travelers luggage, hoping to retrieve it later on the train (the non-Chinese and the rich Chinese are separated in a luxury style train cabin away from the Chinese travelers who happen to be packed in like sardines.

But as Wong Fei Hung goes to retrieve the item, he discovers another man trying to take the item out of the luggage. We then see that the item the man takes, looks exactly like the item that Wong had. A fight ensues and the older man who is a Chinese loyalist named General Fu (Liu Chia-liang) manages to easily dodge and defend all of Wong's attacks and even calls Wong a traitor (which he has no idea why he is being called that).

Eventually, after the chaos ensues, Wong is able to retrieve the item but it appears that the old man accidentally took Wong's item (a ginseng root) and Wong took the item that the old man was trying to get, which appears to be an old Chinese ancient artifact and now the foreign traveler who own the luggage along with Chinese military are searching the whole train for it. Fortunately, a Counter Intelligence Officer (played by Andy Lau) manages to save Wong from being caught.

We learn that the artifact is part of Chinese traditional artifacts being taken by the British Consul and Chinese gangsters out of the country and now they are after Wong and want the artifact back.

Meanwhile, back at home, we get to see how Wong's stepmother (played by Anita Mui) tends to bail her stepsons from trouble but when those looking for the artifact steal from his mother's friend and even hit his mother in the face, Wong must used the forbidden fight of Drunken Boxing and also drinking alcohol which helps boost his attacks. But when he break his promise to his father, he learns a lesson by being beaten by his father and thrown out to the street when intoxicated, the Chinese gangsters beat him up to send a message that the want the artifact.

Will Wong be able to protect his family, his friends and even his land from the enemies without breaking his father's ultimatum of never to fight or get drunk again?

VIDEO & AUDIO:

"The Legend of the Drunken Master" is one of those releases that one will either love or really hate. First, let's discuss the picture quality. Picture quality is probably the best that this film has ever been seen. The High Definition 1080p (2:35:1) definitely brings out the film with much clarity but by no means is it perfect. You will see occasional dirt and scratches and there are some scenes where either there was change in camera lens but sometimes the film is not consistent at times. With that being said, fans of the film will definitely enjoy learning of how good the picture quality is and because the first version of this film that I owned was a VHS and then an uncut HK VCD, it's great to see the film with so much detail. But for those expecting the best from Blu-ray, you may not exactly be pleased but it is an upgrade from the original DVD release.

As for the audio quality, this is where things begin to look murky and it all depends on the viewer. Audio is provided in English 5.1 DTS-HD (48kHZ/24-bit) and French 5.1 Dolby Digital and Spanish 2.0 Dolby Digital. For the most part, lossless audio definitely shows major improvement during the action sequences and utilizes the surround channels. Meanwhile, the English voice dubbing can be understood but Jackie Chan's English voice over is sometimes hard to understand. But the biggest surprise is that there is no Cantonese/Mandarin audio track. So, for those who prefer to watch Asian films in their natural language will be upset to know that it was not included.

Second, it's important to let people know that this is the edited version of the film done back in 2000. The music was changed, the special effects were changed and the original ending had a significant scene cut out.

With that being said, for those who don't mind the English dub, were familiar with the 2000 DVD release and don't mind that the film was edited for the US, will definitely find the picture and audio quality to be much, much better than the original DVD release. The picture quality is shows quite a bit of detail and despite the film being made in 1994, there is no sign of excessive DNR (digital noise reduction), the film looks way better than it ever has. The audio is also much better than the previous DVD and there is a good use of the surround channels. But if you want the original Chinese audio, unfortunately, you will not find it on this release.

Subtitles are presented in English SDH, French and Spanish.

SPECIAL FEATURES:

"The Legend of Drunken Master" comes with the following special feature:

* Behind the Master: An Interview with Jackie Chan (6:35) Jackie Chan talks about how he always wanted the film to come out in the US and talks about the stunt choreography of the film.

JUDGMENT CALL:

"The Legend of Drunken Master" is absolutely vintage Jackie Chan at his very best. Jackie Chan is literally amazing to watch as the Smooth, fluid choreography is just outstanding and absolutely wonderful to watch in High Definition. But those battle sequences are just amazing to watch and the fight scenes, especially earlier in the film with Chinese loyalist General Fu (Liu Chia-liang) was just incredible.

Also, impressive was to see the latest Anita Mui (who was the equivalent to music artist Madonna in Hong Kong) and both she and Jackie Chan had awesome chemistry onscreen, even in this film despite Chan being much older than Anita, but everything seems to work quite well. As for Andy Lau's appearance, it was quite a short role. And for Shaw Brothers fans, you can catch the veteran Ti Lung playing Wong Kei-ying.

Again, I want to make it clear that this film has its best looking transfer to date on Blu-ray. Picture quality is very good but not great. But what it all comes down to is the viewer and what they want are expecting from this film.

For those wanting the 2000 English dubbed dialogue, you're going to get an awesome lossless track on Blu-ray as the film's lossless audio is utilizing the front, center and surround channels quite well during the action scenes.

But for those who have been waiting for the uncut release, let alone a release that would include the Cantonese or Mandarin audio, you're not going to get it on this Blu-ray release. And this is a major blow for those who have been hoping that with a Blu-ray release, they would be getting the version they have waited so long for. Even watching the final scene, a viewer is left wondering why it ends quite suddenly with no appearance from Jackie Chan but the truth is that Dimension cut that scene out (the original ending with Jackie Chan is a bit shocking but I'm not going to spoil it for you) because it was deemed in appropriate.

So, needless to say...it's going to be a love or hate release among fans. As a fan of the film, one can either wait and hope that an import uncut release of the film makes it to Blu-ray. Or perhaps maybe purchasing this latest release with the better picture quality, better lossless audio but for the most part only in English, French and Spanish (no Chinese audio dialogue) along with the revisions made back in 2000.

Personally, I want an uncut version with its original Chinese language (ala lossless audio) included and unfortunately, I didn't get it with this release. Otherwise, for those who don't mind the revisions or the English dub, this Blu-ray release of "The Legend of the Drunken Master" is the definitive version to own for now.

I know some of you will disagree and say that Bruce Lee's "Enter the Dragon", or Jet Li's "Fist of Legend" was the best ever made but I would have to disagree. While Bruce Lee was the best Martial Artist ever, his movies were average in regards to their fight choreography.No one could ever touch him in his films. The fight choreography in "Drunken Master 2" was incredible. It was realistic because there were almost no wire stunts involved and the fight scenes were fantastic. The fight scene with Jackie and Liu Chia Liang (Lau Kar Leung) in the beginning was pure poetry in motion. The final fight scene was fifteen minutes of pure adrenaline pumping action. Unique choreography makes this movie a classic. Unlike Jet Li's characterization of Wong Fei Hung, Jackie makes Fei Hung seem more human and vulnerable. Nobody could ever touch Jet Li in the "Once Upon a Time in China" series. Plus some of the moves just look so ridiculously fake. "Fist of Legend" is Jet's best movie because it isn't as fake and he actually has to fight hard to win. However, it is still only the second best film ever made. Not to criticize any other reviewer, but since when does the ability to do 540's and 720's and Butterfly kicks make a martial art film great? I have been involved in Martial Arts for over a 20 years and would love for someone to try to fight me using those kicks. While they look fancy in forms competition, they mean nothing in a real tournment fight and even less in a real street fight. This film is without a doubt the best Jackie Chan film ever and the best ever made. (At least until Jackie and Jet team up to do a film as has been rumored)

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Where to begin... It's difficult to put into words the disappointment I felt after watching the first few minutes of this US release of Drunken Master 2 (The Legend of Drunken Master).

Having seen the original movie on the big screen (and also being the proud owner of a VHS copy), I was looking forward to this release on DVD. Unfortunately, I feel this US release destroys what must be one of Jackie Chan's top 5 movies.

The translated dialogue is terrible. Not just the translations, but the voice actors they recruited sound like Chinese actors speaking bad English. If this was a real US release of the movie for US consumption, why not make the dialogue intelligible? As someone who speaks both Cantonese and English, I found the dialogue difficult to follow and just blatantly wrong. They rob the subtle (and sometimes not so subtle) comedy which runs through the entire movie. If they couldn't get good script writers to translate it properly, at least they could have used people who spoke with an American accent. I would almost go as far to be insulted by the chop-soky English used in this release.

The soundtrack is also noticably absent. By robbing the fight scenes of their original score, they remove the excitement and drama from the entire movie. You may not always appreciate how much a soundtrack does for a movie, but this US release truly underscores this point.

Believe me, I wanted to like this movie. I was just so disappointed with what they had done to this movie.

I hope you do not buy this DVD. You should look for either the Hong Kong release of the VHS, Laserdisc, or DVD.

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This is completely ridiculous... I have been waiting TEN YEARS for a domestic release with the original cantonese and when they rerelease this CLASSIC they release the same horrid DUB. Why even bother to release this?

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This film has several formats. The VHS version from 1994 is the one you want to see! It is the perfect movie! It's also Jackie's perfect movie! This is a sequel, with 20 years between but Chan manages to look and act much younger. It is not difficult to accept him as being "young Wong Fei hung". The only connection between the two films is Jackie and drunken boxing. Ti Lung is his father and Anita Mui is "Mom" (actually Fei Hung's mother is dead). Anita darn near steals the show! This is a fantastic film! It is a period film, with unscrupulous people stealing as many Chinese treasures a possible. Chan accidentally gets involved in helping to stop the thefts and ends up taking on some major bad guys including Ken Lo in a steel factory. In my opinion the extended fight sequence is the absolute best, with

"Wheels On Meals" fight with Benny coming in a close second.

The final fight has Jackie battling a number of people before he squares off with Ken Lo. (Lo is a major talent in the kickboxing world and stands out as one of the best.) Jackie had some differences of opinion with the director and the final fight is designed by Jackie and it shows! It is powerful yet graceful..furious but with purpose. It is beyond excellent!

This film has something for everyone. In addition to Jackie's excellent fighting there are plenty of laughs, and more intricate plot than with many of his movies. There is a scene with Ti Lung and Chan that is poignant and feels very real. But it is the fight scene in the steel factory that will have you rewinding a dozen times. I have two MAJOR criticisms of the US release,primarily Disney's decision to throw out the the soundtrack and musical score! The music from the original is perfect and part of the whole feel of the film. There never was a valid explanation from Disney as to why they dumped the original score. Jackie dubbed his voice for Fei hung, but the dialogue is not the same! Some might be attributed to the difficulty in translation but in some scenes the dialouge has been radically changed. Disney also cut out the very end of the movie as they felt it was offensive. But that leads to an abrupt end to the film. I have no problem with cutting that scene though and it does not change the film.

One of my all time favorite movies! This one should not be missed!

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Committed (2000)

Some people drift through life, moving from one thing or one person to the next without batting an eye; others latch on to a cause, another person or a principle and remain adamant, committed to whatever it is-and figuratively or literally they give their word and stand by it. But we�re all different, �Made of different clay,� as one of the characters in this film puts it, which is what makes life so interesting. Some people are just plain crazy, though-and maybe that�s the way you have to be to live among the masses. Who knows? Who knows what it takes to make things-life-work? Writer/director Lisa Krueger takes a shot at it, using a light approach to examine that thin line between being committed-and how one �gets� committed-and obsession, in �Committed,� starring Heather Graham as a young woman who is adamant, committed, obsessive and maybe just a little bit crazy, too. Her name is Joline, and this is her story.

Admittedly, Joline has always been a committed person; in work, relationships, in life in general. She�s a woman of her word who sticks by it no matter what. And when she marries Carl (Luke Wilson), it�s forever. The only problem is, someone forgot to tell Carl-and 597 days into the marriage, he�s gone; off to �find� himself and figure it all out. When Joline realizes he�s not coming back, she refuses to give up on him, or their marriage. Maybe it�s because of that �clay� she�s made of. Regardless, she leaves their home in New York City and sets off to find him, which she does-in El Paso, Texas, of all places. But once she knows where he is, she keeps her distance, giving him his �space� and not even letting him know she�s there. She considers Carl as being in a �spiritual coma,� and it�s her job to keep a �spiritual vigil� over him until he comes to his senses. And while she watches and waits, her life is anything but dull, as she encounters a young woman named Carmen (Patricia Velazquez), a waitress at one of the local eateries; Carmen�s �Grampy,� (Alfonso Arau), who is something of a mystic; T-Bo (Mark Ruffalo), a truck driver who has issues concerning Carl; and Neil (Goran Visnjic) an artist who makes pinatas and takes a fancy to her. For Joline, it�s a journey of discovery, during which she learns a lot about Carl, but even more about herself.

There�s a touch of humor, a touch of romance, and some insights into human nature in this quirky film that is more about characterization and character than plot. And Krueger presents it all extremely well, delivering a film that is engaging and entertaining. Her characters are very real people, with all the wants, needs and imperfections that make up the human condition; a rich and eclectic bunch through which she tells her story. We see it from Joline�s point-of-view, as Krueger makes us privy to Joline�s thoughts and therefore her motivations, which puts a decided perspective on the events as they unfold. That, along with the deliberate pace she sets that allows you to soak up the atmosphere and the ambiance she creates, makes for a very effective piece of storytelling. There�s an underlying seriousness to this subject matter, but Krueger chooses to avoid anything heavy-handed or too deep and concentrates instead on the natural humor that evolves from the people and situations that Joline encounters. And the result is a well textured, affecting and upbeat look at that thing we call life.

Heather Graham takes hold of this role from the first frame of the film to make Joline a character totally of her own creation. She immerses herself in the part and gives a performance that is convincing and believable, adding the little personal traits and nuance that makes all the difference between a portrayal that is a mere representation of a person, and one that is real. And for this film to work, it was imperative that Joline be viable and believable-and Graham succeeds on all fronts. Her screen presence has never been more alluring, and her vibrant personality or even just the way she uses her eyes, is enough to draw you in entirely. it�s all a part of the character she creates; there�s an appeal to Joline that exudes from her entire countenance, who she is inside and out. She�s a likable, agreeable person, and because you�ve shared her innermost thoughts, you know who she is. It�s a good job all the way around, beginning with the way the character was written, to the way Graham brings her so vibrantly to life.

As Carmen, Patricia Velazquez is totally engaging, as well. Her performance is very natural and straightforward, and she uses her instincts to effectively create her character. She has a charismatic presence, but is less than flamboyant, and it gives her an aspect that is attractively down-to-earth. She is refreshingly open and up-front; you get the impression that Carmen is not one to hold anything back, but is totally honest on all fronts, and that, too, is part of her appeal. And, as with Joline, this character is well written, and Velazquez brings her convincingly to life.

Overall, there is a number of notable performances that are the heart and soul of this film, including those of Luke Wilson, Casey Affleck (as Joline�s brother, Jay), Goran Visnjic, Alfonso Arau and especially Mark Ruffalo as T-Bo, who, with very little actual screen time, manages to create a memorable character.

The supporting cast includes Kim Dickens (Jenny), Clea Du Vall (Mimi), Summer Phoenix (Meg), Art Alexakis (New York Car Thief), Dylan Baker (Carl�s Editor), and Mary Kay Place (Psychiatrist). A film that says something about the value of stepping back to consider The Big Picture-reflecting upon who we are, where we�re going and what we really need-�Committed� is an enjoyable experience; a ride definitely worth taking.

It takes a certain type of person to enjoy this movie for what and who it tries to appreciate. For the extremely introspective, honor-obsessed, and non-conventional folk out there, this IS the comedy to watch. I was left falling in love with the main character sometimes reminding me of myself, or mostly of people I know and was also left with one dominate, repetitive thought: I'm not alone.

People usually associate the comedy genre with lightness, and fluffy, not-too-deep mania. (I'm guilty of it myself) It just catches you off-gaurd how deep this movie really is, and how much it reveals about the human mind and emotions. The "let down" the other reviewers speak of, is going in to see this movie, looking for the wrong things. Perhaps we've ALL forgotten that deep thoughts can be funny.

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Lisa Krueger's second feature has Heather Graham as Joline, New York club owner who is married to a struggling phographer Carl (Luke Wilson). But this film is not your usual work of romantic comedy, because it has plenty of eccentric characters. Joline is just one of them, and the strongest one, for she is a committed person to the bone. Very committed to her action and words, she lets a "band" play on the stage even if all the member except for the bass player quit the band and left for Japan.

But her belief is to be tested when her newly-wed husband left her without obvious reasons, afterwards sending only a postcard with a blurred postmark. But she has to believe what she has believed, so she decides to hit the road, goes to El Paso, and tries to find something she has been missing in her life.

The story is interesting, but you soon find that the film has little to offer except the heroine's engaging personality. However, the whole film is somehow sustained by Heather Graham's presense, which almost compensates for its meandering plot. Of course, this means that if you don't like her character, or just don't get it, you lose interest in the film, but for Heather Graham's fans, it is not a bad thing to watch this one for once.

Another merit of the film is the unique cast of the film, which includes Casey Affleck, Golan Visnjic, and Alfonso Arau as male players, but more amusing are females, the cameos of Clea Duvall, Summer Phoenix, Patricia Velasquez (one of the best players in the sequel of "The Mummy"), and Mary Kay Place, who was in the director's previous film "Manny & Lo." Whether or not they are used in the most suiable way remains a point to be dabated, but it certainly is good to see them showing up on the screen. And the photography of the film captures the beauty and climate of El Paso very well.

"Committed" is not a good film, but still has original concept and lovely Heather Graham, last of which would anyway justify my defending the film. For her fans, or those who are looking for something totally different.

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This movie hit me at just the right time. Normally I would have turned it off as the pace was a little too leisurely but the little spiritual messages it was giving me were so perfectly spot-on that I had to watch it all. The main character reminded me of myself going through a hard time, and how a spiritual experience can look like a psychotic episode from the outside. The acting was good, the characters understandable and the road trip was a lot of fun.

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I was lucky enough to catch this film on cable, and not just because I was supposed to be doing housework at the time. After seeing Jurassic Park III, Planet of the Apes (2001), and America's Sweethearts, I had come to believe there were no story tellers left in the film industry.

This film is all about story and nothing about special effects. Heather Graham is wonderful as Joline (spelling?) and pulls of the humor--which is of an ironic rather than slapstick variety--with charm and charisma.

The story is unpredictable and filled with unexpected and appreciated turns. This is a film with nuance, one that requires viewers to pay attention, and if you do, you are in for a real treat--a movie with a quality story that holds up from beginning to end.

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No Entry Bollywood Blu Ray With English Subtitles

NO ENTRY is a 2005 Bollywood sex farce and a very funny one. Several big name Bollywood stars work their magic as they breezily traipse thru a loopy plot rife with extra-marital affairs, suicidal misunderstandings, near wedding fiascos, and assumed and mistaken identities. The film delves into the doings of seven people, whose lives progressively become more zany and complicated as lie builds upon lie and calamity compounds calamity, often with hilarious results. To be fair, the blame for most of the wacky happenings mostly lie at the feet of the male characters.

Get a load of the plot: Kishan (Anil Kapoor) is a reserved newspaperman and a faithful husband who is burdened with a persistently suspicious wife, Kaajal (Lara Dutta). Kishen's opposite is Prem (Salman Khan), who is fun loving and likes to get some on the side, if you know what I mean. He has an adoring wife, Pooja (Esha Deol), who remains oblivious to his rampant womanizing. Prem, you see, is blessed with a talent for inspired prevarications and, so far, hasn't been caught out by Pooja. Kishan tries to set Prem on the straight and narrow path, but Prem won't have any of that. Instead, he aims to teach Kishan a lesson. Prem hires Bobby (Bipasha Basu), a sultry and enterprising bar dancer, to trap Kishan in a compromising position. Soon enough, Kishan finds himself caught in an ever escalating web of deceit as he even embroils his faithful photographer Sunny (Fardeen Khan) in his shenanigans. This particularly sucks for Sunny as he himself is about to be married to Sanjana (Celina Jaitley), a cute girl who detests lying.

This is a consistently funny movie. The scrapes that Kishan, Sunny, and, later on, Prem get themselves into had me rolling in my chair. Besides the main arc of infidelity, there's a grin-worthy subplot about Sanjana erroneously believing Sunny to be suicidal. At one point, she even inadvertently causes Sunny's neighbors to hold an impromptu intervention for his sake. The comic mayhem reaches its crescendo at the Mauritius resort, as the wacky escapades of the various mix-and-matched couples had my gut busting with choking laughter. Another reason I liked NO ENTRY is because, as it turns out, there really isn't a bad person in the film. Bobby, the notorious other woman, has a compelling reason for her actions. Even Prem kind of redeems himself.

The acting is very good. Those who are used to Anil Kapoor in his more serious roles will be pleasantly surprised at how well he comports himself in a farcical comedy. I caught myself chortling time and again at the unfamiliar sight of Kapoor beset by panic attacks. His cohort in panic, Fardeen Khan, is equally as funny. Bipasha Basu, as the catalyst of all the madness, takes full advantage of her vixen part by delivering a sexy yet amusing performance. Unlike Bipasha, however, Lara, Esha, and Celeina all play more of a straight (wo)man role, so their effect comedically is felt on a second hand level. But their presence is integral to the story and to the humor. For a bonafide hottie, Lara is convincing as the perennially jealous wife. Esha isn't on screen much, but she has an effective, poignant scene near the end. Even Salman Khan, who, sorry to say, I normally find annoying and smug, proves to be, well, less annoying here. He's still smug as hell, though.

What else is left? The music? Mostly forgettable, although I enjoyed "Dil Churake," the seduction song in Kashin's guest house. What I own is a 2-disc version of NO ENTRY. Disc one has an 11-minute-long "Making of" segment, an inconsequential NO ENTRY promo music launch, an interview with sexy Bipasha Basu, 12 minutes worth of deleted scenes (but with no sub-titles) which includes a confrontation between Bobby and the wives. Disc 2 has nothing to do with this movie but is something titled "Dhamaal Zone" and seems to be a compilation of selected song numbers from various Bollywood films.

So that's about it. This film was one of the biggest Bollywood hits of 2005 and rightfully so. If you've ever seen and enjoyed one of those classic screwball comedies from the '30s you know, where there's a zany misunderstanding every ten minutes then NO ENTRY's right up your preferences. In addition to the giggles, guys would have the bonus of ogling four very hot babes on screen. Girls, on the other hand, can drool over that buffed up Salman Khan guy. Or not.

Salman Khan in this movie was so awesome. This movie made me laugh till I cried. Anil Kapoor was unbelievably funny. All the crazy behaviour kept you wondering what would happen next.

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What stood out in this film, for me, was the music. The story was simple and a little tired, but still well acted and delivered. I'd recommend this movie to anyone who might be a fan of the genre.

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This movie became boring with its one-line series of jokes about men trying to cheat behind their wives backs and get away with it. While they mildly change their ways on the surface at the end, they really ha vent changed within.

I didn't find the 'humour' funny. From a female view the guys are cute but jerks with a one-dimensional attitude to women.

I found myself fast-forwarding through it hoping it may change but it never seemed to.

Any marks I give it are for cinematography, nice scenery and the actors who are solid enough themselves.

The buffed shirt-off displays of Salman Khan do nothing for me though they appeared to please him a lot!

Guys seem to like this more than females as it is men behaving badly and largely achieving their fantasies even though it takes a bit of work and some 'comedic' misunderstandings and cover-ups. Definitely not my style of humour.

The music and small amount of dancing didn't rescue it from mediocrity either.

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Hairspray (2007)

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

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

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

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

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

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

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

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

Single-Disc Edition:

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

* English Dolby Digital 5.1 EX Surround Sound

* English & Spanish subtitles

* Closed captions

Two-Disc "Shake and Shimmy" Edition:

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

* All new musical number, "I Can Wait"

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

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

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

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

* "Hairspray Extensions" featurette, giving viewers dance breakdowns

* Jump to a song with optional sing-along feature

* "The Roots of Hairspray" featurette

* Interactive menus

* Theatrical trailer

* 16×9 widescreen version of the film

* English 2.0 Stereo Surround

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

* English & Spanish subtitles

* Closed captions

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

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

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

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

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

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Hannah and Her Sisters (1986)

Woody Allen's "Hannah and Her Sisters" is the finest of the neurotic writer-director-actor's pictures. His prowess in weaving together complete characters and compelling storylines is as intricate as Altman, as artful as Renoir. Yes, those are "big movie terms," but are warranted in describing this bitersweet marvel.

Allen's command of the medium results in some terrific photographic shots, including the classic "camera-revolving-around-the-table" sequence featuring Hannah (Mia Farrow) and her sisters (Barbara Hershey and dynamite Oscar-winner Dianne Wiest), whose lives all seem to be going through very adult mid-life crises with their husbands, ex-husbands, boyfriends, and families. Michael Caine's work in this film also shines, and Allen himself is in his prime. The ensemble cast in this film creates an atmosphere that has you really believing you're watching friends and family, and not simply actors acting, reciting lines, a problem even the better "ensemble films" often face.

All of the elements in this picture --cinematography, classic jazz tunes, nearly-musical dialogue --are on ample display in a film rich with human warmth and big laughs. Although Allen's films are not for all tastes, this is a film that should very easily be enjoyed by nonfans and especially film students who can get a chance to see a virtuoso talent at the top of his form, not conforming by traditional storytelling and filmic norms.

Without a doubt, this is my most favorite of Allen's works. This film is an American classic, and it needs to be on the list of the 100 greatest American films. I, too, lament that it is no longer available--but thanks to the glorious Amazon.com, I was able, last month, to purchase this in an online auction. I now own this marvelous film whose themes range from love (what else? it's Woody Allen), to general despair and the search for God in an ostensibly godless and hostile universe, to infidelity (why not?), and infertility giving way to miraculous pregnancies (the last line of the film is, after all, uttered by Weis's character: "I'm pregnant" she tells a confused and then moved Allen); and, of course, there is that famous question students of Allen's must ask: "Do we have the right to think we deserve more or that we deserve to be happy?" I'll let the film answer that for you.

A brilliantly comedic performance is given by Diane Weist who plays Holly, the most boisterous and fame-driven of Hannah's sisters, and who fights so comically with Carrie Fisher's April over architect David played keenly by Allen fixture Sam Waterston (see Waterston and Weis in Allen's "September"; they're breathtaking together). Mia Farrow is adequate as Hannah--mother, stage actress, and Thanksgiving hostess--and Barbara Hershey leaves us cold as the much sought-after Lee. Bergman icon and Allen hero Max von Sydow gives an obvious performance as the angst-ridden artist in the 20th century (this was the 80s...) Allen also gives a brilliant but by now familiar comedic performance as hypochondriac and god-searcher Mickey Sacks. And Michael Cain is superb as Hannah's wandering husband, Eliot.

The film revolves liturgically around the seasons and around the most Protestant of holidays, Thanksgiving--the scenes were filmed in Farrow's real-life New York apartment (she talks about it in "What Falls Away," available from Amazon.com). Sophisticated jazz tunes fill the house from Hannah's father, played by Lloyd Nolan, and Farrow's real mother, Maureen O'Sullivan (remember her swim with Tarzan?) plays the reminiscent and libidinous mother--"just a boozy old flirt with a filthy mouth." These Thanksgiving scenes are designed splendidly--around the other seasons of the year--to show us each character's progression (or lack thereof).

The soundtrack (which I also own on tape, not CD, unfortunately) is what makes this film so splendid. Melodies swell up from the true American composers and musicians--Rodgers and Hart, Cole Porter, Count Basie. The film is haunted by two melodies serving as themes: "Isn't It Romantic?" and "Bewitched." These songs are woven seemlessly into scene after scene in moody and melancholy ways. This soundtrack is perfect for a rainy day.

If you ever find a copy of this film, snatch it up and treasure it forever!

Buy Hannah and Her Sisters (1986) Now

HANNAH AND HER SISTERS was recommended VERY, VERY highly by a fine arts teacher when it was first released in '86. He couldn't say enough good things about how wonderful the casting, the story and the humor made the movie a real treat. 15 years and at least a couple dozen viewings later, I couldn't agree more.

This movie is like comfort food. I have connected with the characters, Holly in particular (played wonderfully by Dianne Wiest, who won the Best Supporting Actress Oscar for this role)so many times that they are literally like old friends. The themes are common to everyday life and family, which doesn't make them a cliche, but more meaningful every time I watch.

There are moments in the film you can replay in your memory time and again: my favorite is the taxi scene when Holly is ruminating over her awful "date" with her friend April (another great performance by Carrie Fisher) and the architect, David.

I think this is one of the most well-cast films made by anyone, American or foreign directors included. Michael Caine, Mia Farrow, Barbara Hershey and Max von Sydow form a perfectly blended ensemble.

The DVD transfer is of average quality. The picture is crisp enough, but it doesn't look enhanced in the DVD format. It would be nice if the studio had included more than a skimpy essay on the film's production that is included as a two-page liner/note on the inside cover.

HANNAH AND HER SISTERS will make a great holiday gift for everyone, friends and family included this season!

Read Best Reviews of Hannah and Her Sisters (1986) Here

There is a scene near the end of this film where Hannah (Mia Farrow) and her sisters Holly (Dianne Wiest) n"Lee(Barbara Hershey) meet over lunch and the camera slowly circles them as they engage in a heated emotionally charged conversation that is one of the most poignant moments I have ever seen on a screen. All 3 of these actresses are just outstanding in this movie. Mia Farrow has some scenes where her emotions are so vivdly expressed in her words and her facial expression that it is in my opinion one of the finest performances ever.

The secondary story line features Woody Allen as Hannah's ex-husband who is completely neurotic and obsessed with iiness and death. However Allen is able to twist this to great comic effect. The story weaves back and forth between the emotional upheaval in the lives of Hannah, her husband(Michael Caine) and her sisters to Allen and his character's search for spiritual fullfillment. All of the characters are fully realized people , none perfect, and yet basically well meaning. (with the possible exception of Caine's character).

I believe this is one of Woody Allen's finest films and have viewed it repeatedly over the years. The only weakness is the ending which is a bit contrived but that is easily forgivable in a film that is entertaining, thought provoking and funny at the same time.

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I am a self-proclaimed Woody Allen fan but even for those of you who do not take to his exaggeratedly stammering, quivering, uber-NY personality ...this is a must see-movie. There is much lesser of the typical Woody you are used to -the neurotic vocal tics, the dry white whine -and a lot more of story in this movie than others I have seen of him. This is also NOT your archetypic semi-comic semi-profound study of contemporary relationships (e.g., Manhattan, Crimes & misdemeanors etc) in terms of stylistic treatment, which is quite refreshing.

I hesitate to regurgitate the script as other reviews have done so already, but I can bet you'll leave with several enduring scenes from the movie, including one where Micky (Woody's character) ends up in a movie house watching the Marx Brothers and realising the value of life, or the depiction of his hypochondria (a trait not uncommon among most urban city denizens, esp. New Yorkers). Other brilliant moments emerge when Mickey vows to convert to a religion that provides him the answers to life's big questions such as "what am I doing here?". So he wavers through a wide range of options from catholicism (much to the chagrin of Jewish parents and his interludes with his father are hilarious) to Hare Krishas dancing in parks and airports (which he decides to give up for fears of handing out flowers with a shaved head).

The acting all-round is superlative and as others would confirm this is one flick where you'll get to see a Michael Caine behind the cold British veneer that he is typically associated with otherwise. His promiscuity between two women is outstandingly potrayed.

Most people familiar with Woody Allen would still rate Annie Hall as the pinnacle of Woody, or Manhattan as his most iconoclastic, but this is a charming, funny, deep and entertaining film and a close second/third to Annie. Highly recommended.

(And contrary to some reviewers, I absolutely love the ending. Why should every story have a feel-goody ending?)

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