Hysteria (2012)

"Hysteria" (95 min.) brings the highly unlikely (but we are reminded at the beginning of the film that "This movie is based on true events. Really.") story of a young doctor Dr. Mortimer Granville (played by Hugh Dancy) in London, 1880, who is struggling but eventually finds a job with Dr. Robert Dalrymple (played brillantly by Jonathan Pryce) who is treating women for the so-called hysteria disease, really a catch-all for any and all things supposedly wrong with women in those days. The treatment is nothing else but to touch these women's private parts until they reach "paroxysmal convulsions" (wink, wink). The young doctor along with his buddy eventually come up with a mechanical device, which became the vibrator (still the number one sex toy in the world today, we are reminded at the end of the movie).

But the movie in fact is much more about Granville's romantic interplay with the 2 daughters of Dalrymple, Emily (played by Felicity Jones), who is "daddy's girl" and to whom Granville gets engaged, and Charlotte (played by Maggie Gyllenhaal), the "rebel" daughter who has set up a social center to help the poor. I don't want to give away much more from the plot, you'll just have to see for yourself how it all plays out.

Maggie Gyllenhall really shines in this movie. I couldn't help but think how much she reminded me of Diane Keaton in her late 70s performances (think Annie Hall). That aside, this movie is a pleasant romcom, nothing more, nothing less. And no, not an "important movie" about women's empowerment as some other reviews here (who obviously did not see the movie) are suggesting.

Yes, Hysteria really is about the invention of the vibrator in Victorian England. And in my opinion it is adorable. Not everyone's cup of tea I realize. If the subject matter makes you a little uncomfortable, then give this one a pass. I can certainly see that certain conservatives would not be amused by this premise.

If however you find it amusing that someone made a romantic comedy about...well...you know what... then you will have a lovely light evening with lots of laughs.

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When, some time ago, I'd heard that Maggie Gyllenhaal was making a movie about the invention of the vibrator, I was excited. I mean, I love Maggie and I love vibrators so what more could I ask for in the way of entertainment? But time went by and I heard nothing about it. I'd almost forgotten it completely when, checking out the new offerings on Amazon (because as I've told you repeatedly for months now, NETFLIX SUCKS), there it was! Yippee!

I had fresh coffee, a French toast bagel with honey walnut cream cheese and a movie about vibrators. A near-perfect Saturday morning.

Honestly, I expected the movie to be interesting, perhaps even enlightening in an indie film kinda way, considered that it apparently got so little press I wasn't even aware it had opened. But what i got was a delighful little movie that had me chuckling and laughing out loud. Considering the subject, it gives the term "a feel-good movie" a whole new meaning.

Even better, the basic facts of the movie are true.

In England of the 1890's -the height of Victorian prudery, where furniture was draped with heavy fabric to prevent the scandalous sight of carved table "legs" giving rise to lascivious thoughts -the average doctor killed more patients than he saved. Medicine was still medieval, and leeching was still being prescribed even for broken bones.

Mortimer Granville, a young doctor who eagerly embraces all the cutting-edge research of the day, finds himself discharged from one hospital after another for his strange new ideas about "germs" and hand washing. In desperation, he ends up at the door of Dr. Dalrymple, who is eager for help in his thriving and lucrative practice treating "female hysteria."

Hysteria, an affliction of the female nervous system thought to stem from a disorder of the uterus, was at the time the catch-all diagnosis for just about every female ailment, particularly melancholia, nervousness, frigidity, nymphomania and excitability. What we realize now, of course, was that these women were actually suffering -and often quite seriously -from the sheer frustration of the limited, tedious and repressed lives they were forced to live.

A well-bred young woman had no choice but to marry a man she barely knew, submit to his "carnal lusts" with no preparation or expectation of pleasure, run his household, bear his children and do it all while smiling, biting her tongue and wearing a corset. Who wouldn't be depressed, frustrated and, yes, hysterical?

In extreme cases, hysterectomies were performed to remove the "offending" organs. Which says a lot about the complete and utter bigoted ignorance of men in understanding and valuing women's lives and bodies.

It should be noted that only well-to-do women suffered from hysteria. Poor women were too busy simply trying to survive, and barely had access to medical treatment for life-threatening emergencies.

Dr. Dalrymple -superbly played by Jonathan Pryce -specializes in the treatment of hysteria through "medicinal massage" to "lessen the tensions in the womb." With complete sincerity, he explains to Granville (played by Hugh Dancy) that his patients experience "paroxysms" -not to be confused with sexual pleasure, which women are of course incapable of experiencing without masculine penetration.

Granville becomes the doctor's assistant, and is soon suffering intense carpel tunnel and muscle cramps from the prolonged daily "massage" of dozens of women. When idly playing with his friend's new invention -an electric duster -he notices the vibrations bring amazing relief to his near-crippled hand.

Which leads to a moment of spectacular genius for which I am eternally grateful.

There's a love story, too, but it dovetails nicely with the theme of the movie, which is about women taking control of their lives. Maggie plays Dr. Dalrymple's "other" daughter, a passionate suffragette and doer of good works in the poorest parts of London. She sparkles. I think this may be my favorite role for her.

So, let's give a hand (metaphorically speaking) to Dr. Mortimer Granville, the inventor of the vibrator! Perhaps we should all celebrate a "paroxysm" in his honor.

Seriously, check out this very funny and enjoyable movie. If it sounds "risqué" it's really not. There's no nudity, no bad language, and only one kiss in the whole movie. It was actually amazing that they could deal with the subject matter in such a Victorian way. One reviewer has expressed his disgust at watching an "old dried up woman" experiencing pleasure in a completely demure and ladylike way. You'd have to be a serious prude or a sexist, ageist grump to characterize the scene in such a dismissive way. Maybe the more conservative of you might not want to watch it with your parents or children, but my mom would laugh right along with me.

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A deliciously fun treatment based (loosely) on the true story of the invention of the personal vibrator.

Dr. Mortimer Granville, a young, inspiring doctor is fired from many jobs in London hospitals due to his firm belief in Germ Theory the idea that infections were caused by germs. Not being a popular theory at the time, he was terminated repeatedly by the "solid Victorian medical foundation" for believing in "quackery."

The only job he can find is with a private practice that prevalently deals with women in the grips of "Hysteria" a quaint, Victorian term for women that are in essence, sex-starved. The treatment? To manually stimulate women with hand massaging until orgasm, thereby relieving the tension and associated emotional stress that comes with the condition. Since this is definitely a temporary relief, obviously the young and attractive doctor soon finds himself overrun with current and new patients leading to the development of a unique form of handstrain! Most certainly, alternative forms of stimulation for women need to be found to keep up.

Heaped on top is his employer, who with two daughters is pushing his "proper" one toward our protagonist for marriage, while the wild, wooly socially unacceptable daughter is the one who actually attracts him.

A comedic, fun historical piece that romps through the bedroom without being dirty or crass and handles delicate subjects beautifully without being dull or "prim." Definitely not for the kiddies (simply for the subject matter instead of any particular scene/situation; I don't think there was one even partially nude scene) but enough fun for adults on a Friday night to snuggle with popcorn and wine to enjoy.

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HYSTERIA is a very light-weight and somewhat charming and humorous look at the development of the vibrator. Just to be clear right from the start, although the movie is Rate R, there is no nudity and very little sexuality. This movie barely rises to the level of titillating, much less erotic. And to be fair, it is not TRYING to do this.

Set in London in 1880, we're introduced to a very backwards medical society, where germs are still a "crazy theory." And most women's problems, whether true mental health issues or simply general dissatisfaction (sexual or otherwise) are chalked up to a diagnosis of Hysteria. We're introduced to a clinic, run by Jonathan Pryce, which is devoted to a cure for hysteria that involves the manual stimulation of women. The women who can afford this treatment are eagerly lining up for it...they are essentially paying to receive stimulation they are not receiving from their husbands. Remember, this is a time when the idea of a woman being aroused without direct input from their husbands is not believed. Women are subject to "hysteria" not sexual frustration.

Into this scene comes a charming young doctor (Hugh Dancy) whose good looks make the hysteria clinic even more popular. And Dancy is introduced to Pryce's two daughters: the seemingly proper and demur Felicity Jones and the rambunctious but charitable Maggie Gyllenhaal. Not surprisingly in the least, he courts Jones but is drawn to Gyllenhaal.

Poor Dr. Dancy begins to suffer from carpel tunnel with all the work he's doing with his wrist. But he happens to be close friends with Rupert Everett, a rich guy with time to tinker with inventions. The two men turn Everett's electric feather-duster into an electric stimulator. From this invention, more plot complexities develop, which I shall not spoil.

The movie's tone is that of light comedy, and the comedy is indeed light. There are very few laugh out loud moments...this is a movie that generates smiles. It is certainly harmless and good-natured. The introduction of this new invention and the subsequent developments are certainly amusing. On the other hand, we make no investment in the romance of the movie or even in the few moments of drama. There is no heft to this film, no lasting impact. It's a nice way to pass 99 minutes, and it's well designed, decorated and costumed.

None of the actors are at their best either, because no one is asked to really do anything significant. Dancy is generically charming and befuddled. Pryce pretty much plays the character he's always asked to. The two ladies are quite generic, because the script doesn't give them anything truly meaty to work with. Gyllenhaal has lots of energy, but it often feels unsupported by circumstance...such as the scene where we first meet her raving around her father's waiting room. She comes across like a crazy person with no propriety, rather than a passionate young lady with strong beliefs. Most amusing in this film is Everett, who gets far too little work these days. This role more or less reminded me of his existence, and he is so droll and funny that I yearn to see him in a meatier role again.

HYSTERIA is amusing and thus, warrants a most modest recommendation. But after writing this review, I will probably virtually forget all about it. Certainly, don't let the subject matter fool you into thinking you're about to see something daring...far from it. You couldn't ask for a more harmless movie about the invention of the vibrator.

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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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The Devil Wears Prada (2006)

My wife and I, huge fans of `America's Next Top Model' and `Project Runway', were very excited about seeing this film. Why it took us this long still baffles me, but as of Friday night we had the pleasure of seeing `The Devil Wears Prada' and let me just say that it was quite the pleasure. Now, most if not all the praise has been heaped on the shoulders of Meryl Streep, and while she was outstanding, this film is more than just a Meryl painted canvas. There are four brilliant performances in this film and they all are deserving of praise.

First is Anne Hathaway who plays Andrea Sachs, a young aspiring journalist who takes a job working as Miranda Priestly assistant at `Runway Magazine'. Anne Hathaway proves with her performance that she's all grown up. No, that's not to take away from her more adult roles in more adult films like `Havoc' and the masterpiece `Brokeback Mountain', but here Anne proves that she can do adult comedy, not falling back into her teen goofiness that made her famous in `The Princess Diaries' but keeping everything smart and mature. She has enough poise and grace to match wits with Miranda, and she does so elegantly.

Next up is Emily Blunt who plays Emily, Miranda's first assistant (there are two, Andrea being the second). Emily has worked her butt off to get to where she is, slaving for the unruly Priestly and it's all about to pay off with a trip alongside Miranda to Paris. The only thing standing in her way is Andrea, for if Andrea fails miserably then it reflects poorly on Emily. Emily Blunt turns out I think the best performance of the bunch for she has enough sass, enough attitude and enough wit to make her pop out from the screen and stand out no matter who is sharing the screen with her.

Stanley Tucci also does wonderfully here as Nigel, Miranda's second in command. He is there to make sure everything is perfect, and also help Andrea adjust. Stanley always has done great backup work, playing second hand man to just about everyone, but here he really makes his performance his own and owns it. He delivers some of the funniest lines in the film but he never feels like the `token gay guy'...he's needed in this film, not filler, and he commands his scenes and really stands out amidst the crowd.

And then, of course, we have Meryl Streep who plays the ruthless tyrant known as Miranda Priestly. What I was most impressed about was the way Meryl underplays every word, every emotion, every scene, which is not what I expected. I really expected her to go all Glen Close and reincarnate Cruella but she didn't (thankfully) and instead turned out one of the most inspired performances of the year. She must have had fun playing the snooty self absorbed and above all selfish editor-in-chief of `Runway'. She lets us see inside her character briefly (when crying over another failed marriage) but her character is more about shutting off feeling in order to succeed and so we don't get to see the real Miranda because we're not supposed to.

Carried by these four brilliant performances `The Devil Wears Prada' is a fabulous film that will make you laugh and make you smile and will impress almost anyone. The script is brilliantly adapted from Lauren Weisberger's novel, and while it's not an exact replica (are any adaptations these days?) it carries the same wit but smoothes things out to make it more approachable and, in my eyes, more enjoyable. Bravo!

Meryl Streep is absolutely hilarious playing Miranda Priestly, the editor of the world famous fashion magazine "Runway". Along comes Andrea (Andi) Sachs for a job interview. She recently graduated from Northwestern University as a journalism major. Emily, the first assistant to Miranda, nearly snickers in Andrea's face as she looks her up and down and makes snobbish critical remarks about her unfashionable ordinairy clothes. Everyone in the office is calm, casual, and laid back until they learn Miranda Priestly is returning to the office when they go into "high alert".

The grand entrance by Miranda is superb, her haughty but elegant manner is perfect, with one breath and in one single sentence she rattles off six or seven commands to her assisant. Everyone jumps to attention and gets into action ... Andrea's interview is nearly cut short when Miranda notes she lacks the fashion background Miranda is looking for. However Miranda is won over by Andi's sincere work ethic and despite misgivings hires her. As second assistant, Andi manages to pull off miracle after miracle to make things happen for Miranda. It is when she does the impossible: obtains a publisher's copy of the latest Harry Potter book for Miranda's twin daughters that Andi's star at Runway begins to rise but at a huge cost to her personal life. Through a series of most auspicious but unexpected events, it is Andi who goes to the spring Paris fashion show with Miranda and a very select group of Runway staff. In Paris Andi comes to terms with her own values and resolves some personal struggles about her job and what she wants from life ...

The film is a parody about the serious competition which exists in the fashion and magazine publishing industries. The tensions, dramas, and back-stabbing are clearly evident. Dealing with the stresses and strains associated with trying to separate one's personal and professional life is very difficult. It becomes clear, the price of success means favoring work over family and friends . As Miranda Priestly said to Andi after returning from the spring Paris fashion show and as she stepped out from the limo amidst photographers and reporters: "They all want to be us" ... This film is most highly recommended a sparkling gem of a film. Erika Borsos (pepper flower)

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Well, I'm all over the map about this movie, I really am, finding something to agree with in almost every review here, including the least positive.

The positives are these: I adore the look and pace of the film, the to-die-for clothes of course, and the performances (first and foremost) of the great Streep as the towering, terrifying Miranda, the winning Hathaway as the perpetually harassed Andrea, the dependable Tucci as Miranda's long-suffering, witty-wise second-in-command Nigel, and the wonderful Emily Blunt as the bitchy, put-upon first assistant...uh, Emily. All of them--especially Streep, Tucci and Blunt--bring both bite and (mostly hidden) heart to what could have been a collective phone-in of annoying caricatures. And though we really only get glimpses of him here and there, I also enjoyed Rich Sommers's endearing turn as the sweetest of Andy's circle, Doug.

I am seriously ambivalent however, about what the message of this movie is supposed to be, especially to women, and the alarm bells really go off when--SPOILER ALERT--Andy reconciles with her sulky boyfriend, Nate, telling him he was "right about everything."

What? What exactly was he so "right" about??

I don't know about you, but I found Nate, the boyfriend character, absolutely insufferable through almost the whole of the movie. I'm pretty sure he was supposed to be the voice of reason that tries hard to keep Andy grounded and remind her what's truly important, but he came off instead as a sulky brat who could not accept his girlfriend's growing pains as she labored to cope with an impossibly demanding, first ever grown-up job that nothing in her easy-going schoolgirl existence had prepared her for. Were there no demands being placed on him in HIS choice of career? Was his job supposed to be the more important one?

Ditto Andy's best friend, Lily, who seemed to me increasingly more jealous of Andy rather than supportive of her; Lily too was pursuing Bright Lights-Big City dreams that demanded a lot from a young newcomer, after all, so how is it that she had such a hard time with Andrea's chaotic ups and downs? Where did Lily get off being so judgmental and disapproving? This is friendship? I watch these performances and can't decide whether actors Adrian Grenier and Tracie Thoms made poor choices in their playing of difficult characters, or if the characters as written were simply impossible to like. Either way, both were a whiny pain, especially Nate, and Andy's mea culpas to him near the film's conclusion were tough to take.

No one disputes that Miranda Priestley was a Boss From Hell who routinely wiped her feet on her young assistants, particularly Andrea, but we also see that ultimately Miranda was as human as anyone else, a glamorous workhorse whose alley-fighter smarts hid real pain, and it should be said that Andy--who was in the beginning quite smug in her disdain of all the fashionista "shallowness" that surrounded her--had a knocking down or two coming. (I loved the way Nigel simultaneously comforted and took Andy to task after an especially bad morning.) If Miranda put Andy through the wringer--and she did--well, she also taught her some important things (sometimes unwittingly) about hard work, hanging tough, and the choices we make in life to get to where we want to go (or need to stay). Andy could have quit at the end of her first week (I think I would have), but no matter how bad or insanely silly things got, she didn't, at least not immediately. On some level she became aware that she was getting an education she wouldn't get anywhere else from anyone else, and there was value in that. I think she knew that; I hope she knew that. I hope the audience does, too.

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While this film highlights how a college student makes the leap from school to professional life, I also believe that it highlights Meryl Streep's enormous talent although she is not the lead character. She gives such a commanding performance as the dominant impossible boss. In fact there are several outstanding supporting characters such as Stanley Tucci. He is priceless as the guy you love to hate. A really good script, plus great actors equal a great movie!

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This could easily be dismissed as another "little-fish-in-a-big-pond" story, but the wonderful script and fine acting by all sets it high above the rest. Meryl Streep was terrific, though she was allowed to show a soft side a few times, which took away from the "bite" that may have been implied by the title. (I had a boss like that, but mine was meaner and showed less sensitivity). Streep is not the main character, however, and Anne Hathaway shows command in the central role. There's excellent support from Adrian Grenier, Stanley Tucci and Emily Blunt. The shots of New York City (and of Paris) are grand and impressive, and, as one would expect, the costume designs are stunning, though few are original for this film. David Frankel's direction kept things moving at a swift pace, and the DVD extras are entertaining and informative. I enjoyed "The Devil Wears Prada" very much.

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Hansel & Gretel Get Baked (2013)

When approaching a movie entitled "Hansel & Gretel Get Baked," you aren't exactly shopping for next season's Oscar winner! At best, you hope for a good time. And I'll tell you what, I was so stoked and surprised by how enjoyable I found the start of this experience. The opening third of the movie expertly combines stoner humor, skewed fairy tale lore, and over-the-top horror comedy. The screenplay is unexpectedly clever (silly, too, but enjoyably so) and I thought this might be a terrific sleeper surprise. Unfortunately, though, this delicate balance of creativity soon gives way to much less inspired action mayhem. Within a few scenes, the film all but forgoes the fairy tale parallel and drops the delightful stoner angle. Instead it focuses on its most generic element and becomes a rather toothless horror trifle with a witch and her zombie minions battling the young protagonists. Even this might be sufficient if it was super funny or unusual, but it simply isn't. In short, a potentially good movie loses its way and never really recovers.

Molly Quinn (Castle) and Michael Welch play siblings Hansel and Gretel as typical over-privileged suburban teens. Quinn and her boyfriend Ashton (a very funny Andrew James Allen) are enjoying a leisurely day of smoking. When their stash runs dry, he heads over to the home of a local Pasadena purveyor with a new strain of Black Forest weed. The kindly old lady doing the selling (Lara Flynn Boyle) may not be an ordinary drug dealer, though. Something supernatural is afoot and her dealings with Ashton are appropriately macabre, sufficiently gory, and quite amusing. I LOVED the movie up until this point. From here on out, though, the screenplay just shuttles a variety of characters off to the house to be dispatched in different ways. We are no longer even trying to be clever or funny, the lightly comic horror elements are supposed to carry the rest of the movie. Even Hansel and Gretel share relatively little screen time. He's just set up to be another clueless victim instead of a resourceful partner.

Lara Flynn Boyle (looking a little worse for wear due to plastic surgery) embraces the lunacy of the movie and turns in a nice performance as the witch. Quinn is appealing enough in an underwritten role. Poor Michael Welch barely even registers, once again due to an undeveloped screenplay. And if you're a Cary Elwes fan (his name is featured prominently on the DVD/Blu-ray cover), he's sticks around for less than two minutes. I'm going to say it again. There is a good idea behind "Hansel & Gretel Get Baked." But after a strong start, no one knew where to take that idea. After a great twenty minute introduction, the movie embraces a ordinariness that is disappointing. 4 stars (for twenty minutes), 2 stars (for the other hour plus). KGHarris, 6/13.

With a title like HANSEL & GRETEL GET BAKED, what would you expect? Based solely on the title alone itself clearly a play on words (methinks) about how in the original fable Hansel and Gretel nearly find themselves in an oven I'm thinking ... comedy? No? Something certainly with drug undertones? No? Or maybe all director Duane Journey and screenwriter David Tillman intended was to delivered a contemporary twist on a parable as old as dirt. Whatever the case, you're likely to find yourself scratching your head as much as I did trying to figure it out when you give this a spin as their intent remains elusive.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, then this is not it! Instead, I'd encourage you to skip down to the last three paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

Gretel Jaeger (played by the comely Molly Quinn) loves Ashton (Andrew James Allen). It's a perfect young love. As our story opens, we find them sharing a joint in Gretel's bedroom; it's a lovely bit of a new, intense marijuana strain called "Black Forest." Once they run out, Gretel sends Ashton out into the world erm, well, the streets for some more. When her stoner boyfriend never returns, Gretel takes it on her own to investigate, much to the chagrin of her older brother, Hansel (Michael Welch). But before it's all over, they'll have to join forces to take down one sweet little ol' lady, Agnes (Lara Flynn Boyle), who's intent on sucking the life force out of both of them!

No doubt, you already know the story of Hansel and Gretel. What the participants here apparently intended to do as best as I can surmise is re-tell it with a contemporary, urban slant. Instead of Germany, you have the L.A. suburbs. Instead of a witch, you have a seductive old temptress. Instead of a gingerbread house in the forest, you have a posh two-story dwelling in a cul de sac. You get the idea. The problem is ... is that enough?

Certain, one would think that even a modestly cautionary attempt to `update' a classic tale would involve some measure of modern message, as well, but, for all its efforts, GET BAKED ends up being nothing more than ... well ... a modestly cautionary attempt to `update' a classic tale. It's plenty stylish and all, just as it's given the proper urban sensibilities. The problem is there's a heavy strain of humor injected unevenly into the production, starting with the title, then the opening sequence, and then perhaps one of the cleverest opening credits I've seen in some time. I'd be hard-pressed to deny that there's an honest attempt at humor here; it just disappears and re-appears with no appreciable frequency that I'm really not convinced it was intended.

I have no problem with the modern spin on old stories. In fact, I think it can be a mighty nice way to revisit some of those messages we're all given as kids don't take candy from strangers, don't go out exploring in the forest all by yourself, don't succumb to witches and I can appreciate any writer's attempt to liven up the source material with more than a few chuckles here and there. Still, BAKED feels half-cooked, and methinks the script could've used a few more minutes in the oven before putting it up there on the silver screen.

HANSEL & GRETEL GET BAKED is produced by Kerry Kimmel & Pollack, Dark Highway Films (II), and Uptik Entertainment. DVD distribution is being handled by New Video under its Tribeca Film imprint. As for the technical specifications, it looks and sounds about as well as any major motion picture does these days; there's some nice cinematography, and it's all given a wondrously stylish look, even in its darkest corners. Sadly, there are no special features to speak of; I would've liked to have known in the very least whether the creative folks intended this as a serious horror film or a horror parody because, for the life of me, I couldn't say for sure.

RECOMMENDED. HANSEL & GRETEL GET BAKED is a mixed bag of effective and ineffective bits, mostly thrown into chaos by no single guiding theme: is this meant to serve as parody or satire of the classic fable OR did they intend this to be a legitimate horror film? It's far too tame to be a legitimate horror film, and it's far too unfunny to feel like an honest attempt at parody or satire. Instead, you get maybe what you expected a modern day fractured fairy tale for the medicinally light-headed or an audience better known as `Judd Apatow's desired demographic,' but this is far short of the lunacy they've come to expect. Also, David Tillman's sometimes tired screenplay borrows liberally from other fairy tales and even mythology to the point where methinks not even he was entirely certain what it was all going to look like in the end.

In the interests of fairness, I'm pleased to disclose that the fine folks at New Video provided me with an advance DVD copy of HANSEL & GRETEL GET BAKED by request for the expressed purposes of completing this review.

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A fun flick with some talented actors. Seen it twice so far and will see a few more times. You must be comfortable watching people high as kites though!

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I hadn't realized this was a Tribeca film when I purchased it. It definitely surpassed my expectations. It does have some odd points, but I found it a rather clever interpretation of the Hansel and Gretel story. I definitely plan on watching it again.

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Its A Disaster (2013)

Amazing what can be conveyed from inside one house the whole movie. Initial tension turns to thought provoking results. One of those movies that stays with you a long time.

Love this film with its dark comedy feel cool! Big thumbs up from Roger Ebert's website and love the casting in the film as well quality customer service on Amazon's end!

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A collection of couples get together for their regular couples lunch, and this lunch turns out to be anything but normal. An unexpected calamity has hit, and they are not only dealing with personal issues amongst the group, but dealing with getting information about the disaster, and figuring out how to survive. This quirky black comedy is well-cast and skillfully scripted, enabling it to be quite funny and entertaining. The mostly little known actors are perfectly cast in their roles. The film may be called It's a Disaster, however it is anything but. This is actually a pretty darn good movie.

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I recommend this heartily. It's funny and odd and has a surprise or two up its sleeve. And imagine David Cross as the sane guy!

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The acting was funny, having just seen "This is the End" there are similar themes. Julia Styles never disappointing, and David Cross also a delight. All in all I was entertained.

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Fletch (1985)

Irwin Fletcher "Fletch" is a newspaper reporter writing as Jane Joe that does what it takes to get the story. Many of his stories require him to go undercover, as his current assignment does. He is on a trail to expose those involved in a drug smuggling ring, but has learned some of the players are even part of the police department. While sniffing out leads, he is lead in another direction when a wealthy man approaches him mistaking Fletch for a transient. He tells Fletch that he is suffering from a terminal illness, and would like to hire Fletch to kill him. Since life insurance policies don't pay out in cases of suicide, he wants to make sure his wife is well provided for in the future. Fletch being the curious guy he is decides to investigate the millionaire's claim. When he discovers that his dying millionaire is not dying, but is in fact hiding a secret life as well as a second wife, the "chase" is on!

This is one of Chevy Chase's finest performances! He takes his comedic genius up a step for this film. The disguises, mannerisms, and funny dialogue showcase him perfectly. No one can slide those one-liners in like he can.

GET THIS MOVIE!!! I LOVE THIS MOVIE!!! Chevy Chase made a few bad movies when he got started but this ISN'T one of them. As an undercover investigative reporter, Irwin M. Fletcher looks into the local drug traffic, only to get caught up in insurance fraud, police corruption, embezzlement and another man's suit.

He's Baba au Rum Holistic Teamster, Magic "Fletch" Christian Los Angeles Lakers, Ted Nugent Beach Bum, Igor Stravinsky Real Estate Developer, Harry S. Truman Insurance Agent, G. Gordon Liddy Ajax Supervisor, and a host of of others.

Look for Larry "Flash" Jenkins ("Ferris Bueller's Day Off"), Joe Don Baker, Tim Matheson, and the beautiful Dana Wheeler-Nicholson. Plus Geena Davis, George Wendt ("Cheers"), Richard Libertini ("The In-Laws") and Tony Longo ("Eraser"). M. Emmett Wash is the rubber-gloved doctor who examines his patients VERY thoroughly. And there's William Sanderson of TV's "Newhart". And finally Burton Gilliam of "Blazing Saddles". Whew!!!

Chase's one-liners and trickery are so subtle that it probably confounds most professional movie critics. They're always tuned to either the person he's playing or the role he's fulfilling. The autopsy scene is not to be forgotten, but you may have to turn up the volume for the full effect (sorry about that!).

Learn the one-liners here and you'll have an automatic response for most everday situations. Excellent soundtrack as well.

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Fletch is my personal favorite comedy and without a doubt, one of the funniest movies ever made. Chevy Chase is perfectly cast as Irwin Fletcher, a wise cracking newspaper reporter working undercover on a beach to expose a drug running operation. At the same time, he is mistaken for a junkie by shady millionare Alan Stanwyk (Tim Matheson) who asks Fletch to murder him. Fletch agrees but launches an investigation into finding out why this man wants to be killed. This isn't lowbrow humor, it's quick witted and very fast. Fletch requires a few viewings before one is able to grab all the jokes, but it's well worth it. I've seen this movie about 30 times and each and every time I watch, it remains as funny as the first time I saw it. If you've liked Chevy Chase in Caddyshack or National Lampoon's Vacation, than you'll love him here. The dialogue is witty and extremely quotable. Chase's Fletch often disguises himself as he investigates the two mysteries, his cheap disguises and alias' (Ted Nugent, Don Corleone, Dr. Rosenpenis) are hysterical, Chase is a master of deadpan wisecracks, this movie is a perfect showcase for his talent.Aside from the brilliance of Fletch as a comedy, Fletch functions perfectly as a well made mystery movie. I disagree with one reviewer who praised the movie as a comedy but said it wasn't a very good movie. Fletch is a very good movie and aside from Chevy Chase, there are many other reasons for the success of this classic. Screenwriter Andrew Bergman has written one of the trickiest scripts in Hollywood history, it manages to be flat out hilarious, and captivating in the same light. Whenever I watch this film with a new viewer, they are always surprised as to how much the storyline grabbed them. Another plus with this movie is Harold Faltermeyer's superb synthesizer score. It's similar to his earlier Beverly Hills Cop score, maybe even better, it helps set the tone of this movie perfectly. Last but not least, we have the direction, all under the sure hand of Michael Ritchie. He keeps things moving and maintains a comedic tone which occasionally borders on seriousness to help the story progress. Balancing tones isn't easy, in this film it's done so well, it's hardly even noticable.Fletch is all around, an excellent film, but before everything else, it's a VERY funny film. A true cult classic. For audiences whom have seen Beverly Hills Cop, think along those lines, I always thought it would be amusing to see what would happen if Chase's Fletch met with Eddie Murphy's Axel Foley of the Cop films. If you've seen those than you have a good idea of what to expect with Fletch, a film loaded with belly laughs as long as you're willing to pick up on them.

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Waiter: You a member of the club senor? Fletch: No I'm not I'm with the Underhills. Waiter: They already left senor? Fletch: That's all right, he'll be back, he went out for his urinalysis. Waiter: Would you like to order something senor I'll put it on the Underhill's bill? Fletch: Ahh, very good, I'll have a bloody mary, a steak sandwich, and..... a steak sandwich. Waiter: Thank you very much senor. Fletch: It's the nicest place...

If Chevy had a bright spot in his career, this is certainly one of them. Every line, every minute, all ad libbed, no script, no idea what he will say next, just Chevy doing what he does best. Christmas vacation, Vacation, CaddyShack, no comparison to the original Fletch. If you've never seen this movie, you absolutely have to and considering it's from 1985, where have you been? I think I've seen this movie 100 times and I think I'll watch it 100 more before I go the way of the dodo. If you're having a bad day at work, lost your job, lost a girlfriend or boyfriend or just want to smile, pop this DVD in and start laughing from start to finish. If you don't even chuckle while watching this zany farce, you might need mental help for sense of humor submission.

What a great moment in movie history when the Doctor asks Fletch to "drop your shorts and bend over Mister Babar" Moments later you hear Chevy hurl out the song "MOOOOOOOOOOOOOON River! Thank you doc, you ever serve time? Doctor: Breathe easy... Fletch: "you using the whole fist doc?"

Other good notables are the sweet acting of Tim Mattheson and Genna Davis. Tim Mattheson, most known for his lead role as head fraternity brother (Otter) in Animal House, does a 180 and tries for the evil husband with a financial darkside. This movie also makes for some great pickup lines for the single males. Try this one when you see a beautiful woman in a towel. "Can I borrow your towel for a sec, my car just hit a water buffalo." Cherish Fletch forever and enjoy Chevy when he knew how to make people laugh.

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holy crap this is probablly one of the funniest movies Ive seen in my whole life. The actor Chevy Chase is at the top of his game in every scene. He is the Mona Lisa of comedians. Always looking serious but still managing to crack you up.He has a huge gallery of alter egos in this movie ranging from such names as Igor stravinsky, Ted Nugent, Arnold Babar, Dr.Rosenrosen(Rosenpenis) to only name a few.The scene where he sees himself on the Lakers is a classic but my favorite is the rollerskating guru.this one will be smoking till the end of all times!

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