People on Sunday (The Criterion Collection) (1930)

**EDIT 6-28-11** The overall quality of the Blu-ray is very good, not perfect, but very good considering the age of the film and the fact that sources of varying qualities were used. A few scenes are obviously from a source that had deteriorated to some extent, but Criterion did an excellent job on the restoration and included the scenes to make the film as complete as possible. Quality-wise, this is the clearest, most crisp version of this film that I have viewed.

Today, People on Sunday (Menschen am Sonntag) is mainly remembered as being a collaboration of several talented filmmakers early in their careers (Billy Wilder, Fred Zinnemann, Robert and Curt Siodmak, and Edgar G. Ulmer). Yes, this part of the production is fascinating, but the film itself is so much more than that. Produced during the latter days of the Weimar Republic with the German Expressionist movement screeching to a halt, this film combines several styles and influences in a unique and innovative way. The filmmakers use techniques of German Expressionism, add a twist of Scandinavian nature films, and top it off with a hint of some of their contemporary Russian directors, such as Eisenstein and Pudovkin (style not content). The creative blend of these styles, along with the amateur cast of locals (using their real names and professions), has been called by some a precursor to the Neorealist movement.

I will very briefly cover the plot, as to not ruin the film for someone who has never seen it before. The film is centered around five young Berliners: friends Erwin and Wolfgang, Erwin's depressed wife Annie, Wolfgang's new girlfriend Christl and her friend Brigitte. After Erwin has an argument with his wife, he and Wolfgang decide to go on a country outing the following day. The friends are then joined by Christl and Brigitte on a train to Nikolassee for a day of fun and relaxation. Following the long day of flirting and lying on the beach, the friends return to the city while trying to figure out their plans for the following weekend. This sounds very simple and empty but the movie will really speak for itself. I'm not saying this will be one of your new favorites, but the overall presentation of the film is unique and enjoyable.

The film addresses such issues as depression, machismo and even infidelity, but, in the end, the main purpose of the film is to portray the happy and carefree lives of 1929 German society. Herein lies the true irony, for within four years, Adolf Hitler was elected German Chancellor bringing the Nazi Party into power. As a result, the Jewish filmmakers who brought us this cinematic interpretation of being a content German were forced to leave the country.

**Special Features and Technical Aspects As Listed by Criterion**

-New high-definition digital restoration, created in collaboration with the Filmmuseum Amsterdam

-Two scores--a silent-era-style score by the Mont Alto Orches­tra and a modern compo­sition by Elena Kats-Chernin, performed by the Czech Film Orchestra--both presented as uncompressed stereo soundtracks on the Blu-ray edition

-Weekend am Wannsee, Gerald Koll's 2000 documentary about the film, featuring an interview with star Brigitte Borchert

-Ins Blaue Hinein, a thirty-six-minute short from 1931 by People on Sunday cinematographer Eugen Schüfftan

-New and improved English subtitle translation

-PLUS: A booklet featuring a new essay by film scholar Noah Isenberg and reprints by scriptwriter Billy Wilder and director Robert Siodmak

Germany

1930

73 minutes

Black and White

1.33:1

Silent

This film, made on the borderline between silence & sound, shows the promise of Wilder, both Siodmaks, Zinnemann et al--

before they became some of Hollywood's best & brightest, "thanks" to the awful conditions in Europe that, in part, account

for the classic era of Hollywood movies. (It's interesting, finally, how different their contributions were.)

But apart from this being a fascinating and essential historical footnote to the later careers of these men,

the movie is also great fun in itself, perhaps because of the sense that there was nothing to lose, no compromises necessary--of, hey,

let's try doing it this way...or what about this? It's like a brilliant home movie, made quickly and independently--very smart about both the lives of people & cities--that eventually became a primer for many cinematic impulses to follow, including Italian neo-realism and the French New Wave.

And it's full of the sense of what it feels like to be young, the energy and possibilities--both within the casual narrative itself and implicit in the making of the film.

One technical observation. I love all the good that BFI does for us, but in this case I think the recently released Criterion Blu-ray is a much cleaner

transfer, with a choice of two soundtracks. (For a comparison, go to dvdbeaver.com.)

Buy People on Sunday (The Criterion Collection) (1930) Now

An intriguing, cynical silent film featuring a wonderful glimpse of life during Weimar Republic-era Germany and created through the collaboration of young German filmmakers who would go on to have successful film careers a few years later.

The film's title "People on Sunday" (Menschen am Sonntag) is a 1930 silent film that featured a collaboration of Curt Siodmak (who would later be known for his "Wolf Man" and "Invisible Man" films), Robert Siodmak (who would later be known for "The Killers", "The Spiral Staircase" and "Criss Cross"), Edgar G. Ulmer (known for his noir films "Detour", "The Black Cat", "The Strange Woman"), cinematographer Fred Zinnemann (known for directing "High Noon", "From Here to Eternity", "The Day of the Jackal"), Eugen Schufftan (known for his cinematography on "The Hustler", "Eyes Without a Face", "Port of Shadows" and "It Happened Tomorrow") and Billy Wilder ("Some Like It Hot", "Sunset Blvd.", "The Apartment", "Double Indemnity"). And the most interesting thing about this film when it comes to its filmmakers is that many of these filmmakers have differing viewpoints on who was responsible for the film and are vocal of who put more work in and who didn't.

But if there is one thing that audiences are in agreement on, it's the fact that this film is a timeless classic and a glimpse to an era that is no more. But the film is also seen as a precursor to independent film. A film created with hardly any financing (financing came from Seymour Nebenzal, a cousin of the Siodmak's and a future collaborator of Billy Wilder), no-name actors and filmed on several Sundays during the summer of 1929. The film was also regarded by film critics as an accurate portrayal of Berlin at the time but with it's final intertitle, an ironic way of words that was meant to be right way to end the film but also could have another meaning for those of us who watch the film and realize what happened to Berlin and many Jews living in Germany several years later.

A film that was created with people who had day jobs which were portrayed in the film, portraying people living their lives in Berlin in the summer of 1929 and pretty much a joint collaboration of a group of friends from Berlin who wanted to make a film together and did it.

Ironically, "People on Sunday" was created back during the Weimar Republic of Germany, and Berlin as shown in this film would drastically change several years later during Hitler's reign in 1933, the filmmakers of Jewish descent, living in Germany, including one of the actresses Christl Ehlers would all flee Germany years after the film was made while some of their family members, especially for Billy Wilder, would die years later in the Auschwitz extermination camp.

So, "People on Sunday" is an important film for it being a cinema film that captured Berlin-life, Berlin youth but also, in every sense of the word, an indie film created with a small budget, no-name talent and yet was able to achieve critical acclaim. And there is no doubt that this silent film is worthy of being part of Criterion Collection's dedication in providing important classic and contemporary films in America.

VIDEO:

It's important to note that "People on Sunday" is a film that presented to those working on the restoration project as challenging and difficult. Presented in black and white (1:33:1), as the original negative had damage, the restoration project had to take parts from other badly damaged versions of the film from different countries and piece each frame together in order to come close to the original film and its duration.

For the most part, the contrast of the film is wonderful. Blacks are nice and deep and the grays and white levels are really good. Not to say that the picture is pristine because it's not. Bare in mind that this latest restoration is the piecing of many frames that came from different negative sources from different countries, you're going to notice a slight bit of flickering, nothing bad. But considering that the film is 80-years-old and knowing a lot of films on nitrate filmed back in the '20s weren't taken care of all that well and the fact that this is not a big budget film with top talent, it's amazing that this film could look so good today!

According to the Criterion Collection, the new digital transfer was created from a 35 mm mute print struck from the restoration negative provided by the EYE Film Institute Netherlands. It was scanned in 2K resolution on a Spirit 4K Datacine played at 24 frames per second and then digitally converted to the EYE Film Institute's recommended speed of 22 frames per second.

Color correction was done using DaVinci Resolve software and thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system while Digital Vision's Phoenix system was used for small dirt, grain and noise reduction.

Also according to the Criterion Collection, the restoration negative used for this release was created in 1997 by Martin Koerber, working at the Netherlands Filmmuseum (now known as the EYE Film Institute Netherlands). A high quality original nitrate print of the Dutch version of "People on Sunday" served as the basis for the restoration. In order to come as close as possible to the original complete German version of the film, shots were also taken from numerous elements at the Fondazione Cineteca Italiana, the Cinematheque royal de Belgique and the Cinematheque suisse.

Koerber's version follows the pioneering work done in the 1980s by Enno Patalas at the Munich Filmmuseum, but he was able to locate and incorporate about 150 meters of additional footage. The restoration negative was printed at L'Immagine Ritrovata in Bologna.

AUDIO & SUBTITLES:

"People on Sunday The Criterion Collection #569' is silent film but you get two scores. One is a silent-era style version (which was my preference) by the Mont Alto Orchestra which was recorded in March 2011 and another that is a modernized version by the Elena Kats-Chernin, performed by the Czech Film Orchestra recorded in 2000.

Personally, considering the fact that a few people that I have talked to, who have watched this film back then, watched it with no music accompaniment. Although I do own a few silents with no music (and some with bad music), I'm grateful for the Criterion Collection for providing two excellent music scores.

It would have been nice to have a third, which would be Trio Bravo+'s score for the 2002 screening of the film but for the most part, I'm quite pleased with both scores, especially the Mont Alto Orchestra version.

SPECIAL FEATURES:

"People on Sunday The Criterion Collection #569' on Blu-ray comes with the following special features:

Weekend am Wannsee (31:14) Gerald Koll's 2000 documentary about the making of "People on Sunday" and features interviews with Brigitte Borchert (who plays the record store girl) and writer Curt Siodmak and Martin Koeber, the film restorer.

Ins Blau Hineien (35:30) A short 1931 film by "People on Sunday" cinematographer Eugene Schufftan.

EXTRAS:

"People on Sunday The Criterion Collection #569' comes with a 30-page booklet featuring the following essay "Young People Like Us" by Noah Isenberg and "Making People on Sunday" with differing accounts by Billy Wilder and Robert Siodmak.

JUDGMENT CALL:

"People on Sunday" is an absorbing form of cinema that attracts different types of audiences. While I can't call it a masterpiece, it is a time capsule that shows us of a Berlin that would no longer be the same a few years later. A film that was built upon friendships and achieving cinema but due to the change of the country's politics and the creation of Hitler's Third Reich, these friends would go on their separate ways as they tried to escape Nazi Germany because of their Jewish descent.

This film is a hybrid silent film and documentary but it has elements that one can easily watch and be entertained.

For those who are wanting a silent film with a storyline, you have a story about two male friends going out with two new female friends for some R&R on a Sunday at a lake and jealousy develops but of course, there is more to this story as one man has a girlfriend that he doesn't treat all that well at home (and oversleeps), while his other male friend, the wine maker who goes after the actress and kisses her but ends up being slapped and then goes for her friend, the record shop girl.

Then you have the Avant-Garde style of filmmaking derived from an Eisenstein style of filmmaking and shots of objects, surroundings that show an artistic style of cinematographer Eugen Schufftan. Also, it's important to note that this is an independent film before "indie" films came to play. These young filmmakers came up with the idea while at a cafe.

And because these filmmakers didn't have much money, they hired everyday people to be part of the film (some who went on to acting and others who didn't) and in the end, the film became a major success for these young filmmakers and eventually each of them went on to bigger film projects.

And for those who are interested in Germany, the film also captures the Weimar Republic three years before it was replaced by Fascism and Hitler's Third Reich. A look at how society was back then, during a period of liberal democracy and its filmmakers (who happen to be Jewish living in Germany) not fully aware of what they captured on film would show a side of Germany which would be gone in three years.

But there are other things about the film that stay in my mind. One scene features Christl Ehlers (who plays the character of a girl who plays an extra in film) sewing on her swimsuit before getting into the water, scenes of older technology with the windup portable record player, scenes showing hints of sexuality, scenes of people not having much money and even splitting cigarettes and sharing wine from the same glass. Of course, the film is quite cynical and is a wonderful look at German youth before the change and because it was made during the Weimar-era, there is no hint of danger or anything of wartime. Just people living their everyday life.

And for me, unlike the Mitchell and Kenyon films where everyone loved to be in front of the camera and would do what they can to be filmed, there is no hint of that in "People on Sunday". It's as if the camera was hidden and people were normal, nor are they looking directly at the camera. Granted, you have random people making faces towards the camera but it's all closeup as opposed to everyone crowding and pushing just to get their shot in the camera.

For silent film fans, whenever you can get a glimpse of society at that time, all captured on film, it's a wonderful experience. But to get documentary-style footage of a Germany post-World War I, early documentaries are something you rarely see from Europe (the best early, silent documentary work showcasing early European society is probably from Mitchell and Kenyon in the UK covering the early 1900's and Marcel Carne's short "Nogent ou l'Eldorado du Dimanche") as a lot of footage is lost or destroyed due to the instability of nitrate film.

But the efficacy of "People on Sunday" is because of its non-traditional style of filmmaking, combining a story with a documentary style footage. Critics loved it back in 1930 and I have no doubt that many of us today will have a sigh of relief that so much has went towards the restoration of the film. I personally have only read about the film prior to watching it and to finally watch it on Blu-ray and to see the wonderful contrast, to hear the beautiful musical scores included in this Blu-ray release is wonderful!

It's important to note that the original German version was no longer intact due to deterioration and from using copies of other versions from different countries (that were equally as bad), fortunately missing footage was taken from those various negative sources and all the elements put together in one film. Of course, since the restoration of the film, more footage has been found (documentary footage) but not added because it is not known of where it should be placed in the film.

But for any silent film fan and historian, the release of "People on Sunday" by the Criterion Collection is magnificent! And equally as impressive are the inclusion of the two special features which include "Weekend am Wannsee", Gerald Koll's 2000 documentary of the film with interviews with Brigitte Borchert (who plays the record store girl in the film) and writer Curt Siodmak. Also, included is "Ins Blaue hineien, a 36-minute short from 1931 by cinematographer Eugen Schufftan which features elements similar to "People on Sunday".

Also, it was great to have two scores included with this release. The Mont Alto Orchestra was my preference as it captured a more silent-era style but you also get a modernized score with Elena Kats-Chernin and the Czech Film Orchestra's score as well.

Overall, "People on Sunday" was a wonderful film to watch and enjoy, not just for its story but its cinematography but also showcasing society. You juxtapose this film with Eugen Schufftan's 1931 short film "Ins Blaue hinein" (which is included as a special feature) and what you get primarily is a lot of trees and neighborhoods, while the former shows society in everyday life in the city of Berlin. While I understand those who are not really into silent films, let alone watching footage of the distant past, But for those who are open to silent cinema and are curious of seeing Germany ala the Weimar Republic era will find this film enjoyable, intriguing and highly entertaining. Also, feeling that this is a release that is a worthy addition to the Criterion Collection.

I personally recommend "People on Sunday" as a must-buy for any cineaste!

Read Best Reviews of People on Sunday (The Criterion Collection) (1930) Here

"People on Sunday" is an amazing achievement in every respect, but i was especially impressed by so much nuance and complexity in a silent movie. I used to expect silent films to be simplistic and melodramatic, Hollywood style, which was recently confirmed by The Artist (2011), a silent movie imitation by French director Michel Hazanavicius, which suffers from all the ills of the real McCoy.

For a film produced in 1930, "People on Sunday" is refreshingly serious, realistic and frank. Even comparing with the movies produced much later, European and Japanese realistic and neorealistic films of the late 40's and even 50's, Siodmak's film doesn't come across as less sophisticated. All the movies, produced by Siodmak, Ulmer and other creators of "People on Sunday" in Hollywood are more predictable and mechanical, conforming to the requirement of maximizing the box office numbers.

Even in comparison with Murnau's The Last Laugh one can easily see brute force of Siodmak's expressive power. Non-professional actors in most of the roles, lots of street scenes beautifully shot by Fred Zinnemann, real people, real relationships, real life instead of Hollywood fakes and sheer entertainment movies of the same period. Surely not everyone would like that, as, again one can see from the frenzied reception of Hazanavicius' The Artist...

Miraculously, this film doesn't look dated at all. To my opinion "People on Sunday" is one of the top achievements of cinematography.

As always thanks to Criterion Collection.

Want People on Sunday (The Criterion Collection) (1930) Discount?

Criterion continues to serve up amazing cinematic treats. People on Sunday is an amazing silent film that even years later causes arguments between filmmakers and critics alike.

The film was shot in 1930 in and around Berlin. The main actors are all regular people who had never been filmed before. There was very little budget, and according to actor recollections, the film was thought out while at a cafe with notes scribbled on napkins. Though there are many famous names attached to this film, it seems that many of these more famous people might have had very little to do with this actual film and later exaggerated their input and influence due to the positive reviews the film garnered. Much of this is explained in the included booklet.

Despite this, the film was beautifully shot. The transfer, even to DVD is amazing. The film looks pristine with most of the noise, dirt, and static removed. Also of note is that Criterion used a Dutch version of the film for the base (the German original having been lost, presumably destroyed). But there was much of the film missing, so Criterion gathered bits from other recordings in Italy, France, and beyond to restore much of the film. Their efforts were mostly successful, though there is a bit that seems to have been permanently lost. A brief introduction provided by Criterion discusses this.

There are two music tracks, one created for a Czech film festival, the other created for the Criterion release. I watched with the Criterion composition. But you can select either. Also of note, there are very few script stills. Many of the stills were edited or lost, and Criterion made every effort to recover the original lines.

The film takes place mainly on Sunday, though we see the events on Saturday leading up to Sunday. A chance meeting between two people leads to plans to enjoy Sunday together. Each brings a friend and it ends up as a double date of sorts. We watch the character interactions and their courting of each other over the course of the day.

The scenes are amazingly shot. The settings chosen are fantastic. At times it's sad to think about what the city will look like 14 to 15 years after the filming...

Many have said that this movie was a precursor to French New Wave or Italian Neorealism, and I tend to agree. Though the French and Italian films have different themes, the core film style is remarkably similar. I don't know if this film directly influenced him, but I see a lot of this film in Truffaut's movies. It may just be coincidence.

A lovely film for students or fans of classic cinema. A masterpiece of silent film wonderfully restored and brought to life by Criterion. Bravo!

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God Bless America (2012)

"I know it's not normal to want to kill, but I also know that I am no longer normal." Frank (Murray) has almost had it. He is tired of reality TV, he gets fired from his job for looking up a co-workers address and just found out he has terminal cancer. He decides to end it all but right before he does he sees something on the TV that changes his mind. I must start by saying I loved this movie, but it is not for everyone. Bobcat is getting better and better as a director and writer. I have really like "Sleeping Dogs Lie" and "World's Greatest Dad" but I think that this is his best one yet. I can best describe this by calling it an extreme version of "Falling Down". Without sounding too un-PC or getting the FBI after me Frank in this movie does things some of us want to. Especially those who hate reality TV and are sick of the people on it. I am not advocating what is done in this but I did get a sense of relief knowing I'm not the only one. The acting is good but the writing is great. I highly recommend this but you must not be the type that offends easy. If you are and watch this...you were warned. Overall, Bobcat's best movie yet and one of the year's best comedy's. I give it an A.

Yes, it's preachy, but also tremendously intelligent and meaningful. Among a sea of shallowness, G.B.A actually has something to say. "Let's be more civil" is the theme here, and it's presented in the most graphic and blunt way possible. It does have some structural problems, but if it lacks cohesion, I believe it's because it ultimately succeeds in being one-hundred percent honest. Also, Joel and Tara should appear in way more movies. They are great actors (especially Joel) and so unsung...

It's great, but not for everyone, and Bobcat doesn't care. That's commendable in this day and age. He wants to insult Glee and Diablo Cody (I hated "Juno" for the same reason he does)? He does. He can't be bothered to care if someone won't like it or aiming for universal appeal thus stripping the movie out of all pottentialy controversial opinions or moments. And, boy, does this have them...

I loved it from minute one, but, I can't stress this enough, YOUR ENJOYMENT OF THIS PIECE DEPENDS ON WHETHER OR NOT YOU AGREE IDEOLOGICALLY WITH IT'S CREATOR.

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Are you one of those people who feel ill when exposed to reality televison? Did you watch the moive Idiocracy and think, "This isn't just a movie, it's a prophecy." Do you let idiots win arguments because it just isn't worth it to waste the oxygen? If you have answered yes to any of these questions, then I highly recommend that you watch God Bless America.

God Bless America has to be one smartest films I've seen in years. This isn't some generic garbage that Hollywood poops out, with the intention of pleasing everyone...it's the exact opposite. This movie has a target audience, and you'll be 100% sure if you're that target audience, if you can make it past the first five minutes of the movie. If you can't make it past the first five minutes of this movie, I would suggest you go and enjoy some Jersey Shore reruns.

Read Best Reviews of God Bless America (2012) Here

"God Bless America" is good, but for a reason many people will either find strange or disagree with entirely: It's a movie that needs to be there.

As some other reviewers have noted, "God Bless America" is more of a rant than a movie, but the ranting is the reason for the movie to exist. It's a statement embedded in good acting and pretty cinematography.

It features a plotline that is by no means wholly believeable (that never stopped anyone from making an episode of The Mentalist) and it is nothing *like* entirely pleasant (that never stopped anyone from watching an episode of The Mentalist) in which two alienated loners, a divorced middle-aged man and a too-clever teenaged girl, find one another and go on a killing spree that features representations from a rogue's gallery of American incivlity and mental degeneration; one that includes, among others, a Glenn Beck clone, a "God-hates-gays" preacher and a large sampling of the superficial, the cruel, the entitled and the merely rude.

It is a rant wrapped in a thin layer of movie that displays a very linnear, paint-by-the-numbers plot, the point of which makes the movie almost like something Brecht might have written were he alive today. Goldthwaite's story and how he tells it, like Brecht's, pushes the viewer back far enough to see the point: that we are so bombarded by multimillionaire media personalities vomiting nonsense, dwarf-tossers, infinitely entitled celebrities and the people who have given us the worst of YouTube, that our world is riddled by a media-fueled cancer of noise in which each tumor of diseased culture is replaced by the next one so quickly that horrible events driven by horrible people have become our norm and we cease to notice the presence of the disease, that things were ever otherwise, or to imagine that anything else is possible.

"God Bless America" is a black comedy that at times is not entirely funny, but that is nevertheless worth watching for its point.

If it *was* entirely funny, it would be part of the problem.

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Thank You Mr.Goldthwait. Very funny and sadly true. I recomnd this movie to anyone who is not a complete idiot and can't think for themselves. Enjoy

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My Best Friend's Girl (2008)

Unfortunately, the sweet little plot of this movie was lost in the constant explicit language and some of the "over the top" displays by Cane's character to prove he was bad boyfriend material. I am not easily offended by language but I do think the overuse of particular words and gestures will limit the appeal to certain audiences. There is; however, a sweet little love story in there but likely only those who can get past the language will be able to find it. Scan and preview before you invite someone over to watch it with you ...

Well, now I haven't seen a film that shocked me as much as this film in a long time. Dane Cook is at his best when he is going completely over the top in this extremely raunchy romantic comedy. In fact Hudson, Biggs and Baldwin also seem to be having a ball in this sweet film full of crude humor, nudity and inspiring romance.....ohhhhh ain't that sweet?! I really liked this one and I think I will like it even more after repeat viewings. The unrated edition has an excellent transfer and some hilarious extra stuff!

Buy My Best Friend's Girl (2008) Now

You're going to either love this movie or hate it. I find Dane Cook's humor smart and creative, therefore I appreciate this movie. The premise is very funny and the dialogue is also fun and well thought out. Two thumbs up from me.

Read Best Reviews of My Best Friend's Girl (2008) Here

The best parts of this movie consist of very vulgar and crude conversations. Do not watch this for the love story because it is generic and boring. If you want to laugh at an over the top, well written, down right vulgar script, then watch this. It is worth it. But definitely do not get this if you are looking for a light romantic comedy. There is nothing wrong with a romantic comedy, you will just be disappointed in this movie.

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If you don't know who Dane Cook is or like cocky comedy, then why would you watch this?? It is rated "R" and there is no pretense that anything delicate or sensitive is in the offing. That said, this is an exellent comedy for those who love bold, brassy love stories. Re-watch "Gone With the Wind"... see any green flags around Rhett or Scarletts relationship styles? I hope not-the dishonesty in alot of classic romances is a turnoff to anyone actually dating... the genuine male-female dynamic is one of tension and testing. George Cloonys' characters often exel at this type of banter. If you liked "Wedding Crashers" you might like MBFG... if you loved "Old School" then put this on your queue now. --Warning-spoilers aheadThe movie "Someone Like You" is actually a girly version of the same premise, that a strong, funny woman looks for a bad boy for thrills and a nice guy for stability... but doubts that she will ever find the whole packageso our hero is really a sex buddyand then realizes that he's a player getting played...(I guess "Boomerang" and "Whipped" were like this, too.) The fact is, all the girls I know love to be teased...hard. The main caveats are: 1-tease as a sign of abundance, not anger. 2-tease her in proportion to her confidence. No withering zingers on shy people. Vince Vaughn and Dane Cook do it right!

Fine supporting work by Alec Baldwin, Lizzy Caplan, and Riki Lindhome.

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Ruby Sparks (2012)

Speaking as somebody who writes short stories as a hobby in addition to film reviews; "Ruby Sparks" is pretty spectacular. Just the idea of one of your stories becoming a reality is basically every author's dream. Unless you're a horror writer, then you might hope it never leaves the page. Thinking about that somehow happening is inspiring in itself though. If that was a guideline, to only write stories you think deserve to exist in the real world, then we'd have a very different literary back catalog.

Paul Dano brings yet another extremely relatable character to the screen. His ongoing struggle to come up with a good story really hits home hard as does his issues with women. Falling in love with your own creation seems a lot more reasonable than attempting to swim in the dating world. Dano's performance is gut-wrenching at times because you know where at least part of this story is going and it's not going to end well; an emotional breakdown is inevitable. Dano is also just as engrossing as ever while making simple emotions of depression, inspiration, love, and heartache seem like a grand spectacle.

Zoe Kazan is really superb, as well. Attempting to be the embodiment of somebody's dream girl probably isn't the easiest job, but Kazan seems to do it with ease. Her performance is at its best when Calvin realizes that whatever he writes about Ruby on his typewriter comes to life. Those moments are when the humor of the film is at its peak and when the sadder moments punch you in your chest a little bit harder. It probably helps that Dano and Kazan are a couple off-screen, but their chemistry and an incredibly well-written screenplay are what make the film as strong as it is.

For most, "Ruby Sparks" will probably just seem like this slightly better than average romantic comedy and that's fair; no one will fault you for that. But if you are a writer, if you have ever written a story for fun, have done that more than once, and/or have ever been compensated for this written work then "Ruby Sparks" will speak to you the way that it should.

While it isn't nearly as good, "Ruby Sparks" does slightly resemble "Eternal Sunshine of the Spotless Mind" at times. With excellent and engaging performances from Paul Dano and Zoe Kazan, fantastic writing, and the ability to breathe a lot of life into a concept that may have been really absurd under different circumstances, "Ruby Sparks" is extraordinarily charming and should not be missed.

In "Ruby Sparks" (104 min.), Calvin (played by Paul Dano) plays a writer who found great acclaim as a late teenager but now 10 years later is lonely and struggling with writer's block. In his dreams he meets the perfect girl whom he calls Ruby (played by Zoe Kazan), he starts writing about it, and then one morning Calvim wakes up only to find Ruby in his kitchen, fixing breakfast. It's a miracle, right? Is it the magic in the typewriter (Calvin types "Ruby speaks French" and a moment later she speaks French)? No explanation is given. However now that Ruby is alive and well, she does not always act EXACTLY like Calvin wants her to, and the temptation to run to the typewriter and fix every signle problem is great, but what would that do to their relationship in the long run? To give away more of the plot would ruin your viewing experience, you'll just have to see for yourself how it all plays out.

Several comments: the movie is intended as a romcom, and there are indeed many fine moments that made me smile. But the movie also examines some profounder issues that go to the very nature of the human race: free will (with the potential for making mistakes or worse) or no free will (at which point, what is the real value of the relationship you control?). Even though she's been in many other movies in her young career, in my opinion Zoe Kazan is THE break-out star of the movie, as not only did she write the movie's screenplay but her performance on the screen just oozes charm. Not that he doesn't do a good job, but I can't really say the same about Paul Dano (Kazan and Dano are also a couple in real life). And there are some real choice moments for Antonio Banderas and Annette Benning as Calvin's parents. Check out also Elliott Gould as Calvin's shrink.

In all, I really enjoyed this "little" movie quite a bit, and for me it proved to be perfect "counter-programming" in this never-ending summer of bigger (but not necessarily better) blockbuster movies. "Your Sister's Sister" and "Safety Not Guaranteed" were other such "little" movies I really enjoyed this summer. Meanwhile, "Ruby Sparks" is HIGHLY RECOMMENDED.

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We liked the general story line. It got a bit weird toward the end. We enjoy Paul Dano, and I thought

he provided a solid and clever performance. Zoe Kazan, an obviously multi-talented actor and writer turned in

a solid performance.

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This movie is completely under the radar. It is tremendously enjoyable and has an endearing story line. I am not sure why it is not more generally known to be good.

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I'm a literature major, so this movie spoke to me. It was adorable, and well written no less. These characters feel real too, which helps.

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The Seven-Per-Cent Solution (Blu-ray/DVD Combo) (1976)

In my opinion, this is probably the best Sherlock Holmes film ever made, and one of only a couple that ring true as being faithful to the spirit of the original stories. This is no Hollywood butchery pitting Sherlock Holmes against Jack the Ripper or Dracula, but a truly excellent film.

The story centers around a cocaine-addicted Sherlock Holmes beginning to lose touch with reality, and the effort by Watson to save him from this fate by recruiting the aid of none other than Sigmund Freud. The three lead actors are thoroughly outstanding. This is especially true for Robert Duvall as Dr. Watson, who is really the lynch-pin of the film. It is a pleasure to see Dr. Watson portrayed well (a doctor and accomplished chronicler after all!) instead of nothing more than the stereotypical bumbling oaf. The story is compelling and entertaining with action and humor in just the right measures. Tennis, fencing, and high-speed chases (by train)!

I can imagine that some Holmes purist might take exception to film, but I think that this original flight of fancy is far better than anything out of Hollywood based on stories that Conan Doyle did write. And the film itself even takes a bit of a bow to the Holmes mythos and Doyle's own designs. I won't give it away, but just listen the last lines in the film as Holmes says goodbye to Watson.

As to the quality of the DVD, however, this one is unexceptional. Just try to let yourself enjoy this 5-star film and don't get too caught up in the media (still, to be fair, the DVD has too lose a star because of the DVD, even if the film itself is great).

This is an off-beat Sherlock Holmes film that rings true. If you're looking for pure fare, just the way Doyle wrote it, look for something by the BBC, such as the Jeremy Brett series of the past decade. If you like this film, try "They Might Be Giants" starring George C. Scott. It, too, is a bit of a 'strange' Sherlock Holmes film that nevertheless seems right.

This is the best Sherlock Holmes motion picture.

The plot, characters, acting, direction, production are all quite good. Nicholas Meyer wrote the screenplay for this adaptation of his very fine novel which resulted in a handsomely crafted and very engaging entertainment. Meyer remains faithfull in spirit to the Canon and takes us on an enjoyable and plausable adventure that moves along at a good pace. Highly recommended!

I regret to say, this early Universal DVD is NOT presented in it's theatrical widescreen ratio. Pan and scan is evident in a few scenes and the images feel claustrophophic. The sound is mono but I thought it was stereo back in 1976. There are no extras. Neither is this disk 16x9 enhanced.

This film deserves to be redone and reissued. And please, Universal, redo that cover. This IS a Sherlock Holmes story. Your theatrical poster art would be welcome here.

There are substantialy less than a handful of Sherlock Holmes films on DVD. Why this is so is a mystery. At the very least we should have Billy Wilder's The Private Life of Sherlock Holmes, Christopher Plummer and James Mason in Murder by Decree, and Basil Rathbone in The Hound of the Baskervilles.

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From the opening to the closing credits, filled with illustrations that originally accompanied Doyle's stories in the Strand, the details of the movie are painstakingly accurate when compared to those in the canon. This is one non-canonical Holmes story that exists in the same world as Sir Arthur Conan Doyle's Sherlock Holmes.

The movie takes the liberty of assuming that all of Dr. Watson's accounts of Sherlock Holmes are true, except for one. That would be "The Final Problem", in which the great detective supposedly dies at the hands of his arch-enemy Professor Moriarty. The movie suggests that this story is merely a cover up for a period in time in which Holmes was getting help with his cocaine addiction from none other than famous psychiatrist Sigmund Freud.

The settings and characters ring true to both Doyle's mysteries and the Sydney Paget illustrations that accompanied them. Sherlock Holmes' deerstalker and cloak, though never mentioned by Doyle, look more like Paget's illustrations than ever before, more rugged than in most film interpretations. American actor Robet Duvall, despite sometimes struggling with the British accent, portrays Watson as an intellectually and physically fit comrade for Holmes, not a bumbler. Laurence Olivier's Prof. Moriarty matches the vision of Doyle and Paget rather than the cliché mustache twirler of other movies. Only now, Moriarty isn't really a criminal mastermind. He's Holmes' childhood math tutor.

Alan Arkin depicts Freud as a man of intelligence, insight, and above all, honor.

The inclusion of lesser known characters like Mycroft Holmes and Toby is a plus. There are also references, both direct and sly, to canonical Holmes stories.

While Nicol Williamson's performance as Sherlock Holmes lacks the vigor and spark of Basil Rathbone or Christopher Plummer, Williamson succeeds in showing Holmes as a troubled individual rather than a god. The movie mixes drama, subtle humor, mystery, and even action, finally showing Holmes as the capable fighter he was in the canon. The end of the film strays from the books in order to explore the uncharted territory of Holmes' childhood, providing a deeply moving climax.

This may come truer to Sir Arthur's original vision than any other pastiche written for film so far.

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I own this movie on 12" laserdisc format. Unfortunately I haven't had the laserdisc player hooked up in a long time. I've always loved this film. Certainly far above average. I only wish Nicol Williamson would have finished the Granada television Holmes series after Jeremy Brett died. That was sort of a fantasy casting idea. He is superb as Holmes in The Seven Percent Solution. And what can you say about Robert Duvall? You know he's up to the task.

The DVD is out of print in the USA as of this writing (August 2009), and it costs an arm and a leg on the used market.

However, if you have a region-free player, I would check the UK amazon site. You can probably get a Region 2 PAL copy of this movie for about $8 plus shipping. It's also been re-released on DVD in Australia (which the site I'm looking at says is also PAL format -I don't know, I've never bought anything from Australia).

With most DVD players, you can find a little trick with the remote to make it region-free (Google is your friend). Wikipedia's article on "DVD Region Code" states, "Most freeware and open source DVD players, such as VLC, ignore region coding. Most commercial players are locked to a region code, but can be easily changed with software." Likely you could view it on your computer with VLC player. So, if you're a fan of this movie, and you don't mind a small technical challenge... it is available at reasonable prices. I think I'm going to get the import.

Update 10/2011: I did indeed buy the import, and the picture quality is fine. Since I only watch movies on my computer, it was no problem to convert it to a format that can be played with common software players. The movie appears to have been filmed largely through a gauzy lens -i.e. the focus is soft, there is not a lot of detail. I don't believe it is a flaw in the mastering of the DVD. That's just the way the original film looks. I'm very glad I bought this from amazon.uk, as it is one of my favorite films, the best non-canonical Holmes ever done.

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It's the only Sherlock Holmes-inspired movie I have ever thoroughly enjoyed. It's funny, intriguing, clever and even romantic. It takes a lot of poetic liberties with the characters, both the fictional (Sherlock & co) and the real ones (Sigmund Freud), but it ennobles and humanizes them, so fans of both can have nothing to complain about.

The movie does something very interesting: Freud psychoanalyzes Sherlock and 'explains' him.If only it was that easy in real life...but you know that you can never walk away with a full proof 'explanation' to the conundrum that is Sherlock Holmes. Still, as the saying goes, if they did not get it right, they have made a very good point.

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Baby on Board (2008)

After work, housework, dinner and laundry I like to sit and watch mindless comedies. This movies takes mindless to a whole new level! I kept watching it to the end though, waiting for it to get better. It NEVER got better. Filled with bad gags and even worse acting (Heather Graham with her blank stares and a cosmetic surgery nightmare Lara Flynn Boyle who's puffy frozen face had ZERO animation...)this movie was a complete waste of time and money! Someone should have aborted this project at the get-go!!

A truely awful movie.

So to the people that liked it how much are the studio paying you to write the 5 star reviews?

Pathetic.

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"Baby on Board" stars Heather Graham and Jerry O'Connell as Angela and Curtis, who have a loving relationship, a comfortable home, and successful careers. When Angela announces she's pregnant, however, their lives turn into a nine-month comedy of errors in which each suspects the other of cheating. Now, they must contend with both emotional and hormonal mood swings, as well as the unanticipated drama caused by their friends Danny (John Corbett) and Sylvie (Katie Finneran), who suddenly find their own marriage in peril. Through all this, Angela worries that her job is in jeopardy as she strives to please her demanding boss (Lara Flynn Boyle).

Watching a movie like "Baby On Board," one really appreciates star power. Though the performers are all good and sometimes land the gags with good timing, it's tough to be engaged fully. O'Connell has the ability to play both the goofy fall guy and the romantic lead, yet here he's somewhere in the middle. Boyle scores points as the boss from hell, as she manages to elicit sympathy for what could have been a one-note performance. The Blu-ray edition is pretty bare bones, with only the bonus basics -director commentary, trailer, and photo gallery.

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(Note: It's hard to imagine that I could spoil this movie for anyone, but the list below does contain "spoilers")

BABY ON BOARD is the kind of unromantic noncomedy that is so bad that you will be tempted to press the pause button multiple times to wonder aloud to your partner, your cat, or (if viewing alone) your nearest houseplant:

1) After that dopey summation, why is everyone in the movie treating Jerry O'Connell like a really smart lawyer?

2) Is that really Lara Flynn Boyle?

3) Did any of these actors actually read the script?

4) Would any pregnant woman really stop strangers in the street to tell them she's not pregnant (when they don't care, and she knows she really is)?

5) Wouldn't it be great to see Heather Graham in a decent movie?

6) Isn't there a limit to the number lame/offensive/fart jokes you can put in a single movie?

7) If Jerry O'Connell really were a really smart lawyer, why, when wrongly accused of adultery, wouldn't he simply tell his wife she's wrong?

8)) Why would Heather Graham, when accused of carrying another man's baby, not simply tell her dim bulb/really smart lawyer husband he's wrong?

9) Can anyone really get away with going to work for nine months while keeping her pregnancy a secret?

10) I try not to write negative reviews, but shouldn't I warn people about this one?

Of course, some movies are so bad that you can enjoy them for their sheer awfulness. I can't even offer you that consolation about BABY ON BOARD.

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This movie seems like part of a trend among many recent romantic comedies to substitute vulgarity and silliness for true comedy. The plot twists were often unbelievable, even for a romantic comedy. At several points, people make out wildly in restaurants, jumping on top of each other and groping wildly (which I've frankly never seen in a public restaurant). After the first 5 minutes there was little change in the plot and the ending was an entirely predictable. Throughout the movie, I felt like the main characters were almost purposely miscommunicating simply because they had to propel the plot. Not worth your time there are plenty of other romantic comedies about unexpected pregnancies.

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13 Going on 30 (2004)

Despite the unoriginal premise (the movie Big recast with a woman), 13 Going on 30 is a very entertaining movie and this is due in large part to its star, Jennifer Garner, who brings to her role loads of charm. This movie is the perfect vehicle for the actress because it allows her to break away from the action hero persona that she cultivated with the T.V. show Alias and Daredevil and prove that she can do a romantic comedy.

Garner, with her warm, disarming smile has a wholesome, girl-next-door quality that is quite endearing. She's beautiful but not in an unattainable way. She also has natural comedic ability, for example, in one scene, Jenna livens up her magazine's boring party with an impromptu dance to Michael Jackson's "Thriller," inspiring others to get up and dance as well. Garner also has a very expressive face that is perfect for the broad comedy of this movie. She is willing to take risks and make fun of herself. She is also willing to put herself out there and is not afraid to appear goofy and this only makes her that much more appealing.

13 Going On 30 is the victim of the dreaded double dip. If you already own the Special Edition version of the movie, the two new extras hardly warrant a re-purchase. Also, if you already own the previous edition you might want to hold onto it as the audio commentary by director Gary Winick and the commentary by producers Gina Matthews, Donna Arkoff-Roth, and Susan Arnold is not on this edition.

New to this edition is "Fashion Flashback: Into the 1980s" that features teen models gushing about how much they love the "retro" look of the `80s. It tells you what to look for and where to track down "authentic" clothes of that era.

"Making of a Teen Dream" takes us through the making of the movie in a fun, breezy way that is customary of most press kit type featurettes. The cast speak admiringly about each other in this self-congratulatory extra.

There is a "Bloopers" reel, a collection of blown lines and other assorted goofs that are quite cute.

Also included are two music videos, one for Pat Benatar's "Love is a Battlefield" and another for "Jessie's Girl" by Rick Springfield that allows you to immerse yourself in pure `80s cheese.

The most enjoyable extra is "I Was A Teenage Geek." The cast talk about what they were like in the `80s. Everyone tells amusing stories of what they were doing in high school with photos of what they looked like at the time.

There is also an "Alternate Beginning and Ending" that features different actors playing Jenna and Matt when they were kids. The scene is about the same length as what is in the movie but is edited differently. We get more detail on Jenna's desire to be one of the popular girls. Thankfully, these were not used.

Finally, there are 15 deleted scenes with more footage of Jenna and Matt at the magazine party and so on. These scenes flesh out the relationships between the characters.

Although this movie is often inaccurately referred to as a girly version of Tom Hanks BIG the movie is actually so much more and so much better. Whewreas in the previous movie Hanks character stays in the 1980s when he receives instant adulthood, in this movie an element of time travel is involved when 13 year-old Jenna goes to sleep in 1987 and wakes up all grown up in 2004.

The movie is all the better for this plot device, we get to see where most of the characters from 1987 are now, and the implications of the decision Jenna makes at the beginning of the movie. Its both piognant, romantic and funny in its execution and you would be pressed to find a truly more involving comedy drama in recent years.

Carrying the movie is star of television show ALIAS, the impossibly beautiful and talented Jennifer Garner. She proves that her entertaining turn as Sydney Bristow was no fluke by ably showing of her comic timing and delivery. Not a slam-bang comedy of the Ben Stiller or Adam Sandler vein this movie is more subtle and less in your-face.

As a 32-year old who remembers 1987 well the pop culture references to that era in the initial scenes were drenched in nostalgia and as someone who has chosen a similar career path as Garner's character it is even more involving and interesting. Without giving too much of the well crafted story away, this movie makes you reflect on the decisions you make and the impilcations each decision makes. In this sense it is like the recent Kutcher movie THE BUTTERFLY EFFECT although far more entertaining and light hearted.

This movie is well recommended.

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I was rather pleasantly surprised by this film. Obviously, the storyline is by no means unique, and I've seen too many films featuring kids and adults miraculously switching places to feel all that confident about going once more into a similar breach, but 13 Going on 30 is actually, well, delightful. I'm a big Jennifer Garner fan going all the way back to her role in the short-lived Time of Your Life; by and large, I think she did a wonderful job in this role. It is certainly a different Jennifer Garner than we see on Alias, and it certainly appears as if she relished a role in which she got to be silly and whimsical. I would have to credit Mark Ruffalo with an even more impressive performance, though, as his was the subtle glue that held the fantastical elements of the plot together.

Young Jenna has just turned 13; already unhappy with the way she looks and anxious to be popular, she suffers an embarrassing indignation which has her fervently wishing to be 30. Thanks to some wishing dust on the model dream home her obviously infatuated by "not cool" friend Matt built for her, she gets her wish. I thought the early scenes featuring 13-year-old Jenna reacting to the instant passing of 17 years and adjusting to her new, uh, accessories was a little awkward, and a certain lack of continuity in regard to her reactions to new stimuli popped up sporadically as the film progressed. One minute she's acting like a young teenager, and then she will suddenly seem to have grown up into her new age to a significant degree. Anyway, she discovers that all of her dreams have come true: she was popular, and she has become mighty successful in life actually sitting atop the fashion magazine she was addicted to as a kid. Before long, though, she begins to see that having it all isn't all it is cracked up to be. This grown-up body she inhabits is actually a rather empty shell of a not so nice person. She learns that she has done some rather nasty things over the course of the missing 17 years. The only person she can turn to is her friend Matt (Mark Ruffalo), but the two have gone in very different directions over the years. In the process of trying to save her magazine, Jenna learns that the dreams of childhood don't turn out the way you thought they would and other obvious life lessons, etc., etc. You can probably guess what happens at the end.

The film does succeed rather well as a comedy; the Thriller dance scene, while uncomfortable to watch, is indeed quite silly, and some of adult Jenna's interactions with young teens also play well. I also loved the fact that the movie helped take me back to the 1980s, to some degree. There are some classic 80s tunes on the soundtrack, and beginning the film with the sound of the Go-Go's definitely qualifies for a star in my book. That being said, I have to say that I don't remember some of the awful hair-dos of the film actually existing in the late 80s certainly not among the girls my eyes gravitated toward in those halcyon days of youth.

In the end, this is basically your silly, entertaining, feel-good comedy, and it stars one of Hollywood's most attractive, talented actresses. It doesn't try to be anything more than what it is, and that is a big reason why it works as well as it does. It is by no means a must-see, but I do believe it is a film you cannot help but enjoy.

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Jennifer Garner is wonderful in 13 Going on 30 ! She is so believable as a young girl who wakes up to find she's turned 30 over night.

The storyline and script are really funny and enjoyable, with a very heart-warming ending. This is a great movie for a Mom and young daughter to go see together both will be able to relate to it.

Even the guy I dragged along, said he was amazed at how good the movie was.

Also, if you are into 80's music this is the movie for you ! The soundtack is Excellent !

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This is an absolutely charming and delightful comedy with an excellent cast. Do not, however, see this film unless you are ready to suspend disbelief. After all, the premise of this film is that a distressed thirteen year old girl suddenly finds herself propelled into the future and into the body of her thirty year old self.

Jenna Rink is a typical teenager, a little gawky, a little insecure. She pals around with her uncool best friend, Matt Flamhaff, but, at the same time, is trying to make it into the cool six chicks clique at her school, a nasty little group of teenage hotties who use Jenna for what they can get from her. They agree to come to her thirteenth birthday party, if she will do a class report for their leader. She agrees.

Matt is the first guest to arrive, and he gives her a little, doll sized dream house that he has made for her, replete with magic dust. When the other guests arrive, they soon depart with the needed report in hand, after playing a very mean trick on Jenna and leaving her desolate. A set of circumstances causes the magic dust to fall upon Jenna, just as she makes a wish that finds hers transported into the future and into the body of her thirty year old self.

Jenna discovers that she now has every thing for which she had dreamed when she was thirteen. She also discovers how she has changed, and it is not a change for the better. She turns to Matt, whose friendship, she is shocked to find, has been lost somewhere along the way. Jenna then sets about putting to right what went wrong. Of course, there are any number of humorous incidents that arise out Jenna's current situation.

Jennifer Garner is sensational as a thirteen year old girl trapped in the body of a thirty year old woman. She infuses the role with just the right amount of innocence and joyous abandonment that teenagers often exude. Kittenish and coltish all at once, her charm is infectious. Mark Ruffalo is perfectly cast as the grown-up Matt. He exudes sensitivity and niceness, all rolled into one very compelling package. One cannot help but like both characters tremendously.

This is an entertaining film for those who enjoy light-hearted fantasy films. This film has been compared to the film, "Big", and while there are some similarities between the two, this film stands on its own two feet and deserves its own accolades. Deft direction by Gary Winnick and excellent performances by the entire cast make this film a comedic gem to be enjoyed by those who like a charmingly realized film.

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Muay Thai Giant (2011)

"Muay Thai Giant" here (or "Somtum," which is a more apt title) is a pretty unique movie for giving the spotlight to a performer who thus far had been limited to henchman/enforcer/support-villain status throughout his film career namely that giant among men, Nathan Jones. What's more, it places him in a fairly unique role, or at least one that few people would expect after seeing him in The Protector. Its DVD cover is slightly misleading as to informing you who the real action star of the picture is, but nevertheless, it's still a surprisingly watchable movie. It doesn't really throw any surprises at you, but for its scale and premise, it's thoroughly entertaining.

The story: possessing "the body of a giant but the heart of an ant," Barney Emerald (Jones) is robbed of his passport while visiting Thailand and subsequently finds himself caught up in both the lives of a fatherless family and the dealings of an underworld circle looking to sell a piece of criminal technology. Only when he realizes and masters the raging power he wields upon eating a spicy somtum dish will he be able to help the former and take on the latter.

While anybody can imagine Jones playing the part of a raging red hulk (he literally changes color upon eating that papaya salad), it's more difficult to imagine him playing a meek character prior to that who doesn't know how to fight. This is true for anyone who's seen him in other movies; it's doubly true for anyone who witnessed his years as a pro wrestler; it's triply true for anyone who knows that he earlier in life had gone to prison for no less than eight armed robberies; and it's practically unthinkable for most everyone who just looks at the man and sees that he's seven feet tall with a bodybuilder's physique. However, through an amount of dramatic talent that I know he's never going to be recognized for, Jones succeeds...for the most part. The tender, playful scenes he shares with some characters come naturally, so that for the first time in a movie he actually seems like a likable guy. However, his physique alone sort of defies that he's written as a physically ineffectual scaredy-cat: this is the sort of man who'd break your bones on accident during everyday events, and thus it's hard to believe that he could ever be 100% defenseless, even when he's ganged up on.

Then again, the filmmakers likely stressed this point because, contrary to what the DVD cover would have you assume, Jones only has two fights in the movie, both of which don't occur until almost the very end of the picture. Most of the previous four fights are picked up by junior boxing champion Sassia Jimdamanwee (Power Kids), who's an action heroine in the making if I ever saw one: though her first fight features the most blatant use of wirework I've ever seen in a Thai film and is terribly mediocre, her subsequent two fights against Than Srisuke (The Hangover Part II) are more than satisfying. Dan Chupong (Ong Bak 3) plays a character in the first half of the film and leads a very nice three-on-one fight in a kitchen, and tae kwon do starlet Kessarin Ektawatkul (Born to Fight) takes part in a street fight with Sassia. Though Nathan Jones' two fights feature minimal martial arts and are clearly styled after pro wrestling matches (even featuring fellow grapplers Sylvester Terkay, Luther Reigns, and Tom Howard), the choreography is impressive and the physicality looks painful. Cumulatively, this may not be Panna Rittikrai's best work, but it's still pretty good.

Because this is both a comedy and a Thai film, we're also treated to some remarkably absurd scenes, such as Jones training in kickboxing with a small boy and taking part in an imaginary striptease scene. In a worst case scenario, scenes like these would make a viewer think less of Jones and his previous powerhouse performances, but personally, I think a part like this gives him more dimension as an actor. I don't know if he's meant to be a leading man, but I definitely wouldn't mind seeing him in a few more large roles in the future. Check it out, if you like some surreality with your action.

I didn't expect Oscar caliber acting, especially when the star is a 7' Australian former pro-wrassler. Nathan Jones does a respectable job as the gentle giant who has to survive after being drugged, robbed of all but his pants, and trying to help two pint sized girls who have come to his aid. The one girl is a real junior women's champion Muay Thai boxer ( a style of mixed martial arts) and could kick the snot out of just about anybody she meets while her sister is a sticky-fingered charmer. Cheesy, charming, nasty bad guys and lots of general mayhem. I'd like to try some of the somtum "salad" since I like spicy food but I'm afraid I would burst into flames.

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although the screenplay is a bit simple and formulaic but the giant in this movie actually got some acting talent. never fell flat when the story went. i think that all the stunt in this movie were just top-notched and second to none like ong bak. the fighting scenes were designed ingeniously fun.

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Never let it be said that foreign countries don't make anything other than action films or deep, depressing dramas. Many have the idea that with the exception of martial arts films those are all they offer. In point of fact there are many great films coming out of other countries that we should open our eyes too. Unfortunately this might not be one of them though this could be one to get kids to do so.

MUAY THAI GIANT is one of the combinations of martial arts flick, comedy and crime story that come out of the oriental film market. Touted as being made by the producers behind THE PROTECTOR, the movie stars muscleman Nathan Jones as a down on his luck tourist in Thailand. Drugged and robbed of his money and passport, he befriends a young girl (a small time thief) when she is set upon by thugs. One would think he would come to her rescue but she's actually saved by her butt kicking sister, a muay thai fighter. Feeling for Jones they take him home.

The big lug does his best to help around the house. He's tall and strong so he can do a few things. Their mother wants her daughter not to fight so she's doing her best to support the family with a beachside food shack. When Jones has a bite of her somtom (an incredibly spicy concoction) he turns a bright shade of red and goes berserk destroying the shack she sells from. Now they need to find a way to make money fast and the only way they can do so is if his new friend fights.

Here again you would think this would lead to Jones being a big fighter but that never ends up being the case. Instead the girl is set up by the promoter and short changed when it comes time to pay up. But her sister has nabbed a special key being used by drug smugglers to open a laser encrypted lock. Now the bad guys go after the trio to get back the key.

Dubbing aside this movie is slow paced at times but that could just be the always popular "lost in translation" style found in some foreign films. The character Jones plays is sympathetic and heroic in his own way, coming to fighting mode once given the secret spicy food somtom. It sort of reminds you of when Curly of the Three Stooges would get a whiff of limburger cheese and go nuts.

The film, though crime scenes involved and a few blood scenes from gunshots, seems more in line with teens than with small children or adults. The problem there comes from teens in this country (U.S.) unwilling to accept anything not set here or in the style they're used to. Will teens and pre-teens accept these actors and their situations? Perhaps not but they won't be exposed to anything non-U.S.centric if not given the opportunity.

This film would present that without going towards the more adult fare being offered.

The movie is fun in some parts, action packed with the fighting sequences and touching in others. It's not the worst movie ever but it's also not the best. Does it show promise for its star? Not in this country but maybe in more films like these overseas. It does make an interesting look at what other countries are doing though and that's always worth making a movie worth watching.

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A very funny light romp, with enough twists to keep interest going. Worthy of a sequel. pleasantly surprised by this

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Still Waiting... (Unrated) (2009)

The restaurant has a 20% off special for old people from 2 to 4pm. The staff gets busy serving the customers. There is a snotty greeter / hostess, Naomi. When the special is over, all the old people file out. Naomi and our hero manager Dennis wave good bye to the cusomters. Naomi says "Die Die..... die..... die, die.... die..." instead of bye. It's the funniest joke in the movie.

Yeah, no, this one should have never really been made. The Waiting was good because of Van Wilder Ryan Reynolds, Dane Cook, the oh so hot Anna Ferris, and the chemistry between the cast. The nasty things they did to the food, the stupid jokes that were funny, that made that film funny and watchable. Sadly, this version just lacks any chemistry, no stupid good humor.

The new actors try to immitate the same characters from the original, and it just doesn't work. The whole competition between a Hooters (TA TA's) and a Bennigans is just not terribly interesting or funny. Adam Corolla makes a cameo in an self help video.

Oddly, the film is well made. The camera work is good. The sound recording was clear. The shots were in focus. The editing was decent, nice pacing. The film length was just about right. It's just too bad the acting and script weren't better.

The DVD is strange. I've never seen so many previews in my life. There must be an hour of previews. There are deleted scenes bonus features.

Definately rated R, for every reason except there is no violence in this film. Alanna Ubach, the horrible Naomi hostess, probably refused to take off her top for a certain scene. It's just pitiful when they use a body double and then make it so obvious. Naomi's top off is the only nudity. Definately not a film for younger viewers.

Pass on this one, get the first episode, Waiting. If by some wild chance you happen to survive viewing this film all the way to the end, there is a great easter egg after all the credits have run through. Early in the film, Joshua has a nightmare about having trouble serving people and ending up naked in front of everyone at the restaurant. The nightmare montage at the end of the film is much more pleasant.

Synopsis: The movie takes place a couple years after Waiting... took place. Dennis (played by John Michael Higgins) is the store manager for Shenaniganz and is told by his boss Dan (David Koechner) that if he doesn't raise $9,000 by the end of the day, he'll be passed up for a big promotion he's looking forward to. That won't be an easy task as the hot new restaurant in town, Ta-Ta's Wing Shack, has taken a sizable amount of Shenaniganz's business; not to mention their employees as Calvin (Robert Patrick Benedict), Raddimus (Luis Guzman), and Theo (Max Kasch) defected to Ta-Ta's from Shenaniganz. Gone are most of the familiar faces except for Naomi (Alanna Ubach) and Nick (Andy Milonakis); now they've been replaced by an all-new waitstaff, bar staff, and kitchen staff. Dennis tries his best to motivate the staff to raise the money while Calvin's enjoying life; transforming from a neurotic waiter into a restaurant manager who's a ladies man. Will his transition last? Will Dennis and the waitstaff raise the money necessary for him to get the promotion? Justin Long has a cameo as Dean, Chi McBride has a cameo as Bishop, and Adam Carolla appears as Ken Halsband, motivational guru.

While direct-to-DVD movies aren't necessarily critically-acclaimed, I was really disappointed with how little of the previous movie's legacy this retains. Some of the jokes in the film called back to the first Waiting... film, but then just fumbled the joke or weakly carried it out. While some of the characters improved, most actually devolved since the last film (most notably Justin Long's character) and just left the film to be carried by weak jokes, weak developments, and a not-ready-for-prime time cast that seemed like weak substitutes for the cast of the original film.

It wasn't the worst film I've ever seen and there were a few laugh-out-loud moments, but there were too many inconsistencies for me to give it a higher mark. Recommended for the fans of the first film only; I doubt anyone else would be able to get into the story otherwise; much less get whatever humor's in the story.

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First thing out I want to say this is much better than other direct to DVD sequels. Sure the "big names" weren't here but why would they be? In the storyline two years have passed and it's not unrealistic in two years time to have people move on or change roles in a work environment. How many direct to DVD sequels get as many of the orginal cast to return as this did? I actually can't think of any. Alanna Ubach once again brings big laughs as Naomi. If you liked the first (and like plenty of T & A) check this out. Worth it just to see what happned with the returning cast.

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Just wasn't what I was expecting from a part 2. Not as funny and a cheap rate of the first one.

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sometimes, sequels are okay, but this one was just awful. If they could've gotten all the original cast members back; it probably would've been okay and/or i wouldn't have noticed the storyline was terrible.The chef, the pee-shy guy, the hostess, and the ANGRY girl(naomi) all appear again. It was almost like they were trying to make everything funny and some parts really didn't need to be. I still like the franchise, but wished i hadn't bought this movie; thinking it would've been as funny as the first one.. sad......

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Tamara Drewe (2010)

The sleepy English village of Ewedown becomes quite lively when former ugly duckling Tamara Drewe comes back to town. Now sporting a perky new nose and sexy Daisy Dukes, Tamara quickly becomes romantically involved with a rock star, a sleezy older man, and her childhood sweetheart. With a large cast and many subplots, this story of what really goes on behind the quaint postcard-pretty closed doors is full of laughs and tender moments and even some cattle stampedes.

This movie is completely charming. The characters are all believable, the setting is idyllic, and the script is clever and quirky. All of the adult shenanigans are witnessed and complicated by a pair of adolescent girls, a kind of comical Greek chorus who tie it all together. If you like good, indie British films, you'll love this one.

I found this film on a really long flight home from Asia and started watching it because it looked easy on the brain. Imagine my surprise when it turned out to be the best film that I've seen all year! The second surprise came when I read all the mixed Amazon reviews it seems like half the world hates this, and the other half loves it.

To make it easy for you, I think if you like Hollywood style romcoms you will probably hate this, and if you like British black humor, you will probably really like it. This is definitely not a Hollywood romcom. If you want something brainless with a lot of stereotypical characters and a predictable happy ending, then stop reading. It's also not it if you want to be uplifted or intellectually challenged it's meant to be a social comedy, but the black humor kind, not the kind that offers a serious social critique. There's also lots of dialogue and very little action, and there are no major conclusions, so if you have short attention span and like tidy endings, this is not for you.

So, why did I love this film? Well, as many other reviewers wrote, this is a social comedy set in rural England with plenty of British black humour and mediocre, real-to-life characters. Personally, I think this is the film's real charm. It displays life in all its beautiful-green-grass but nothing to do boredom think Midsomer Murders while showing all the life's little quirks and absurdities bit like Amelie or the Secretary. All the characters are kind of likable, but kind of not: the main character, Tamara Drewe, has our sympathy because she grew up ugly and had to deal with all sorts of nastiness as a result, but at the same time she's arrogant and sleeps with people for all the wrong reasons. Her teenage love is likeable for his down to earth views, but despisable for his lack of ambition. The rockstar Tamara's engaged to is a louche character, but one that loves his dog and treats enamored teenage girls with respect. There's the budding writer who is a coward that lets someone die by accident, but who's just a really nice American guy. There are the obnoxious, pathetic, plain and bored teenage girls, but in the end you're sorry for them, 'cause if you lived in that village you would throw eggs at cars, too...

Is this real life? YES!! People who are bored, not happy with their lives and otherwise unsatisfied with life do all sorts of stupid things, and that doesn't make them bad. It just shows how absurdly ridiculous, sad and sometimes funny life can be. I think the film shows this to perfection but in a really silly, tongue-in-the-cheek kind of way (e.g. super exaggerated teenagers, Tamara in really short shorts.) In my opinion, the best thing about it is that it doesn't treat the issues seriously but rather pokes fun at the mediocrity of life. Plus the sets were gorgeous and the acting fabulous, particularly from the teenage girls. I lived in England for a long time and I just can't shake the feeling that the film holds up the mirror to British life rather well...

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This clever little gem does a great job of capturing the spirit of the Hardy genre and updating it into to a film that has great pacing, a very healthy dose of black humor, interesting and flawed characters, and outstanding performances. The acting is really noteworthy. And the "greek chorus" in the form of bored teenage girls was fantastic. Interesting and original.

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"Paperback writer (paperback writer)

Dear Sir or Madam, will you read my book?

It took me years to write, will you take a look?"

-The Beatles

Based on a graphic novel this story plays more like a Greek Tragedy. It does not quit fit into any category. Still you will find yourself intrigued and kibitzing. Oh what a tangled web we weave.

Local girl Tamara (Gemma Arterton) gets a new proboscis and body to match. After making good as a journalist she returns to her hometown and plays havoc with the local men folk. And that is not all that is happing in the town. To name a couple, we have a married writer with a wondering uh...err... eye, and a couple of schoolgirls playing out their fantasies.

Be prepared for some colorful descriptive words and some suggestive scenes. The only poignant scene that sort of puts a damper on the presentation is when a main character (four-legged) is dispatched while having a little fun, even if it is relevant to the plot.

I only watched the Blu-ray version so I cannot compare. However the voice over commentary is worth taking the time to listen to. I also have not read the novel but will have to to be sure I did not miss anything.

The Girl Most Likely To . . .DVD ~ Stockard Channing

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A quiet English village seems like a good spot for a writer's workshop run by a successful novelist and his wife who minds their farm and cooks up a storm. But beneath the surface of the rural quiet, things are bubbling. The novelist is as adulterous as the hero of his potboiler novels, as he fools around with the young woman writer Tamara Drewe who has returned to her native village. The cozy life of these villagers, however, is upset by Tamara taking up with a popular rock star and drummer. This rhythmic snogging and shagging get the attention of two teenage girl fans of the drummer, who go so far as to sneak into Tamara's cottage and email the drummer on her password-unprotected computer (once he has left for his London flat) in order to entice him back to the village and Tamara's bed. The girls' "messing" with Tamara and her life ends up turning over the whole applecart--with hilarious results!

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