New Comedy Movies

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Monsieur Gangster (1963)

Partially because of the difficulty of translating some of the French slang wordplay, Les Tontons Flingueurs which roughly translates as The Gunslinger Uncles, though it was released internationally as both Mr Gangster and Crooks in Clover isn't a barrel of laughs in its English subtitled version but does offer plenty of dry humour once it gets the plot setup out of the way and gets down to business. Lino Ventura is the former crook who's been making a decent living selling tractors for 15 years who's suddenly summoned to Paris to visit an old friend who had been deported only to sneak back into the country because "France is the only place to die." Which he promptly does but not before leaving Ventura his criminal empire and guardianship of his gorgeous teenage daughter (Sabine Sinjen), who must be kept in the dark about both his death and his criminal activities. Naturally this doesn't go down to well with the rest of the organisation, particularly would-be heir apparent Bernard Blier, and it's not long before the lead is flying and Ventura has to get them back into line and avoid their assassination attempts while dealing with his new niece's cultured poseur boyfriend Claude Rich ("I don't charm, I enchant!").

Adding to his woes is the fact that business isn't what it should be and no-one's paying on time. Whether it's his very capable bodyguard showing off his new Beretta while bemoaning the fact that the high cost means he has to work more, a madame complaining about the recession keeping her customers at home and watching TV because they can't compete with soap operas or a bootlegger complaining that the young drink sodas for their health and the old drink mineral water for their livers while his drivers go off to the Sahara for the free health care and overseas allowance, everybody's got a hard luck story. And one of them has a birthday present for Ventura that ticks...

Based very loosely on the wonderfully titled Grisbi or Not Grisbi by Touchez Pas Au Grisbi's Albert Simonin, Tontons didn't make much of an impact when it was released in 1963 but was one of those films that reissues and TV screenings turned into a massive favorite with French audiences over the years. Beginning like exactly the kind of polar it goes on to satirise and playing both on nostalgia for the good old days when criminals were criminals and gently satirising respectable family values, it's one of those films that builds nicely and, thanks to Georges Lautner's direction, never overplays its jokes even when things get more boisterous. It's a perfectly cast piece too, with Blier's reactions to constantly taking the fall for everything particularly cherishable, but everyone else is on top form too, from Ventura's alternately hangdog or exasperated lead and Francis Blanche's lawyer to Venantino Venatini's loyal hood and Horst Frank's philosophical and homicidal moonshine merchant who'll find someone else to take potshots at if he can't kill who he's aiming at "It's not fair but it makes me feel better." Even Robert Dalban's terrible English accent as the safecracker turned butler is forgivable thanks to his deadpan delivery. Ending with everyone getting what they deserve (and a sly throwaway cameo by Paul Meurisse as his `Monocle' character from Lautner's series of French spy spoofs that will baffle many viewers almost as much as it does the cast), it's such a delight it's a surprise this somehow managed to avoid the run of American remakes of French comedies over the years.

Gaumont's region-free French Blu-ray release offers a very nice widescreen black and white transfer with as decent an English subtitling job as you can expect for a film filled with wordplay and cultural references which will mean little outside of France. In fact, some of them clearly need explaining to modern French audiences too since the disc comes with a neat 22-minute guide to them that's sadly not subtitled for English speakers (nor are the making of featurette, 52-minute documentary on composer Michel Magne or the tongue-in-cheek narration extolling the film's moral and family values in its original trailer). Be warned that the French DVD has no English subtitles on the feature.

I am too bias with Michel Audiard to be objective...! to watch, watch again and speak argot "Audiard"...it is like Molière....in more funny

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Well this may very well be a sendup of gangster films, but I'll never know the whole of it there are no subtitles ! Shame on me for not electing to study French in high school/college !

There should be a listing of this dvd's features, and Amazon LLC sold it ! And I should have checked more thoroughly on this Gaumont release.

This refers to this specific version of this title -

amazon.com/tontons-flingueurs-Ventura-French-version/dp/B002MD2Z10/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1345514032&sr=1-1&keywords=Les+tontons+flingueurs

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bonne qualité du dvd . il y a qu'a l'étranger que l'on peut trouver ces dvd à un prix défiant toutes concurrences . je regrette juste le manque de bonus dans cette édition .

à part cela je le recommande vivement à tous ceux qui sont fans de ces années audiard / lautner et ces merveilleux acteurs , lino ventura , bernard biler , jean lefevre .

:-))))

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My Afternoons with Margueritte (2010)

Gerard Depardieu is back...and this time in a sensitive, enchanting film about the beauty of a friendship between a nearly illiterate man and an elderly woman with a deep affection for books. Sitting on a park bench watching the pigeons play and interact, the woman elegant, wise, but going blind senses the honest heart of the man beside her, the character played by Depardieu. She warms up to him and vice versa. They end up loving each other, but not in the conventional way. She reads books aloud to him and finds out that he is an especially good listener.

It's not just about the love of books, it's about the love of loves. In an age where too many movies celebrate violence and sex, this is a gentle change of pace. And let me add that Giselle Casadesus who plays the lead character is a sensation.

Based on a novel by Marie-Sabine Roger, MY AFTERNOONS WITH MARGUERITTE is pleasant, (mostly) family-friendly escapism that serves as a reminder to the young-at-heart who think they know it all. It's the uncharacteristic love story between Germain Chazes (played by Gerard Depardieu) and Margueritte (Gisele Casadesus), two neglected souls who share a park bench in a chance meeting where they talk about the pigeons. Immediately, the elder Margueritte takes a pleasant enough shine to Germain, who's viewed by the locals as a bit of a buffoon. Raised by a mother he believes never loved him, Germain lacked any real affection as a child. In flashbacks, we're shown that throughout his school days he was ostracized by students and teachers alike. He never quite `fit in' with any of his relationships, and, as a consequence, he strongly responds to Margueritte's courtesies. They continue to meet over the next several weeks, wherein the senior agrees to read to him from the books of her personal library.

In short, AFTERNOONS is an oddly effective `coming of age' story for both the principles. Margueritte at her advanced age lives what's left of her days in an assisted living community, where she's holed up with her books, rarely visited by her own family. By contrast, Germain sees the world plainly, engaging in such elementary tasks as naming each of the park's pigeons he feeds based on their observed behaviors. Margueritte becomes smitten by his honest (if not poetic) simplicity, and he slowly begins to realize he may be as "simple" as he's often dismissed himself. Like in any positive relationship, the two come to understand one another in unique ways that brings greater happiness to their lives, even though others scoff at the time they spend together.

Also, there's an odd narrative parallel running between two distinct love stories: (1) Germain and Margueritte, and (2) Germain and Annette (played by Sophie Guilleman), his legitimate girlfriend from town. There's the obvious generational difference between the simpleton and his elderly suitor-of-sorts, but there's a second one between Germain and Annette, who appears (at least to me) about 30 years his junior. The much-older-man with the much-younger-woman doesn't factor as prominent, but it's clear that the townsfolk have no reservations about those affections; by contrast, Germain receives much good-spirited "ribbing" for spending so much time with the old woman. I believe the statement made here is that it's odd how some relationships are accepted, if not encouraged, while others are frowned upon and the source of scorn.

In the end, Germain sees it as love. To be perfectly honest, it probably is, though it may not be the form most folks expect between a man and a woman. Also, given the fact that he's portrayed a bit as the village idiot, one could reasonably question whether it is or not. In the end, it doesn't matter, for, when you're exploring matters of the heart, all that really matters is what the two `lovers' feel. In that estimate, AFTERNOONS are worth spending in the comfort of your soul mate, and these two have definitely found one another.

MY AFTERNOONS WITH MARGUERITTE was produced by ICE3, K.J.B. Production, France 3 Cinema, Studio Canal, DD Productions, and a host of others. DVD distribution is being handled domestically by New Video Group. It all looks and sounds solid. Artistically, I had some trouble with Germain's flashbacks; they were filmed in the same fashion as the present-time parts of the narrative, and it would've been nice had the director chosen to set them apart visually a bit because, the first time it happened, I assumed we were in present day ... until the school boy answered to his name. It's a mild hiccup, but I thought it worth mentioning. No significant special features to speak of; a commentary might've been nice, but, alas, it wasn't meant to be.

RECOMMENDED. It's not a big picture. It isn't necessarily elegant or boldly dramatic in any particular way. Still, MY AFTERNOONS WITH MARGUERITTE is a pleasant enough diversion one exploring a chance encounter that turns into an effective if unconventional relationship for both parties brought to life convincingly by the two leads. It may not change the way you live your own life, but it just might make you think twice when you happen across an elderly spinster sitting on a park bench.

In the interests of fairness, I'm pleased to disclose that the good folks at New Video Group provided me with a DVD screener copy of MY AFTERNOONS WITH MARGUERITTE for the expressed purposes of completing this review.

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So amiable, pleasant, and likable--the French confection "My Afternoons with Margueritte" is pretty hard to resist. The film is set in a provincial town where everyone knows everyone else's business and the citizenry is populated with an expected assortment of eccentric character types. At the heart of the film is Gerard Depardieu playing, essentially, the village idiot. As a functional illiterate with a penchant for saying the wrong thing, most of the town laughs along with his antics. People like him, but he is taken primarily as comic relief. His tumultuous relationship with his mother hints at something a little darker beneath the surface and we see glimpses, both past and present, of a less genial life story. But we never dwell on anything too serious in this breezy little film.

But what of Margueritte? She is an elderly woman from a local home that has a chance encounter with Depardieu in the park. They bond over pigeons, and soon their one-time meet morphs into a regular encounter. She shares her love of books with him as she reads aloud and encourages him to embrace that it's never too late too learn. As their bond deepens into a loving friendship, there are a few stumbling blocks. It's all rather predictable, but always very sweet as well. I suppose it would have been very easy for this to have turned into overly sentimental treacle, but the pace is brisk and the actors are engaging--so it's a story you want to root for even if it holds few surprises.

The fact that the movie works as well as it does is certainly a testament to the two leads. I especially thought the great Gisele Casadesus had a pleasing matter-of-factness as the aforementioned Margueritte. When she and Depardieu play off one another, it is a real delight. Her faith in him gives him more confidence in himself, and it's a charming message. I might have toned down some of the unnecessary wackiness within peripheral storylines. I might also have liked to know how, given his reputation in town, Depardieu scored such a lovely and supportive girlfriend. But these are minor quibbles. "My Afternoons With Margueritte" is just a pleasant experience that you give yourself over to. I'm not sure that Jean Becker's film is going to linger with me for long, but I enjoyed it in the moment. KGHarris, 6/12.

Read Best Reviews of My Afternoons with Margueritte (2010) Here

( This is a review of the Standard DVD version of this release.)

Remember in the 1970s and 1980s when French actor Gerard Depardieu was a French "matinee idol"? Okay he wasn't "small" in stature but you would never consider him large. Well time passes and the actor (with almost 275 films to his credit ) is older and much larger now. But he still has that innocent face, and, in his early 60s, is still making fine films.

This low-keyed film matches Depardieu with 97-year old French actress Gisele Casadesus as an unlikely pair who meet one day in a park (literally) counting the pigeons. Depardieus's character, Germain, is a hard worker (he cultivates fruits and vegetables to sell at outdoor markets) but was a slow learner in school and can hardly read. His newly found bench mate is articulate and an avid reader and through reading aloud to Germain she brings a whole new world to him. Director Jean Becker uses an interesting technique to show us how the words (such as those in Camus' "The Stranger") come to life in Germain's mind.

The 83 minutes of this film go by quickly as we are drawn into the story and the actors (both veterans) make us feel for their relationship, knowing that, at age 97, Margueritte has only so much time to read. The ending is sweet and will put a tear in your eye.

My only fault in this DVD (which has no supplemental material except the theatrical trailer) is that the subtitles are in white text and are often difficult to read when the background is also white or in pale colors. (Subtitles work best when they are in green or a contrasting color or shown below the image.)

I can certainly recommend this to Depardieu fans, those who like French films or avid readers who love the printed word.

Steve Ramm

"Anything Phonographic"

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The Blind Swordsman: Zatoichi

Kitano's remake of the popular 1960's "Zatoichi-the Blind Swordsman" series (there were probably over two dozen of the original series) takes big risks but largely succeeds. Kitano is a darker, more sinister Zatoichi, and the action is a lot more Tarantino-esque. The sword action is first class but extremely violent, unlike the original series which, like the vintage Westerns, were mostly bloodless affairs. Blood squirts everywhere on the scale of "Kill Bill."

This is not the 1960s Zatoichi, who was a more light-hearted character who often avoided conflict and was even prepared to play a buffoon to avoid violence. Not so here Kitano stalks his prey relentlessly, like the former Yakusa he was. There is a very adult story spliced in here about the two gisha runaways (one is not who s(he) appears to be) so forget about pre-teens watching this one. Unlike many Samurai period pieces, there is a plot here which is serious and sad.

The unexpected bonus to this movie is the excellent musical soundtrack consisting of Taiko drumming and dancing, well worth cranking up on a home theater system. Peasants threshing rice beat out a syncopated background to a scene, and there is a big Taiko musical send up (not too different from some of the 1960s Zatochi musical numbers) at the end.

OK, let me get this straight: the disc comes with a documentary where the director of photography EXPLICITLY details how and why the director agreed to go with a desaturated color palette for this film. Unfortunately for him, the American version of this disc simply chose to ignore their wishes, saturating the color to make the film look "normal" for American audiences (since we are a bunch of neophytes who could not understand that the color was desaturated on purpose). Joe six-pack apparently also wants films that have been oversharpened, distorting the original film look. This, and not providing us with a high quality version of the original Japanese soundtrack (naturally that is reserved for the dubbed English version, since, again, American audiences cannot bother to read subtitles or care about hearing the original language of the film) make this version of the film on Blu-Ray a slap to the face of any discerning film lover.

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Blending period drama, Shogun Assassin-style ultra-violence, comedy and Stomp-esque musical interludes, Takeshi Kitano's "Zatoichi" is probably the most audacious film to have come out of Japan so far this decade. Kitano a former comedian who divides his time between gameshow appearances and producing violent gangster flicks plays the eponymous hero, a blind but deadly samurai who gets off on gambling, chopping wood and putting wrongs to right. It's a masterful turn, and one that Kitano clearly relishes, twitching and chuckling to himself before dispatching enemies with a blink-and-you'll-miss-it flash of his blade.

The plot centres around Zatoichi's battle against the local yakuza and their formidable samurai-for-hire (Ichi the Killer's Tadonabu Asano). There are showdowns aplenty and, when they do come, they're nothing if not spectacular. Digitally-enhanced, cartoony and extremely violent (think: severed limbs and gallons of blood aplenty), the fights are likely to polarise audiences almost as much as the film's climactic, er, tapdance sequence.

In between, we get a revenge drama involving a cross-dressing geisha, a wannabe samurai who charges around wearing little but armour and what looks like a nappy, slapstick galore and numerous musical interludes. In a similar vein to Lars von Trier's Dancer in the Dark, Kitano draws his soundtrack from ambient noises as Zatoichi wanders, sightless, through the fields, the sounds of workers' hoes builds up into a natural rhythm. It's a cute effect, and one that's deftly employed here, compounding the sense that Zatoichi though blind is catching something that everyone around him misses.

What impresses most is how Kitano manages to draw such unlikely elements together and, moreover, make them work so well. I can think of few directors capable of flitting from slapstick to bloodbath, or domestic tragedy to musical setpiece, as convincingly or effortlessly. Even the aforementioned tapdance number, and a lengthy flashback/musical piece midway through, make a curious kind of sense on a second viewing.

Being a Japanese-language film, this one will inevitably get only a limited audience. Those who do make the effort, however, are in for a treat. It wouldn't be overstating the case to say that you've never seen anything quite like this before.

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ok, to be honest, i have not yet watched Zatoichi. i'm not here to review that. judging by the reviews of the others on here, you can see that you either love it or hate it. i'm here to recommend SONATINE.

people seem to overlook Sonatine. to be honest, that was the reason i bought this DVD. Sonatine was previously not available on DVD, and you could only get it in a full screen VHS. now it's here in all it's glory. don't expect a crazy action movie like Zatoichi, Sonatine is more akin to Hana-Bi (aka Fireworks). very slow paced, but still very good. this double feature is worth it just for Sonatine.

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This is the type of Beat Takeshi film I have been yearning to see for a decade. It is a Japanese period film stylistically similiar to Kurosawa's Yojimbo and Sanjuro. Takeshi however has modernized the genre with the utmost taste and care. The music, the acting, the swordfights, the tap dances, the camerawork, the plot, the computerwork... all utterly amazing. Takeshi set out to make a "Big Screen" work to entertain the masses and he has far surpassed any expectations.

I cannot believe this hasn't exploded onto the big screen in America. This movie can be enjoyed on a number of different levels by an extremely wide audience.

If you haven't seen this movie go out and rent it, you will not be disappointed.

Godon Sensei would be Proud!

No Reservations (2008)

A lot of people seem to be saying, "Don't watch this awful remake! Go watch Mostly Martha, the original!" I say, by all means, watch Mostly Martha, but don't bypass this version.

It's true that if I had watched this without having seen the original version, Mostly Martha, I would probably have liked it even better. This American version is really too close to the original, right down to the appearance of several characters (Leah, the sous-chef, for instance). For this reason, if you try to compare the two, it comes off as a half-hearted reproduction, Mostly Martha's reheated leftovers.

In many ways, it does lack some of the heart and depth of Mostly Martha. The characters are not as deep and intense, so their relationships aren't as meaningful to the audience. Kate is not quite as tightly wound as Martha, not quite as isolated--so her sudden inheritance of a child and the infringement of a stranger in her kitchen are less difficult and less meaningful. Zoe is much happier and lively than Lina ever is, and is not as scarred by her mother's death, so her struggle to accept Kate is again less meaningful. Nick, I felt, was outstanding--he was different from Mario, but equally effective. I actually preferred Nick, in fact, as I found Mario bordered on annoying at times, while Nick was more appealing all the way through (and Aaron Eckhart is certainly better looking!).

So why did I give it four stars? Well, I'm a sucker for a good romance. I feel that if I hadn't seen Mostly Martha, I would have given it four stars as a good romantic comedy. That is what is, and that is, I think, all it tries to be. It is fun to watch, the characters are sympathetic, the acting is excellent, the chemistry between Zeta-Jones and Eckhart is wonderful, and the plot is engaging, if predictable.

I also don't mean to say that No Reservations loses all the heart of Mostly Martha. I think it retains it pretty well, while simply lightening up the plot a little. Overall, I actually prefer this version in many ways. I preferred the story without the presence of Lina's father, who to me interrupted the story considerably in Mostly Martha. And if the characters here are a little less intense, they were easier to relate to, for me at least. I found the romance between the leads more convincing here, and the ending considerably more satisfying than Mostly Martha's. Kate and Nick, by the end, actually seemed a little more human than Martha and Mario ever did, and if the ending is predictable...well, some of us like happy endings!

No Reservations may not fill you up with emotion like Mostly Martha, so don't coming looking for a full-course meal. This a essentially romantic comedy, the soufflés of the movie world: light and fluffy and delicious.

There's a light, good-hearted nature to "No Reservations" that's quite pleasing, if a little predictable. This is just as much a story of life as it is a story of romance, and we all know the formulas such films follow: a person's world is rearranged when someone new enters his or her life, and the laughter, tears, and conflict will be plentiful. I expected nothing less from "No Reservations," which is probably why I was able to enjoy it. This is a charming, funny, touching film that casts away any qualms about being formulaic, which is a good thing for anyone in need of romantic escapism. I don't dare question how realistic the events of the film are; this is not a film that bothers with realism, but rather with the idealism that life is supposed to work in a specific way. At times, it's a welcome diversion.

The plot concerns Kate (Catherine Zeta-Jones), the executive chef of an upscale New York restaurant. We immediately get the sense that hers is a very organized, controlled world; while not explicitly critical or demeaning, she is fiercely protective of what she's worked so hard for, namely her position at the restaurant. Here's a person that's strong on the outside but deeply insecure on the inside, exemplified by her inability to receive criticism (never complain about the food she prepares; you'll definitely regret it). For these reasons, she's ordered into therapy. She pretty much dominates her own sessions with incessant discussions on food preparation--appetizing, yes, but not exactly enlightening. Her therapist (Bob Balaban) is initially unable to ask any questions or give any advice. Clearly, she's afraid to let anyone examine her personal life.

Her world is turned upside down when her sister dies in a car accident, leaving behind a daughter, Zoe (Abigail Breslin). Because there's no father in the picture, Kate is now faced with the responsibility of caring for her. But will she know what to do? A child has never been a part of her life; being a chef is the only life she's ever known. She knows virtually nothing about Zoe, not even her favorite color. Furthermore, Zoe has lost her mother, meaning she'll need the extra emotional support Kate may not be able to give. It will be an adjustment, and a tough one at that; not only is Zoe unwilling to eat, she's also unwilling to let Kate get close.

In this regard, she takes right after her aunt, whose defensiveness runs on high after a new chef is hired. Nick (Aaron Eckhart) is a man with a bright, free-spirited approach to cooking: he listens to opera; he actively engages the other chefs; he's charming and witty. Kate finds him threatening, and initially treats him as such by being cold, critical, and distant. But when she decides to bring Zoe to work with her one night, she notices how well Zoe and Nick get along. He even gets her to eat. Thus begins a strained friendship that the audience knows will progress into something more. Of course, that's exactly what the audience hopes will happen. Quite simply, Nick is fun to be around and Kate is not; their coming together allows her to lighten up and let someone in emotionally.

As the film progresses, the relationship between Kate, Zoe, and Nick develops, not necessarily as it would for a family, but rather as it would for a group of friends. I never once thought that Zoe would ever see Nick and Kate as parental figures, which is just as mature on Zoe's part as it is sad. Likewise, I never once thought that Kate saw herself as a mother, despite her growing love for Zoe. The dynamic between these three characters is complex, especially when a number of other conflicts are introduced. For one thing, Zoe fragile state causes problems at school. It also threatens to ruin everything Kate has tried to accomplish. Both are trying, but it's clear that a lot of emotional baggage remains.

Herein lies the film's major weakness: most of Kate's emotional baggage is undefined. We do get a couple of brief mentions, such as her mother's passion for cooking and her father's absence from her life. But none of this is properly developed, and that made her controlling behavior seem less understandable and more uncalled for. Still, I was taken by the dramatic tension between her and Nick; watching an uptight person letting their guard down is both entertaining and uplifting. And I was definitely moved by her attempts with Zoe, who's just begging to be hugged and soothed and reassured that everything would be all right. There's a moment when she watches home video of her mother; Kate sneaks in, sits down, and holds Zoe tightly. You can practically see the emotion dripping off the screen, which is probably why it's effective.

Equally as effective is the growing love between Kate and Nick--a love that can go in any direction but ultimately treads the expected path. I've seen enough cinematic romances to understand that this is appropriate, maybe even necessary. "No Reservations" is the kind of film we occasionally want to see, if not for plausibility, then for the satisfaction of temporarily disappearing into a fantasy. It plays on our personal desires, namely those of happiness and well being in the midst of a crazy world. At one point, Kate says, "I wish there was a cookbook for life"; I found this clever, despite the overuse of the basic message. If it's possible for me to appreciate this kind of dialogue--or even a film with this kind of dialogue--then I think it's safe to assume that it's possible for you, too.

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This romantic comedy is likable but extremely predictable. Catherine Zeta Jones plays a chef at an upscale NYC restaurant who has devoted her life to being a great chef. So much so that she doesn't have time for anything else. Her sister is killed in a car wreck on the way to visit leaving her with her daughter to raise as her own. Meanwhile the new assistant chef is a carefree guy who brings big changes with him. Can you see it coming? Catherine doesn't like him at first, but then....Yes you guessed it. The story is okay and the acting is good enough, but there is nothing new here. This is a good rental to watch with the girlfriend or wife.

Read Best Reviews of No Reservations (2008) Here

Like many reviewers, I choose to write about films or music that I like. Not this time.

No Reservations MIGHT have gotten two stars from me if I hadn't seen Mostly Martha -Catherine ZJ is easy on the eyes, though less so in htis movie... But this remake is slavishly true to its inspiration, even to the music, while lacking all real emotion or strength. And given that Mostly Martha is a remarkable movie, how could this movie ever have been made? Some sense of self-respect should have moved all involved in this version to petition to have their names removed from the credits.

Mostly Martha is funny at times, and tremendously powerful at others -it's a sympathetic portrayal of grief and compulsiveness, all shown with such restraint that its impact is intensified. Martina Gedeck, as she proved in Lives of Others, is a tremendous actress. And the little girl is really good.

So either see Mostly Martha and skip this, or never see Mostly Martha so this won't be so awful.

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I absolutely loved "Mostly Martha" and therefore was a bit sceptical about a remake to begin with unfortunately this version didn't even come close. It has none of the warmth of the original. And it totally lacked the intriguing dialog and relationship between niece and aunt. Although I liked all actors in other movies here they just failed.

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The Deal (2009)

A thoroughly enjoyable romp into showbiz, The Deal exposes what must go on prior to the making of some films and explains why the indies rarely get made while stupid, overdone productions get a green light. The film contains what has become an almost signature role for William H. Macy that of a loathsome, self-deprecating man who somehow is able to win the audience over by the end of the movie.

The Deal is a film that will be studied in film classes in the future. It is a comedy approach to how a film is made, (like Singing in the Rain without signing and dancing). Both of these movies were condemned by critics upon the making of them. The Deal is funning and to be seen as a joke on the industry and then how to make a film and get it produced. I liked it and say it is worth buying just laugh at a film in a film.

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I thought this movie was hysterical, but in a quiet, subtle way. Maybe it's because I'm a lawyer, and I've seen this kind of thing happen in attorneys' characterizations of their clients (or their adversaries). It's all in that moment when he looks at his nephew's script (I won't give the topic away), and then at the article in Variety about the recently converted to Judaism black action star . . . . and he puts two and two together and it adds up to about a hundred and sixty-seven. And everyone falls for it. Or maybe it's just because I'm Jewish. Anyway, this is a fine addition to this genre. It's not just about the zaniness of film shoots; it's about the zaniness of people's minds.

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Although films about Hollywood, and movies about making movies, are always a difficult sell, "The Deal" with Meg Ryan and William Macy is better than most, and in fact is a fairly cute and entertaining Meg Ryan movie.

The film received poor reviews, and went straight to video. But it's surprisingly funny and well done. However, the problem that films in this genre always have is that they are, ultimately, about either the tragedy or the comedy, or both, of pimping and whoring.

People in the movie business, and some movie enthusiasts in the know, find this kind of backstage story great fun. But the audience doesn't seem to care for the implication that they are dolts and marks being gamed by various users and predators in the Hollywood system, who may just coincidentally have made films that the audience loves. In any case, it's worth a view, even if you have to deal with Meg's post surgery face -she's so cute, can't she just be cute and older, instead of botoxed, lifted, implanted, stretched and embalmed. Evidently not...

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I recently screened this film at the Sundance film festival. And even though i did not have high hopes for this film; the wit and comedy stylings of the cast really pulled through, and made this film very enjoyable. William H Macy and Meg Ryan oddly enough had great chemistry and succeeded at poking fun at the insiders in the film industry. Also LL Cool J is playing a Jewish Action star which is pretty much reason alone to check out this movie.

Enjoy!

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Dostana (2008)

This very modern movie about 2 straight guys pretending to be a gay couple to share an apartment in the USA and gain quicker citizenship, was a lot of fun.

I gather the gay thing was a bit of a challenge for some conservative Indians but I doubt would raise an eyebrow in the West. The 2 guys are well played by Abhishek Bachchan and John Abrahams who are so secure in their own sexuality that they were able to inhabit the roles and have fun with them without looking awkward. In fact Abhishek is more relaxed than ever and even dances less woodenly. He and John have great 'friend' chemistry and obviously had a ball making it. His comedic timing resists going over the top and is very good.

Priyanka looks suitable gorgeous and acts fine (despite quite a few Bollywood critics who see her as a lousy actressand in fact often lump Abhishek in with that in acting ability quite unfairly I think). Bobby Deol also has a small but solid part to play. Not much is required of him but he does the nice guy thing well.

The plot leaves you guessing which guy she'll go for. There was one small part of the script involving manipulating a 5 year old (no spoilers though) that I did feel crossed the line.

There are some quite catchy songs and colorful dance numbers.

It is a light comedy piece not of the over-the-top slapstick Indian's often like in comedy. It is much more Western in its pitch. I think they played sensitively with the gay thing and I don't think any gay person I know would feel offended by it. On the contrary it adds a certain respect for gays as a legitimate part of the world in a way they generally aren't in Indian movies even one of their mothers accept this as 'Gods choice' for them!

I could almost give this a double the stars for the DVD producers finally addressing the needs of the DVD viewer.As the credits roll there is a colourful song and dance number reduced in size to fit next to the names. For the DVD viewer this is always hard to view and generally is displayed in the same format if you try to select it through the songs menu. This time, after they had finished with the credits and the reduced size number, they replayed the number in full screen. Many thanks from a grateful viewer who finally got her moneys worth!

A lot of light-hearted, well acted fun and Abhishek is opening up more and more in his range and ability and gives a great performance in particular.

I watched the movie at a Film Festival in Miami since my sister was a dancer in it. I didn't expect much from it, but it turned out to be an extremely well made and entertaining movie. It's hilarious and charming.

If there are bad reviews about this movie without explanation, it's probably because that person doesn't like singing and dancing. However, there really isn't anything wrong with it. This was my first Bollywood movie and definitely not my last.

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I watched this movie despite mixed reviews from people who had seen it. I was not sorry at all .... Dostana is delightfully light-hearted and comes with very catchy music.

Watch it if you you're looking for a couple of hours of entertainment without any emotional undercurrents.

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Abhishek Bachchan, Priyanka Chopra, and John Abraham are the best couple in history. I love this movie so much that I recommended to all my friends. They even bought copies. Absolutely fantastic movie.

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I loved the film! Music, dancing and clothes are great. Priyanka looks lovely all the time. John & Abhishek look sexy, but you can fall in love for both, as they go from funny to tender. You can laugh a lot, no matter if you are straight or gay. There is a good message for a conservative society (or even conservative sectors of our "modern" societies), as being gay is defended and the most traditional character in the film finally accepts the "gay" couple. Which is the ending of this story? You can take your choice. I decided to look at the subtle body language of characters in the last scene and considered music video played during credits as an epilogue. Even my 71 y.o. mom loved this film.

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Ladies Vs. Ricky Bahl (2012)

Good film. The acting is very good with all four actresses giving really good performances (especially Anushka). The only thing that let me down a little was the plot (only one part, but if I say it will give the game away!) That was only one small thing of a wholly enjoyable film though.

Ladies vs. Ricky Bahl (2011) is quite engrossing never boring film starring four different kinds of woman from different backgrounds.Parineeta Chopra is a Delhi Girl and is quite outspoken and funny.Dipannita Sharma is corporate CEO and is quite calm and composed and decision making woman.Aditi Sharma is the traditional Muslim girl from Lucknow simple and pretty.Anushka Sharma works in Home Town and is a brilliant sales Personnel who is hired by the other three to con Ricky who has duped all three of them and many more.Film is quite well written and well directed and Anushka again gives in a nice performance.She is quite natual and effortless it never seems she is acting.Ranveer too is ok.Its a good movie to see this weekend.

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This movie has good plot, great songs with colorful dances and great up-coming actors! I recommend that please see it!

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Recent yash raj films have been rather boring, can't remember the last time they produced something interesting and original. So I was surprised to find a really watchable film from them in Ladies Vs Ricky Bahl. Has a good storyline and is very well made. Highly recommend this on blu ray.

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This movie is amazing, loved every part of it. Seeing it in blu ray makes it even better. Definitely worth the purchase :)

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Along Came Polly (2004)

This movie fits the mold of a romantic comedy perfectly. Stiller does well and has some hilarious moments. Jennifer Anniston supports his purpose and does well on her own, also.

For me, the standout role was played by Phillip Seymour Hoffman. From the equivocal sex and relationship advice he gives to Stiller's character to his commentary on the basketball court (screaming out "Let It Rain", "Iceman" and "Raindrops" while his gut comes flying out of his shirt, for example), he is hilarious. Hoffman also gets to speak the most memorable line of the movie when he tells Stiller's character that he just sharted and that it is indeed time to leave the party.

I recommend this movie if you're a fan of most Ben Stiller movies. It's a movie that will remind you of a dozen other romantic comedies, but it is worth the viewing.

If one is a fan of Ben Siller and one enjoyed him in the films, "Zoolander", "Meet the Parents" and "Something About Mary", then one will enjoy this light, fun filled comedy that does not take itself too seriously. It revolves around insurance risk-assessment analyst, Reuben Feffer (Ben Siller), who marries the woman of his dreams, Lisa Kramer (Debra Messing), only to lose her on their honeymoon, when she betrays him with the very buff Claude (Hank Azaria), the scuba diving instructor with a seriously deranged French accent.

Returning home from the honeymoon, alone and forlorn, he runs into an old childhood friend of his, Polly Prince (Jennifer Aniston), who has gone from being a math geek to being a totally free spirit. They begin dating, even though they appear to be total opposites. Let the games begin! There are a lot of jokes in the film, often scatological, and sight gags. The path of true love certainly does not seem to run smoothly when one is plagued with irritable bowel syndrome and one's girl-friend is fond of hot, spicy food.

Ben Siller is funny in a hapless, hang dog sort of way. Phillip Seymour Hoffman, as his best friend, Sandy Lyle, also adds to the humor, lowbrow though it be. Hank Azaria is very buff and over the top in the role of the sexy, scuba diving Frenchman, Claude, with the laughable accent. Jennifer Aniston is a terrific in the role of Polly, a total natural, playing it straight and always charming. The rest of the stellar supporting cast, Alec Baldwin, Debra Messing, Bryan Brown, Michelle Lee, and Bob Dishy, all contribute to the success of this comedic effort by writer-director Jerry Hamburg.

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Along Came Polly is a complete waste of time. Like Zoolander, the only funny parts were in the trailer for the film. Don't get me wrong, Ben Stiller was really funny in Meet the Parents, but don't even expect 1/92nd of the laughs. Dont rent it, dont buy it, or you'll be just like me, warning everyone else not to make the same mistake. Take your money, and if you havn't bought Return of the King, do yourself a favor and buy that instead.

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I caught this film while channel surfing after I'd finished "My Super Ex-Girlfriend" on Pay Per View. After watching a few minutes I thought, these are the same characters.

If Uma Thurman's G-girl didn't have any powers in "Ex-Girlfriend" she'd be a lot like Jennifer Aniston's ferret-loving Polly Prince. Ben Stiller plays a risk assessor for an insurance agency who's just as dorky and introverted as Luke Wilson's "Super Ex" architect. And instead of Rainn Wilson ("The Office") as the boorish best friend dishing out bad relationship advice, "Polly" has Philip Seymore Hoffman ("Capote") as a washed-up child-star slob, egging Stiller to slap Aniston's rear during sex and ask "Who's your daddy?" It's this exchange that sets up the film's conflict: Aniston, repulsed by the comment, boots him out of her apartment. Stiller then has to learn to see Polly through his own eyes and prove his love before he loses her in the third act.

"Along Came Polly" is as safe, generic and cut-and-paste as a romantic comedy can be. Surprising, since director/screenwriter John Hamburg provided plenty of laughs in "Meet the Parents," and "Zoolander" was at least somewhat original, if a little stinky. That's not to say "Polly" isn't beyond repair: there are several amusing sight gags involving Aniston's blind ferret and Stiller's indigestion; Aniston and her salsa instructor give Stiller several opportunities to make light of his inadequacies (something he's a master at). Bryan Brown ("FX") is entertaining as Stiller's potential insuree, an Austrailian millionaire who also happens to be an extreme sports enthusiast. And Hoffman gave me a lot of laughs when he tried to be the lead instead of Judas in the Hell's Kitchen community theater version of "Jesus Christ Superstar."

So, "Along Came Polly" is worth a shot if you catch it on TV, but ultimately forgettable. Actually, the soundtrack is better than the movie, though it's still nothing to swoon over.

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This is a very cute movie. Excellent choice for a date night! Ben Stiller is at his best and compliments Jennifer Aniston perfectly. This is a must see!!!

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