The Answer Man (2009)

Was desperately searching for something to watch while being home sick.

I had never heard of a "Pre-theatrical trailer", but was intrigued! I watched the actual trailer and saw that this flick starred Lauren Graham and Jeff Daniels which sounded/looked like the beginnings of something really, really great!

I pondered the price watched the trailer again and went with my gut!

I rented it!!

I LOVED it!!

I highly recommend it and can't wait to spread the word!

I also can't wait to see it again!

No spoilers here it reminded me alot of the movie Once.

It was a very simple but sweet plot that almost everyone should be able to see themselves in one way or another. It had love story, family, drama, parenthood, romance, realty, addictive behaviors, but it also had laughter!! It also reminds me of As Good as It Gets. But, this movie is also completely original when I compare it to those it's more of a feeling.

This movie is BEAUTIFUL in many ways!

I hope others give it a watch and feel the same!

HIGHLY RECOMMEND!!!!!

I thought Jeff Daniels was superb, and all of his co-stars were right on with their performances. The script was well-done, and the timing of the scenes was crisp. In the beginning, I was riveted. But I began to see things unravel as we got to the end, and I think the movie lost its way a bit in the last few minutes. This was a hard topic to tackle on film, and the actors and the script writers did a great job of almost carrying the overall theme--which was, in hindsight a bit unconventional--off. In the end they could not wrap it all up with a bow, but that would have been too trite and not fitting for this quirky movie anyway. I enjoyed the film, and it made for a relaxing and fun evening at home. How cool to see this right on my computer too!

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This movie has been sitting on my shelf for over two months. I think initially, I was turned off because of the whole Indie thing. Independent movies never hit the right cord with me so on an "I am not leaving the house no matter what" Sunday, I popped it in.

I loved this movie.

There I said it; I actually loved an Independent Film.

Jeff Daniels plays a foul-mouthed spiritual author who took over 10% of the G-O-D market by writing a book on the conversation that he had with the Almighty. Because of the fame and the zealots, he has lived a life of isolation. He has never spoken publically about his book; he has never opened himself up in that way. His publicist hates him, he hides action figures in a cabinet and is paranoid about anyone touching his piano. That is until he is in excruciating back pain and literally crawls into the office of a chiropractor and his world is opened up in un-expectant ways.

I would hate to say that Lauren Graham and Lou Taylor Pucci are the supporting cast because they each hold their own and then some to Jeff Daniels. Each storyline -of a single mother starting out on her own and a bookstore owner fresh out of rehab dealing with an alcoholic father hold the same fascination as the reclusive author. Each person is searching for answers in a world that only offers more questions and challenges.

This movie is very funny, very over the top in language and very sincere in the message of needing people to help us over our hurtles. In a way, we all need a Jeff Daniels / Arlen Faber in our lives -a man that does not have all the answers but sure knows how to give good insight when it is needed.

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This movie may not be perfect in all aspects, but it is full of sweet and heart-breaking moments that keep you rooting for its many underdogs all the way--even the harsh and jaded main character, Arlen. The chemistry between the actors is flawless, without exception. The ending is satisfying in that it doesn't feel the need to tie up all the loose ends and it leaves you wanting more. I have heard it compared to As Good as it Gets, but I prefer this version. While it lacks the glossy main stream production qualities of AGAIG, it makes up for it in its every day heroes that are much more relatable.

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This movie is a little bewildering. It constantly threatens to veer into syrupy sweetness and does occasionally all the while covering up a genuinely deep and thoughtful foundation. The characters spend a little too much time introducing themselves and explaining who they are. Better to show than tell. There are moments of groan inducing corniness and there are small, subtle moments of greatness. Overall I like the movie, I think I came out a little better having watched it and isn't that what art is all about?

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The Misfits (1961)

It's almost impossible to review this as just a movie, as it is, to movie buffs at least, such a curio piece. As everyone knows, the screenplay, written by Arthur Miller, started out as a tribute to his wife, Marilyn Monroe, but proved to be the death knell for their marriage. Though this looks like a "Western", it is far from it. It is an almost obscene look into the coming together of a group of lost souls who have nothing left to lose. This John Houston film was famously fraught with problems, many related to M.M.'s real life breakdown, and went over budget, and became, at that time, the most expensive black & white film to date, a dubious distinction. That Miller based "Roslyn" on Marilyn is now well known, a portrait at once flattering and brutally honest. If there's any doubt that Roslyn is M.M., watch for the scene when Marilyn opens a locker , in she & Clarks little "love cottage", there are well known glamour pin-ups of the real life Marilyn hung inside, which "Roslyn" refers to as "just some old pictures of me." Also the scene of M.M. & Gable, as they awaken one morning, and she is seen nude from the back, is one Marilyn fought for, wanting her breast, which was visible in the rushes, kept in the final film. This was unheard of at that time, and was cut out of the final print. At the time, M.M. commented: "I love to do things the censors won't pass, after all, what are we here for, just to stand around and let it pass us by?... Gradually, they'll let down the censorship, sadly, probably not in my lifetime ", a prophetic comment from a woman who was ahead of her time. Though she drove John Houston to distraction during the filming, he years later commented: "Marilyn was as fine an actress as any I ever worked with... she just reached down within herself and pulled her own emotions out, it was real." This film , aside from Clark Gable, also stars good M.M. friend Montgomery Clift, another real life misfit, also good M.M. friend Eli Wallach, both fellow alumni of The Actors Studio, and the fabulous Thelma Ritter, who seems to be the only one capable of holding it together. At the films release, during Marilyns now famous scene in the desert, where she lashes out at the brutality of "the men" as they capture a horse for slaughter, apparently many in the theatres laughed out loud at this unacceptable version of their Marilyn, which is very sad. I have always found this scene devestating, and only shows the struggle she had to face, in her attempts to grow as an actress, and not be confined by peoples limited vision of her. Contrary to popular belief, this film was not a total artistic failure, and received many positive reviews at it's opening. The New York Tribune: "Here Miss Monroe is magic but not a living pin-up dangled in skin tight satin, and can anyone deny that in this film, these performers are at their best?" New York Daily News: "Gable has never done anything better on screen, nor has Miss Monroe." The fact that Gable died two weeks after shooting wrapped, and that Marilyn never completed another film, only seals the legend surrounding this films making. In hindsight, it was truly the end of an era. If you want a fascinating read on the making of this film, try and get the long out of print "The Story Of The Misfits", by James Goode. Published in 1963, it's a day by day chronicle of the films making, and, though only a year after M.M.'s tragic death, handles her memory with total respect...the legend had already begun. This sad, but ultimatley hope filled little drama, filmed in the almost lifeless desert, is maybe not for the viewer looking for lots of excitement and action. But if you're a serious viewer who can appreciate brilliantly subtle performances, starring two of filmdoms biggest legends... in a movie steeped in Hollywood folklore, then you'll appreciate this film. How fitting that their final scene has them riding off, heading "for that big star."

This once nearly forgotten movie, the last film of Clark Gable and Marilyn Monroe is now coming forward in the lexicon of film history as an underrated gem. Universally misunderstood for the most part at the time it came out it is clear now that this film was at least five of six years ahead of it's time. It fits in more comfortably with films of the late 60's and early 70's.

The screenplay by Miller is one of his most striking works. A story of a group of people lost in the wide expanse of the West in search of the discarded souls of their misspent lives. The film's beautiful cinematography by Russell Metty stands out as superb artistry at the demise of the black and white era. It shimmers with the silver of the deep expanse of the desert and the flat grays and blacks of the distant mountains upon which the last act of the story plays. The music by Alex North is among his best work and gives a savage punch to the aerial scenes and the round up at the end of the wild mustangs.

Montgomery Clift, by now sliding into the last years of his life is touching in his performance of Perce. His broken cowboy with the broken heart is almost painful to watch. His phone call home to his mother is among some of his best work. Eli Wallach gives a strong deeply moving portrait of Guido who has lost his wife, his way, and his humanity. He shines in his scene with Monroe where he asks her to save him. When she can't to at least say "Hello Guido".

Thelma Ritter is, well, Thelma Ritter in yet another of her excellent character roles. Ritter is the master of the one line wisecrack but here as Isobel she laces the cracks with an underlying sadness and vulnerability.

As Gay Langland, Clark Gable gives what I consider to be the best performance of his career. It was a brave move for Gable to take on the role of what on the surface seems another one of his typical macho made to fit parts. But as the story unfolds from Arthur Miller's pen Gay reveals that beneath his gruff, not a care in the world, cowboy is a man in deep pain and despair at his losses. The world has left him behind. Abandoned by his children the drunken Gable breaks so violently it is a shock to watch the great man fall. This is Clark Gable at his finest ever.

Marilyn Monroe gives an astounding performance as Roslyn Tabler the newly divorced dancer. A damaged woman who finds in the company of these three men something to finally believe in, something to stand up and fight for, she finds life. It is a performance ground out in part from her own person and experience and in part by the director John Huston and the editor George Tomasini who helped a nearly destroyed Monroe create her stunning Roslyn. This, her last performance is her best and the true example of the collaborative creation that film really is. That Marilyn under the circumstances of her life at that time could be so good is a testament to her talent as an actress and a star. Watch her when she is listening to the other actors. This is where she shines; this is the true mark of a great screen actor. To be able to listen and draw you into the inner life of the character through that deceptively simple act of listening and reaction is her gift to the audience. Her scene with Monty in back of the bar, sitting on a pile of trash, her afore mentioned scene with Eli Wallach in the speeding car. These are but a few of the examples in this film of her great talent. In the 1950's and early 60's there were only a handful of great young actresses in film, Elizabeth Taylor, and Marilyn Monroe where at the summit of the small mountain.

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I have always suspected that there was more autobiography in screenwriter Arthur Miller's "gift" to then-wife Marilyn Monroe than even he may have realized at the time. Miller's (typically) depressing assortment of beautiful losers in "The Misfits" is rendered even more poignant by the real-life tragedies unfolding amongst the film's stars (Clark Gable's impending fatal heart attack; Monroe's suicide within a year; and Montgomery Clift's ongoing battles with alcoholism, mental instability and addiction to pain-killers). Morbid as this sounds,these factors probably "helped" Gable, Monroe and Clift to each give some of the most realistic and heartfelt performances of thier careers. Eli Wallach and Thelma Ritter (frequently overlooked for thier contributions to the movie) give equally skilled performances. A bit "stagey" at times, understandable with Miller's theater background. The irony of the movie's final shot, with Gable and Monroe gazing heavenward as they drive toward "that brightest star", is almost unbearably saddening, yet such a perfect swan song for two fine screen actors in (literally) thier final film scene. One of director John Huston's more absorbing dramas.

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Director John Huston had the vision, and his images were taunt, stark, choked in white dust, and bathed in high desert darkness. Arthur Miller wrote the screenplay, possibly as a birthday present for his wife, Marilyn Monroe; a panegyric valentine to salve the pain of her recent miscarriage. Regardless, Miller wrote a powerful tale, something trancendent. He was out to slay the myth of the macho western; creating three male characters named Gay, Guido, and Percy; men that bonded, and held their fears at arm's length. These men feared commitment, and they cherished their freedom at the sacrifice of everything and everyone in their wake.

In its day, this movie was the most expensive black-and-white film ever produced. Critics praised it and panned it equally, but all of them secretly viewed it countless times. It grows on you; like loving a plain woman. It becomes more beautiful, significant, and sensitive as you get to know it. It is multi-layered, and it was packaged magnificently. Russell Metty's cinematography was brilliant B&W; reminescent of the best of James Wong Howe. Alex North's score was colorful, touching our emotional core like the fluttering of angel's wings one moment, and then jolting us with a bombastic jazzy penetrating throb the next.

The cast has been called," Miller's beautiful losers ", and " Huston's heart attack ", and they were both of those things. Clark Gable gave a magnificent performance; sun-creased, visceral, raw, and unfettered. He played Gay, a malcontent that preyed on divorcees and wild mustangs, always looking for that free ride, and expending his entire supply of virility and youth in the process. It is fitting that this performance was the capstone for is career, because with this role he shared secret parts of his persona that previously had been unexplored.

Much has been written about Marilyn Monroe's performance. Her dramatic work in BUS STOP, and NIAGARA touched on her potential, but only in this film did she give an indication of her true range. Yet, sadly, it showcased her limitations as an actress as well. The role was written for her, and it fit her like a tight dress. Her " You are only happy when you can watch something die." monologue was bravuro, but forced. She could have used a few more classes at the Actor's Studio. MM's character, Roselyn was beautiful, vulnerable, lost, fragile, yet manipulative....all qualities MM could play in her sleep; but she was also geniune, sweet, loving, and real in a way we had never seen before. The chemistry between herself and Gable was a slow burn, but just rewatch the scene in the morning in Guido's house, observe the smooth sexuality and geniuneness of emotion. MM showed a naked breast in that scene. The censors snipped it, but Huston had filmed it. America was not ready for nudity in 1961, but Marilyn Monroe was.

Eli Wallach was a clenched fist as Guido, the tow truck driver, and sometimes pilot. It broke our hearts to watch his ragged yearnings, and to realize that he would never get the girl, and he would never finish building his house. Thelma Ritter was all wisecrack and wit, and deserved her oscar for her supporting role. She was a nice juxtaposition to MM's ice angel. James Barton was a wonderful drunk in the bar scene. Gable should have paid more attention to him. A later scene in which Gable is supposed to be enebriated, calling for his children, is the one false note in his performance.

Montgomery Clift as Perce, was one of the walking wounded, banged-up; a bruised soul. Much has been noted about his mental state during the filming, and his medical issues; but somehow Clift made it work for his character. The scene where he lies his head in Roselyn's lap is very touching. His effeminate weakness splashed hard up against the worn leather of Gable's face, and the raw power of Wallach's passion. It was the perfect counterpoint.

Nevada's high desert landscape was treated like another character, and filmed like one. We are haunted by images of the horse hunt. A creaky biplane herding them down out of the canyons, and pushing them out onto the salt flats, where the men and ropes waited. Short stocky spirited mustangs, desert horses, galloping hard, breathing their last few gasps of freedom before the men captured them, tied them down to old truck tires; preparing them for their final journey to the slaughter house, ending up as food for poodles and bull dogs.

The metaphors and symbols intertwine, men and mustangs, freedom, isolation, lonliness, and desperation. But the sadness permeating the characters within the story, was beautifully balanced out with the gentle stirrings of love. That slim chance that Gay and Roselyn will have a healthy relationship. We want it to happen. We hope it will happen, even though we fear that these character might backslide and pull apart. The fade out is very upbeat; a warm breath expelled with heads tilted up, still searching for truth amongst the stars of a clear desert night sky.

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I first saw this movie many years ago when I was in high school. I came into the movie about 20 minutes from its beginning, and that was a mistake. To understand and appreciate The Misfits, you must see it from the beginning with as few diversions as possible while watching. In my teenage years, I wasn't prepared to see a movie such as this, a movie to make me think as this has now done.

So if you are looking for a movie to entertain you, something really light, this may not be for you. On the other hand, if you want something of depth/intensity/masterful performances (something to lead your mind off in many directions)--this may be a good movie choice.

The actors and actresses gave incredible performances. With all the intensity of the themes running through the movie, Thelma Ritter adds a light and humorous touch to what would otherwise have been a very dark production. At the end of the movie, you may come to the same conclusion as I--we are all in some way misfits.

I highly recommend it...

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Soul Men (2008)

"Soul Men," a 2008 release, is a musical comedy road picture, with a template of sadness behind it. It stars more frequent action hero, Samuel L. Jackson, and the late Bernie Mac. It was written by Robert Ramsey and Matthew Stone, and directed by Malcolm Lee, noted American filmmaker Spike Lee's kid brother. Jackson plays Louis Hinds; Mac, Floyd Henderson. Together, they were once "The Real Deal," popular soul singers, and released a single record album. But it's been decades since they were together. Then the death of the supposedly legendary Marcus Hooks (John Legend), once their lead singer, gives them a very good reason to reunite: there's to be a memorial concert at New York's famous Apollo Theater, at which they've been invited to sing. It might just jump start their fallow singing careers.

So, quick as you can say Jackie Robinson, it becomes a road picture, as the quarreling ex-colleagues jump into a Cadillac in California, with four days to reach New York. There is lots of grumbling and fighting, and, be warned if it bothers you, a great deal of obscene language: with m-----f----in almost every scene. Along the road, they will bump up against Rosalee, played by Jennifer Coolidge, in a distasteful sexist interlude that I could have done without. Also Cleo (Sharon Leal, Dreamgirls ), who is supposedly the daughter of one of the leads; they're initially not sure which; Lester (Affion Crockett), Cleo's none too bright, abusive boyfriend; Danny Epstein (Sean Hayes), their new manager, and Philip, (Adam Herschman), Epstein's gofer. Towards the end of the picture we meet the late great funk/soul musician Isaac Hayes, playing himself.

Hayes is very visibly ill and weak he is used to do little more than walk across the screen. And I wish the producers had spent more money on the actors playing Philip (Herschman) and Cleo (Leal): they appear in many scenes, and granted, Leal is certainly pretty enough and sings very well; but they don't bring much to the screen.

However, the charismatic leads do bring a lot to their parts. Their comic timing is spot-on; Jackson's a good straight man, yet he can both pitch and catch: go know. The singing is fine, and the movie boasts a nice sound track of 1970's funk/soul hits. All in all, it's an enjoyable film. And, while it is the last film appearance of Mac and Hayes, I can recommend it as worth seeing for more than curiosity. Nevertheless, at film's post script, as the final credits roll, the interviews with Mac and Hayes are likely to bring tears to your eyes: they did to mine.

What can I say but simply Hilarious! These two guys put together was just perfect! There was never a dull moment with them! I've always loved Samuel L. Jackson and Bernie Mac (Bernie is missed greatly!) this movie never made alot of attention but it should have cause this is one of the best comedy movies I've seen in a long time!

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This movie is so funny that it had me and my family crying

from laughter, holding onto our sides and rocking

back & forth in our chairs!

This is a fitting tribute to the comic genius of the

late great Bernie Mac, who had such chrisma and that good ol'

down home humor like a crazy uncle who always comes to the

family reunions and lights it up!

He's in great form here and it seems to me, a bit reflective,

as if he knew that this would be his last statement to the world!

If you watch the special features, you'll see what I mean.

Samuel Jackson plays the grizzled world-weary sidekick with finesse!

He and Mac shared a great chemistry and comraderie and boy, it shows!

The supporting cast all pulled their weight too and delivered

funny moments as well. Also, this movie was the swan song for

one of the latter 20th Century's great musical minds...

The Black Moses...Issac Hayes!!

In the late 60's thru early 70's, he was a musical & cultural

force to be reckoned with!--Later he proved himself to be

a good actor, and of course the younger generations knew him

as the voice of "Chef" from the now iconic "Southpark".

It's uncanny that both he and Bernie Mac passed away right

after this movie was finished, on the exact same weekend!

Well, if ever there was a time capsule for these two..here it is!

Hayes' music is featured throughout as well.

This is definitely one to add to your collection.

RIP BERNIE MAC (1957-2008) and Issac Hayes (1942-2008)

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I was kind of skeptical about seeing this movie because usually when an actor or comic passes on their last movie is questionable but Soul Men is one of the few exceptions.

The story chronicles Lewis Hinds(Samuel L. Jackson) and Floyd Henderson(Bernie Mac)two members of the group "Real Deal". Floyd pays a visit to Lewis after the death of a soul singer legend Marcus Hooks(played by John Legend) to perform at an event at the Apollo because they believe they can get paid. Lewis is still bitter with Floyd about an incident involving his former wife. They reluctantly team up and go performing state to state before they reach the Apollo.

I wont say that I always laughed but there are plenty of times where I laughed especially with the interaction between Bernie Mac's character and Samuel Jackson's character. Cleo's bumbling, abusive boyfriend Lester(Affion Crockett) had some funny moments too. Both Floyd and Lewis's misadventures are humorous also. There are times when i laughed and times where I smiled. Lewis's interaction with Cleo(played by the attractive Sharon Leal who somewhat resembles Kerry Washington) was sweet. The songs Lewis and Floyd sung were cool and they seem to have a ball performing them and not phoning in their performances(like some entertainers tend to do). Its a shame that Bernie Mac passed before the release of this film. He would have been proud of the final product because the movie was pretty good.

REST IN PEACE BERNIE MAC, ISAAC HAYES and RUDY RAY MOORE!!!

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I'm a huge fan of Bernie Mac and this has got to be his best work ever! This movie is what you would call a real laugh out loud till your sides ache comedy!

Bernice Mac and Samuel L. Jackson are both ex-soul singers who only put out one record back in the seventies and went their separate ways there after. Due to the death of their previous lead singer they are asked to perform at his funeral and are therefore asked to reunite, even though they are not on the best of terms.

Even though I really enjoyed this movie greatly, I must warn everyone there is a considerable amount of adult scenes in the movie and a prolific use of abusive language (m*****f***er) in almost every scene... I think they would have even worked that word into the title if they could!

The movie does a great 70's soundtrack which I really enjoyed especially the one when they first hit the road!

A great comedy, there is not denying that at all, but it could have done with less obscenity!

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Jingle All The Way (Triple Play) (2011)

On October 16th, 2007, 20th Century Fox released Jingle All The Way Family Fun Edition. This is the extended cut specially supervised by director Brian Levant. This runs at 94 minutes verus 89 minutes for the theatrical cut. This edition features the following additions...

1.) Instead of Howard going right after the woman in the car, he first sees another woman (Yeardley Smith) with a matching fur coat. He sees a TurboMan package in her bag and offers her money. She takes it and walks away. He takes it out and discovers that it is TurboMan's sidekick, Booster. He then runs after the woman in the car.

2.) In the following scene of Howard traveling to different toy stores looking for TurboMan, the 'Jingle all the Way' song is replaced by "The Christmas Song".

3.) A scene inside Howard's GMC when they're driving to Santa's warehouse where it shows Howard saying his "We've yet to see a sign of that supposed Turbo Man doll" sentence. The mall Santa doesn't sing his "Little Boy Who Santa Claus Forgot" song in the car.

4.) Additional dialogue in the warehouse, as well as the Mall Santa and all the other Santas singing a chorus of "Little Boy Who Santa Claus Forgot".

5.) The rock version of "Jingle all the way" plays as Howard fights the warehouse Santas

6.) An extra scene of Myron Larabee describing the Johnny 7 O.M.A gun to Howard.

7.) Additional dialogue between Howard and the cops at the warehouse.

8.) A scene with Howard riding home in a tow truck after his car had been stripped where he's rehearsing how he was going to explain what happened to him to his wife.

9.) An alternate ending: instead of the ending at the parade, the film fades back to Howard's house. He turns on the lights on his tree and everybody is happy. Liz says "It was so nice that you went to all that to get him that present.... so what did you get me?" It ends with a closeup of Howard looking horrified. This scene originally played following the credits (theatrical and home video versions).

Personally I prefer this edition cause I am a sucker for Director's Cuts...plus I do like this movie alot. This Extended Cut is presented in it's original theatrical aspect ratio of 1.85:1, a fullscreen version is not offered on this disc. If you like this movie and have the previous edition I would recommend upgrading, if you're new to this movie then this is the edition to get.

Yes, "Jingle All the Way" is chock full of bad acting and ridiculous situations, but hey, it's a Holiday comedy, and a darn good one! And, for those of us who are really into Christmas shopping and have been on that search for the elusive, must have toy of the year, it really touches a nerve!

Arnold Schwarzenegger plays Howard Langston, a workaholic father who's failing with his family. He is constantly breaking promises and missing family events simply by being absent-minded and overly concerned with his business. When he shows up far too late for his son Jamie's Karate presentation, he realizes he's got some major sucking up to do. Howard immediately offers to get his son anything he wants for Christmas as a quick fix. But, little does Howard know that the toy Jamie wants, the official Turbo Man action figure, is the hottest toy of the season! No stores in town have one, and tomorrow is Christmas Eve!!!

Howard gets an early start in the morning, arriving at a toy store that hasn't opened yet and already has a large crowd outside. Here, he meets his biggest competition, an unstable mailman named Myron (Sinbad). Myron is also an inexperienced shopper whose son has asked for a Turbo Man figure. Both men are shocked and angered when everyone in the store mocks them upon hearing what they are looking for, and this is where their heated rivalry begins. Howard and Myron bump into each other at location after location in their search for the evasive toy and continue to physically abuse each other at nearly every encounter, and every bit of it is quite hilarious! In addition to dealing with Myron's attacks while searching for Turbo Man, Howard has to keep tabs on his intrusive neighbor, Tim (Phil Hartman), who is continuously making plays for Howard's wife, Liz (Rita Wilson). It's not as confusing as it sounds, but it's a lot for a man to have to worry about on Christmas Eve when he's gotta meet his family at a parade later on that same day.

"Jingle All the Way" is a great Christmas adventure that is full of laughs and mayhem! It's not supposed to be "It's A Wonderful Life," it's just supposed to be funny! And it is, if you have any sort of sense of humor at all and any experience with last-minute shopping during the Holiday Season! Arnold Schwarzenegger is still not a great actor, but he plays the role of a helpless, inexperienced shopper rather well, and this is probably my favorite of all his movies that I've seen. Sinbad is great as nutty mailman Myron, and Phil Hartman steals the movie as Tim, the seemingly perfect single dad that all the neighborhood women want, but who mainly has eyes for Liz. And, upon repeated viewings, Jake Lloyd (who plays Arnold's son) isn't as annoying as everyone says. "Jingle All the Way" may not be as magical as "Miracle On 34th Street," but it still qualifies as an annual MUST WATCH Christmas movie for this viewer, and probably many others!

Updating this review for the "Family Fun Edition" 2007 DVD release, the newest edition, which maintains the enhanced widescreen of the previous release, includes a handful of new extras along with a special, extended cut of the film. Unfortunately, having watched the extended cut, I can definitely say I still prefer the theatrical version. Luckily, this new release includes both. The scenes added into the extended version were deservedly cut from the film, and it also includes a different and completely inappropriate song in the early toy hunting montage, making the theatrical version much more enjoyable. The only positive thing I can say about the extended version is that they move the post-end credits scene to just before the end credits, and it fits so well that one wonders why it wasn't placed there to begin with. The extras include "The Making of a Hero", which is a somewhat interesting look at the creation of the Turbo Man character, "Super Kids", a pretty unnecessary interview montage with random kids on their wishes to be superheroes, and "Turbo Man Unmasked," a short and mildly funny mockumentary on the hero as a former (fictional) TV star that inspired a fictional action figure craze. Other extras include a photo gallery that is happily in a slideshow format and two DVD games. "Guess the Gift" is a somewhat fun game. I took less interest in the "Christmas Rush" shopping cart game, as it was one of those luck based games that didn't rely much on your input as to whether or not you won or lost.

If you're a fan of the film and don't own it yet, I definitely recommend the Family Fun edition. If you own the 2004 release that already had the 16x9 enhancement, you may not feel it necessary to double-dip for the sake of the extended cut or new extras. Also, all buyers should be aware that this edition doesn't contain the previous extras (theatrical trailer and cast bios).

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This movie is great if you have a zany sense of humor.

I think the reason that most people do not like it is that it hits too close to home. This movie is for people who can laugh at their problems, and some people don't feel that trying to find the toy of the year at Christmas is funny because of painful experience.

Of course, the point of the movie is that the father wants very badly to keep this promise to his son because he has let him down so many times before. At the end of the movie, guess what? Arnold BECOMES his son's hero! How cool is that? Who wouldn't want to be their kid's hero?

People whose parents let them down and people who let their kids down would not like this movie. Like I said, it hits too close home. Ouch!

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It's not going to win an academy award. It's not going to be the best acted or scripted movie that you will see. Arnie's acting, 'nough said. However, my family and I have seen this moview every holiday season, and quite honestly, this is the pick of the litter. Second,third and subsequent viewings were always more appreciative than the first. It is unique, and really hits upon the Christmas experience. Phil Hartman is great, as is Arnie. I know for the next 30 years my family will watch this every Christmas season, and I'm glad that Arnie took the risk to make a comedic Christmas experience.

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I'm glad this movie is finally getting re-released since I've always liked it. If you *ever* want this movie, BUY IT NOW... here's why:

For those who don't know, this movie was pulled off the shelves about 3 years ago. Fox was on the losing end of a $19 million dollar lawsuit which claimed they had ripped off the script from a Detroit high school teacher (Brian Webster). Later, the award was reduced to $1.5 million. Meanwhile, Fox appealed the case which held off any payment until at least late 2003; however, Fox was forced by this decision to pull the movie off the market and excess stock was sent back to Fox.

Murray Hill publishing (the Plaintiff) had optioned a script titled "Could This Be Christmas" from Laurel as far back as 1993. The script was about two men trying to secure the last known Action Man doll on Christmas Eve. Murray Hill says they pitched "Could This Be Christmas" to Fox in 1994 and a year later Robert G. Laurel Lessnau learned of Fox's plans for "Jingle All the Way" which was penned by a script reader for Fox Studios.

On May 22, 2004, Fox won on appeal. Apparently they were able to show evidence that "Jingle All the Way" was based on a treatment that predated the pitch for "Could This Be Christmas" in 1994.

Murray Hill vows to appeal the case to the U.S. Supreme Court. Incidentally, Murray Hill's Lessnau died in September 2001, about 6 months after the company's court victory.

When the movie was pulled, you saw the price on this DVD skyrocket. Here on Amazon, if you search for "Jingle All The Way", you'll find an "out-of-stock" version. This is the one that was pulled. Notice that the price is STILL (as of today) between $26.99 and $132.57. Before this re-release was announced, the prices were all in the $100 dollar range. Some people obviously have seen the writing on the wall and have reduced the price of these used DVDs on the eve of its re-release. Some people, I guess, have not heard of this coming. Anyhow, if you want this movie buy one (or two) NOW before any further legal action makes it unavailable again. Then you can sell your extra here at Amazon for a hefty profit.

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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

Read Best Reviews of Monsieur Gangster (1963) Here

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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That's My Boy (2012)

At first look, the movie seemed like it would be cheesy and a bit of a drag, but it turned out 1000% better than we had hoped. Sandler's character was genuinely funny, very likable while being a complete screw up. I think this might have been his best role yet. All the supporting actors were great too, and while the story was predictable, it still flowed well. There weren't really any eye-roll moments, and we laughed out loud, which is rare with comedies these days. Even considering purchasing the movie to own :-)

Typical Adam Sandler but thats what you expect, Was a great funny movie. Vanilla Ice was funny he should do more Sandler movies.

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Adam Sandler is back in business! I was not expecting to laugh so much, but this movie is hilarious! Recommended.

Read Best Reviews of That's My Boy (2012) Here

I love this movie. I laughed so hard my eyes got blurry. I will watch this movie several times more.

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Adam Sandler made a comeback to his roots with this one. Donnie Berger is one of the best movie characters of the past 15 years, and will surely hold up as Billy Madison and Happy Gilmore have.

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Last Man Standing / The Last Boy Scout (Action Double Feature) (2010)

2 of my most favorite guilty pleasures are only better on blu ray(duh....); Both are films that generally went overlooked in many ways w/the exception of the fanbases for each; Boyscout def has the edge humor-wise(an actual great 'buddy' picture....Damon Wayans is very funny, & Shane Black can write a wicked screenplay....), but visually, Last Man Standing has the edge. Detailed and crisp, it is how this movie was made to be seen. And the gun sounds are even more amazing here. Walter Hill has generally been overlooked as a filmmaker I think, and while some people thought this was a little 'slow', I had no problem w/the pacing. Ry Cooder scores this movie perfectly too...

This is a great disc of 2 classic, lesser seen Bruce Willis movies, each of which contain lots and lots of welcome familiar faces. I know many times these 'double feature' discs stick a lemon w/something decent, but in this case(in my opinion...), you kill 2 birds with one stone...2 modern 'classics' on one!

Now if they can only find something to pair The Long Kiss Goodnight up with.....

This Blu-Ray transfer is excellent! Years ago, when I bought The Last Boyscout on DVD, I was very disappointed. The picture quality was horrible. It was very grainy. It was better to just watch it on a VHS tape. The DVD quality was that bad. (If you ever bought The Last Boyscout on DVD, you know what I'm talking about!) So, I'm glad that this Blu-Ray edition of The Last Boyscout finally gives the movie justice in terms of picture quality.

The movie itself -if you are a Bruce Willis fan, or an action fan in general, and for whatever reason that you haven't watched this yet -go buy this movie! It's an excellent action movie that I have watched over and over!

Buy Last Man Standing / The Last Boy Scout (Action Double Feature) (2010) Now

Bruce Willis has had the profound good luck to star in some of the greatest American action films of all time, including its single greatest: the first DIE HARD. And this paved the way for Willis to become one of the biggest film stars of the 1990's, and for better (PULP FICTION, THE SIXTH SENSE, the other two DIE HARD 90's films) or worse (THE COLOR OF NIGHT, STRIKING DISTANCE, MORTAL THOUGHTS, FOUR ROOMS), he was king. The two films in this Blu-ray double feature represent his best 90's action works: THE LAST BOY SCOUT and LAST MAN STANDING.

THE LAST BOY SCOUT is another film in the mismatched buddy-cop actioner genre from writer Shane Black, who set the perfect blueprint for the genre with LETHAL WEAPON, slightly misstepped it with THE LONG KISS GOODNIGHT and injected fresh and wonderful life back into it with the woefully underseen KISS KISS, BANG BANG. But what's different about the mismatched pair here is one of them is a former Secret Service agent turned alcoholic loser deadbeat private eye (Willis) and the other is a former star quarterback turned gambling addict and coke-fiend (Damon Wayans)... neither of them are cops. But they're losers who are down on their luck that, despite themselves, find redemption as they take on corrupt government officials and sleazy, murderous sports executives. Both of the men that they seek to bring down are both involved in their respective falls from grace, so they look to dish out a heaping helping of cold-served revenge... until a wonderful plot twist has one of them protecting the very person who ruined his life.

Tony Scott, prior to this film, had long been determined as an untalented, coat-tail riding hack whose flashy MTV-style of filmmaking used with such films as TOP GUN and BEVERLY HILLS COP 2 seemed to serve 30-second commercials better than a feature film. However, he proves that with the right script and the right players, from Noble Willingham and Taylor Negron to Chelsea Field and Bruce McGill and a before-she-was-famous Halle Berry, you can make a really great film. Ultimately it was the success of this film

Yes, there are logic-holes that you could fly a 747 through (How does Willis afford such a beautiful home with his barely-solvent business?), and the film may not be up to par with the dramatic performances of a Merchant-Ivory film, but as pure adrenalinizing popcorn fare, it's perfect. Black's one-liners zing back and forth, Scott keeps a healthy tempo going, and it has the benefit of Willis playing one of the coolest action heroes ever. His character is probably a little too cool for a sense of realism, but that is NOT what this film is going for. It goes for mythical cool, by telling a tale of redemption of two fallen heroes in the snappiest and most entertaining way possible.

Now, onto LAST MAN STANDING. This film is another remake of the legendary film YOJIMBO from legendary filmmaker Akira Kurosawa with legendary actor Toshiro Mifune as a ronin, or masterless Samurai, who reluctantly helps to bring order to a town with two warring gangs in feudal Japan. The first remake of the film was legendary directory Sergio Leone's A FISTFUL OF DOLLARS with legendary actor Clint Eastwood as a gunslinger-for-hire who reluctantly helps bring order to a town with two warring gangs in the Old West. Now, Walter Hill, director of such classics as 48 HRS. and THE WARRIORS brings Willis as a former mob gun-for-hire who reluctantly helps bring order to the dusty desert town of Jericho, that happens to have two warring mobs in the late 1920's. The film isn't jam-packed with action, but when you get the action, you really are slammed with it. The film also features Christopher Walken as the town's crazed main gun for hire (Walken playing a crazed and violent man? What are the odds?), WARRIORS and 48 HRS. alum David Patrick Kelly as the head of the town's Irish mob, Michael Imperioli as the idiotic cousin of the head of the town's Italian mob, Bruce Dern as the sleazy and amoral town sheriff and William Sanderson as the the heart-of-gold town barkeep. Willis gives a very understated, quiet cool performance that is pretty quip-free. But when he pulls out those twin .45's, you better run for cover. There is a spectacular shootout near the climax that is just awesome. And Ry Cooder's rock/blues infused score is a highlight as well.

As a director, Hill had a series of missteps like BREWSTER'S MILLIONS, STREETS OF FIRE, RED HEAT and ANOTHER 48 HRS., but LAST MAN STANDING stands out as one of his strongest films, alongside his biggest successes and some of his other seriously underrated films, like WILD BILL and JOHNNY HANDSOME.

Overall, this is a double-bill that features Willis in his prime as an action hero and major film star, and it doesn't hurt that both films are terrific.

Warner Bros. Blu-Ray films can really vary in quality. Most of their Blu-Rays are very good, and some are very poor as far as additional content and the lack of lossless audio, which is part of the standard of Blu-Ray discs. Sadly, this is one of the examples of the latter. This disc does NOT have lossless audio. Watching THE LAST BOY SCOUT, every now and then, I can hear my player (and it's not an issue with the player or physical issues with the disc) rev up and there's a slight audio skip. It's doesn't terribly detract from the experience, but it doesn't help, despite the very crisp picture.

Still terrific films, but it does have audio issues that might make more of a surround sound setup owner think twice before getting this.

Read Best Reviews of Last Man Standing / The Last Boy Scout (Action Double Feature) (2010) Here

This double bill (just like in the old days) features Bruce Willis with two of his 1990s hits, "Last Boy Scout" (1991) and "Last Man Standing" (1996). The films share not only Bruce and the word "last" in the title but they also share the 90s style action film genre.

"Last Boy Scout" is the better of the pair, a 5 star flick, with good action, some of the snappiest dialogue you'll ever hear in films, a cute little girl who steals the show, and an over-the-top ending filled with death, destruction, and fireworks. There's even a little sex, with such hot ladies as Halle Berry and Chelsea Field. Add to that some great performances from Bruce Willis, his partner Damon Wayans, Danielle Harris as Willis' little girl, Noble Willingham as Wayans' sleazy ex-boss, and Taylor Negron as the dangerous Mr. Milo. Really a classic 5 star flick that shouldn't be missed.

"Last Man Standing" is a remake of Yojimbo, one of the best films ever. Japanese and American films are often interchangeable, as we see from "The Seven Samaruai" (1954) and "The Magnificent Seven" (1960) or from "Rashomon" (1950) to "Outrage" (1964), but this works best when the remake is a Western as the gun slinger is more compatible with the samurai. Thus the Yojimbo remake as "A Fistfull of Dollars" was a better version of Yojimbo than the current film, "Last Man Standing."

If "Last Man Standing" is not as good as "Yojimbo" or "A Fistfull of Dollars" it nonetheless has its compelling moments. Good performances from Bruce Dern as a corrupt Sheriff and Christopher Walken as an assassin help the rather dour plot, but Willis' personality, copied from Mifune and Eastwood, just doesn't work when the film is transplanted into Prohibition.

Think of this package as getting a great film with an OK film thrown in. My 5 star rating is for "Boy Scout" and I'd have to give "Last Man Standing" a 3.

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Since everyone else has already provided their summaries of the storyline, their opinions on the acting and everything else, I will, as I always do, only focus upon the quality of the transfer of this film to Blu Ray.

Not sure why other reviewers have said these film's audio is lossy, they are not. Both utilized DTS HD MA 5.1 audio which I will come back to later.

Very important for you to know that this collection does not consist of two separate discs...both movies are on a single blu ray disc.

Last Man Standing

VIDEO....not the cleanest transfer you will ever find, but not the dirtiest either. There is some noticeable film grain, and a general loss of detail in the darker areas. Overall, the color grading is very warm, almost orange which I suppose is typical of what directors want to see when a film takes place in a dust bowl environment. Mbps rate averages in the mid 20's. The amount of DNR is also noticeable in skin close ups where you can easily see the smoothing out of features. In early scenes there is also a lack of detail in the grassy plains area as well as the street that Bruce Willis drives into to start the film. Despite these faults, it's still an enjoyable viewing of Willis's lesser known films and retains its legs despite the years.

AUDIO...the lossless DTS HD MA 5.1 audio is not demo worthy but it is not terribly bad either. Most all the audio is nicely spread across the front stage with several instances of discreet channeling to the right and left sides. There is some, not much, channeling to the rears but don't expect a whole lot. The audio levels are just fine and the dialogue is easy to understand with good transient response. The sub gets put to work with many of the gunshots throughout the film.

The Last Boy Scout

VIDEO....This film is representative of the many early buddy cop films and does not hold up quite as well as it has aged but it was still an enjoyable enough film. The video transfer to blu ray is certainly not a remaster but was probably just re-encoded for blu ray. There is a goodly amount of grain throughout the film and a crushing of the blacks far too much taking out much of the details in the shadow and darker scenes. Though I do not have this film on Standard Definition, I doubt there would be much of an improvement between it and this Blu Ray version. I saw no artifacting or dirt in any part of the film and it played just fine. Never the less, if you already have the film on standard DVD, do not expect a whole lot of difference.

AUDIO...The DTS HD MA 5.1 audio was surprisingly good. No need to reset your remote's volume control as the levels were fine between dialogue, foley and soundtracks. There was some nice panning between the front and rear stages as well as some unexpected directionality to the rears with foley fx.

EXTRAS...There were no extras for either film. Each film has an old static graphic with play, scene and language set up in addition to going to the other film.

All my reviews focus solely on the quality of the transfers to Blu Ray of both video and audio and I do hope that this review has been of some help to you in deciding upon your purchase decisions and that I am on the correct path with this type of review.

Thanks for reading.

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Grease (Rockin' Rydell Edition) (1978)

I won't go into praising the movie. It's already an American Classic and obviously anyone who's contemplating buying this will already love it. I felt guilty about double-dipping but the cute leather jacket was an irresistable gimmick. The following discusses mainly technical aspects of the new disc.

I did a one-to-one comparison with the older disc. The picture has been cleaned up and looks noticeably different, though not necessarily better. The tiny dirt specks and film nicks, few as they were on the first disc, have been almost entirely eliminated. There is less grain. The picture also looks brighter, due to application of higher contrast. This has both positive and negative effects. In the darker scenes; like ONJ's "Hopelessly Devoted to You," the greater contrast (deeper black levels and brighter highlights) makes it appear clearer, and I personally prefer it this way. Some viewers may not like it as the lighting now appears harder and more "artificial". In other places, the greater contrast tends to wipe out detail in the brighter parts of the picture; you can see this at the opening beach sequence, where the scene now appears brighter and clearer but the finer detail in the sandstone rocks have been obliterated in the glare. So pluses and minuses, but overall I liked the new transfer.

The audio too has been remastered. The bass here is noticeably more prominent than on the previous DVD. It has that very satisfying visceral feel to it but there is also swamping of the underlying instrumentation. However I doubt if many people would notice or bother. What reviewers have referred to as an echoey quality on the first remix is still there. It is actually an over exaggerated reverb added to the vocal track. Most of the tracks in Grease have electronic reverb applied but some are more obvious and artifical than others; especially so in the 1998 remix featured here. The most egregious examples would be at the "Look at Me, I'm Sandra Dee" reprise and Travolta's "Electrifyin'" repeats in "You're The One That I Want." Again I liked the newer, audio remix, mainly for its richer bass extension. Like previous reviewers have said, the 2.0 Stereo featured here is not the original theatrical Stereo mix but a downmix of the later DD 5.1 remix (made in 1998 for its 20th Anniversary re-release). And purists should note that the DD 5.1 remix (1998) is actually messing about with the music itself there are additional instrumental and vocal overlays not found on the original theatrical soundtrack. (Eg. additional bass drum in second half of "Summer Nights," background vocals in "Hopelessly Devoted to You," and a clap-track in "We Go Together.") Perhaps someday the producers will see fit to release Grease with its original unembellished soundtrack.

The real delight here are the Extras. My favourite is the 15-minute long "25th Anniversary DVD Launch Party." Exerpts from the party concert include full length versions of Olivia Newton John singing "Hopelessly Devoted to You," Olivia and John Travolta singing "You're The One That I Want," and the reassembled cast singing "Summer Nights." All fine performances packed with fun-filled nostalgia. The 11 deleted/extended scenes are all in B&W and last for just 10 minutes. Nothing earth-shattering here but good to have all the same. The Sing-Along was something I appreciated. In the previous DVD, there was no direct access to individual songs. A note about the Sing-Along subtitles. These are multicoloured, animated, karaoke-style, lyrics that accompany the songs and can be activated within the film or in a separate Sing-Along session. It apparently caused problems for some viewers. I tried it out on several DVD players, a Sony, a Pioneer and a Denon, one of which was over 5 years old. The lyrics displayed without any problem. It also worked on a computer DVD-ROM drive (Pioneer), so at least these models apparently work. Only the main feature is anamorphic (enhanced for widescreen TV 2.35:1 OAR). All the extras are in standard 1.33:1 fullscreen.

"GREASE" is the most successful movie musical ever created. The 1978 film was based on a musical by Jim Jacobs and Warren Casey and eventually caught the attention in the early 70's of producer Allan Carr who purchase the rights to adapt the play into a film.

With the popularity of "SATURDAY NIGHT FEVER" in 1977 which help boost the career of John Travolta, producer Robert Stigwood joined Allan Carr to create a film based on this play. Tapping director Randal Kleiser who worked with Travolta in the popular 1976 TV film "The Boy and his Bubble", recruiting "GREASE" musical choreographer Patricia Birch and hiring Director of Photography Bill Butler ("Jaws", "Stripes" and "Rocky II & III", etc.), this team would create a film that would become a musical ingrained into American pop culture.

Despite no respect in supporting the film by the major film studios, "GREASE" would become the second highest grossing film in 1978 behind "Superman" bringing in $96 million in the box office, the "GREASE" soundtrack would achieve #1 status around the world during its release and the film received many award nominations.

VIDEO & AUDIO:

"GREASE" is featured in 1080p High Definition and I will tell you I was blown away by the picture quality.

I've watched this film dozens of times, owned the VHS and both DVD versions and when I started watching the High Definition Blu-ray transfer, I was speechless. The many colors featured in the film were quite vibrant. This film is over 30-years-old and Paramount really did a great service in the transfer and remaster of this film. Closeups, outdoor scenes, you name it, the film looks spectacular!

I compared my 25th Anniversary DVD to this Blu-ray and just the opening sequence alone with the two at the beach, the colors are just absolutely stunning on Blu-ray. I was literally in awe of how beautiful this film looked in High Definition. The DVD video quality just doesn't compare to the Blu-ray disc and I was quite impressed!

As for audio, audio is presented in English 5.1 Dolby TrueHD and also in French 5.1 Dolby Digital and Spanish mono. Since music is a big part of the film, it was important for me to test this Blu-ray out on my system. Where the 1977 film "SATURDAY NIGHT FEVER" was just spectacular for its High Definition audio transfer, I was hoping to have an awesome lossless soundtrack for "GREASE".

Somehow, in the beginning of the film, it seemed as if the audio coming from the center channel was a bit lower than my front speakers. So, dialogue seemed as if it was being overpowered by the music. I've run a variety of tests and I did have to increase my center channel dB a little bit to compensate for the music coming louder but this may be due to my audio setup for my receiver. But everything sounded well throughout the film after the adjustment.

The dialogue was quite clear but the music really came alive and I did notice certain sounds utilizing my subwoofer during the car and music scenes. But overall, the music does sound great and clear via Dolby TrueHD 5.1.

SPECIAL FEATURES:

"GREASE" comes with a good number of special features. Included on this Blu-ray disc are:

* Commentary: Commentary by Director Randal Kleiser and choreographer Patricia Birch This commentary is quite interesting as Kleiser talked more about the film side of "GREASE" while Patricia Birch talked about the choreography part of the film. Both give really good insight of bringing the musical to film, talking about the things they had to accomplish and how Kleiser, Birch and DoP Butler really had to work closely with each other and the talent to make this film successful. You learn about the challenge of filming the National Bandstand segment, the finale during 102 degree weather and how Olivia Newton-John had to have her tight clothing sewn on and more.

* Introduction by Randal Kleiser A brief :24 second introduction to the special features. Kleiser does several introductions throughout various features.

* Rydell Sing-Along This segment is for those who want to watch the musical parts from the film and on the bottom of the screen is a karaoke single along.

* Featurette: The Time, The Place, The Motion: Remembering Grease (22:27) This is the main featurette featuring interviews with the Director, producers, the cast sharing their memories of working on the film, working with John Travolta and more. How Allan Carr and Robert Sigwood made this musical a film and put money into it despite no studio wanting to back it, having to work with a good number of talents, John Travolta talking about why he wanted Olivia Newton-John to play the role, how Jeff Conaway actually played Danny in Broadway and was understudy for several other roles with the exception of Kinickie. And many more interesting tidbits on the making of the film.

* Additional Scenes: Deleted/Extended/Alternate Scenes with introduction by Randal Kleiser (intro :13 scenes 11:55 TRT 12:08) Randal Kleiser explains how footage was recently found in the Paramount vaults. The additional scenes found are in black and white.

* Additional Scenes: 1. T-Birds Harass Eugene EXT

* Additional Scenes: 2. Classroom Announcements EXT

* Additional Scenes: 3. Pink Ladies and Sandy at Lunch EXT

* Additional Scenes: 4. She's too Pure to be Pink EXT

* Additional Scenes: 5. Intro to Summer Nights DEL

* Additional Scenes: 6. Rydell Pep Rally EXT

* Additional Scenes: 7. Kenickie and Danny Outside Frosty's DEL

* Additional Scenes: 8. The Stroll EXT

* Additional Scenes: 9. National Bandstand ALT

* Additional Scenes: 10. At the Dance ALT/EXT

* Additional Scenes: 11. Thunder Road DEL

* Grease on DVD Launch Party (15:13) The cast and crew reunited for this DVD Launch Party back in 2002. Both Olivia Newton-John and John Travolta performed live on stage singing a few of their classic songs that sung with each other.

* Grease Memories from John & Olivia (3:23) Both talent at the DVD launch party and discussing how it was like working together and their memories of being on the film and their favorite scenes.

* The Moves Behind the Music (8:14) Interviews with Patricia Birch and the talent as they discuss how they learned the dance moves and how it important it was for Patricia to work with Director of Photography Bill Butler in capturing the choreography for film.

* Thunder Roadsters (5:21) Interviews with George Barris (King of the Kistomers) and Michael Astamendi (Car Builder/Fabricator) and others in regards to making the cars for "GREASE". How they focused on customizing because parts for the old Chevy's are hard to come by.

* John Travolta and Allan Carr "Grease Day" Interview (1:47) A quick interview with producer Allan Carr and John Travolta on "Grease Day" and Travolta talking about working with the producers and the talent for the film.

* Olivia Newton-John and Robert Stigwood "Grease Day" Interview (2:07) An interview about how Olivia Newton-John gotten involved and the popularity of the film and working with John Travolta and more.

* Photo Galleries: The photo gallery consists of the following still photos broken down into several categories such as:

* Rydell High Year Book

* Production

* Premiere

* Grease Day

* Theatrical Trailer HD (2:09) The original theatrical trailer in its original untouched and aged format, grain and scratches included.

JUDGMENT CALL:

"GREASE" is just one of those timeless classics that never gets old with repetitive viewings. But I have to be truthful and say how much I was in awe to see the brilliant camerawork but to see how the choreography and just literally everything look quite smooth on film.

And surprisingly watching this again 30-years-later and as the Director and even producers have said in the featurette, they were able to pull things off today that probably wouldn't happen now. Quite a bit of sexual lingo but overall, the lyrics of the songs to the mannerisms of the characters is what made things look genuine.

It's interesting to read some of the critical reviews from people who did not grow up with the film but are more familiar with today's musicals and drawing comparisons to "High School Musical" and making the comment of how HSM utilized real teenagers for high school life and that "GREASE" utilized 20 to 30-something year olds to play teenagers. I don't think any of us who watched it back then ever thought about the age being an issue for the film. What we saw were popular talent at that time in a movie musical and the film became a success. Even today, I have no reservations of the talents playing their roles. They did a fantastic job!

For me, John Travolta was the hottest star coming off with "Welcome Back, Kotter" and then doing "SATURDAY NIGHT LIVE" in 1977 and Olivia Newton-John was just one of the most beautiful female solo singers at the time. Both had unique chemistry and the film was well-cast that I felt everything just went smoothly on the final cut.

You really have to give a big applause to Allan Carr and Robert Stigwood for taking the chance of bringing a musical to film but making sure its adapted well for the screen. Sure we see musicals now but during that time, there was no studio support. And because the film was enjoyed by audiences, the film is definitely ingrained into America's pop culture.

Also, I was just amazed through the featurettes and learning how the choreography was done. Because there were so many people utilized in the dancing segments, Patricia Birchwood wanted to make things come alive but to alter a talent's own personal dance to make it look right on film. And of course, Bill Butler, to capture what Birchwood wanted on film, the amount of cutting from scene to scene showing opposing points of view on a song like "Summer Nights" to the ending theme, it was indeed "electrifying"!

Overall, this Blu-ray release of "GREASE" is just the definitive version to own. To watch this classic film in High Definition and to see the magnificent picture quality really brings out the vibrant colors of the film, the energy and beauty of the beach sunset to showcasing the life of youth of the late 50's. The DolbyTrueHD 5.1 audio makes the music come alive and last, there are many special features included that will help people remember and celebrate such a wonderful movie musical.

Again, this is the true definitive version of "GREASE" to own! I was just stunned by how magnificent this film looked and how much clearer and alive the music sounded in High Definition. I highly recommend this release!

Buy Grease (Rockin' Rydell Edition) (1978) Now

The movie Grease has appeared on DVD several times. The most current incarnation of Grease on DVD is the "Grease Rockin' Rydell Edition." This edition of Grease is truly for the superfan or the person who hasn't previously purchased the movie on DVD in the past.

Grease is the cult classic that starred Olivia Newton John and John Travolta. Olivia Newton John starred as Sandy. Sandy was a transfer student to Rydell High working to fit in John Travolta stars as Danny. Danny and Sandy had a wonderful summer romance but when Sandy transfers to Rydell their two different worlds collide. The films soundtrack--and dance numbers are classic.

So what makes this version of Grease on DVD different than the version's previously released? The DVD comes in a leather jacket type of keepsake case. This is cute and the box fits snugly inside of the jacket. What really makes this version of Grease on DVD stand out are the bonus features. The film recently celebrated it's 25th Anniversary. The DVD includes memorable scenes from the 25th Anniversary DVD party. Another neat bonus feature is the featurette "Grease Memories" from John and Olivia. There are a ton of bonus features including a Rydell sing-a-long, deleted scenes, a featurette named the moves behind the music and many more.

I recommend Grease-Rockin' Rydell Edition for the super Greast fan. If you already own the film on DVD and only are interested in the movie it's no need to repurchase the movie. If you are planning to purchase Grease on DVD for the first time I would strongly recommend this edition of the film on DVD.

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While the re-mastered video gets a big thumbs up, the audio couldn't be worse. The ramped up sound fx are tolerable and in some cases an improvement on the original. However, they (sound fx) are too 'in your face'. All audio sounds very compressed. It seems they tried too hard to make sure you noticed the changes. The music tracks are a different monster. They are terrible!!! The original tracks are not simply re-mastered. Many additional audio tracks have beeen added. And badly I must say. The reverb's used are stupid big and overbearing. The many additional layers of instrument tracks tends to bury the lead vocal on some tunes! Surround sound is stupid over-done and exaggerated. You will need to turn up your center channel alot to clearly hear lead vocal parts or better yet, turn off your surround sound and watch in stereo. Even in stereo, this is the worst audio re-mastering i've ever encountered. New instrumentation sounds very generic and electronic and clearly was laid over a complete 2-track recording, sounds a bit like karaoke instruments, not 'in the mix' but on top of it. Like one guy with a pc/sequencer re-did the whole soundtrack. And some songs were changed alot, Olivia's 'Hopelessly Devoted to you' has drums and full instrumentation from the very beginnig, it doesn't 'kick in' on first chorus, like the original. They took a 1970's movie, set place in the 50's, and now has music that sounds like 1990's bad pop. I assume this was an attempt to sound modern. This re-master clearly misses the mark from an audio standpoint. The video is superb and the DVD extras are a nice addition.

Want Grease (Rockin' Rydell Edition) (1978) Discount?

As far as film musicals are concerned, nothing comes close to "Grease" in terms of appealing to a mass audience of all ages, races, and generations. Though set in the fifties, "Grease" remains deeply entrenched in the seventies, as it defined that freewheeling decade's carefree attitude and innocence while drawing inspiration from the Elvis era. Still the top-grossing movie musical of all time, "Grease" works as a coming-of-age film we can all relate to it sings (great songs from the Broadway classic plus chart-topping classics from the Bee Gees and Olivia Newton-John's longtime collaborator, John Farrar), it dances (Rydel High's Gym Dance), zips ("the chicks'll cream for Greased Lightning") and celebrates youth and friendship.

Twenty five years after its first theatrical release, the movie still feels and sounds fresh even through its nostalgia, thanks to star-making performances from Travolta, Newton-John and Stockard Channing, to its clever wordplay and its irreverent look at high school when everything and anything is possible. It's a movie that gets better with repeat viewings, as audiences associate seeing it with a singular moment in time. Cameo appearances from golden greats like Frankie Avalon ("Beauty School Dropout"), Sid Ceasar and Edd Byrnes are comic gems.

The now-world-famous cast is hard to beat ... Didi Conn and Stockard Channing are excellent as Frenchy (THE beauty school dud) and Rizzo (the tough girl with a soft spot), while Eve Arden (Our Miss Brooks) gets the supporting role of a lifetime. Dody Goodman as her daffy assistant is a hoot, but the film belongs to the music and the performances of its two principles. Olivia Newton-John is a sublime choice for Sandy. Though requiring re-tooling from the original stage show, her character's Aussie born lass is a perfect combination of girl-next-door sweetness and (later on) I-Am-Woman-hear-me-roar guts. Perhaps no transformation has been so effectively cut in a movie as ONJ's good girl gone wild. Besides setting off fashion trends and the lycra industry, Sandy's evolution reminds today's teens that you can be hip AND nice. That's a testament to the singer-actress' presence in this film and her ongoing legend. Travolta is also sublime as Danny, a mix of cocky swagger and silly-boy charm that's never malicious...just young. His Danny plays both sides of the teen-angst fence, whether telling his version of "Summer Nights" to the boys, or sweetly professing his love for "Sandy" at the drive-in (drive-ins are set for a comeback if this DVD finds itself into everyone's home!) After 25 years and countless viewings, Olivia and Travolta make beautiful music together!

Guaranteed a winner in any home, "Grease" gets better with repeat viewings and remains accessible, fun and genuine. As a backdrop for baby boomers' high school years and our memories of all thats happened since..."Grease" remains the word! Thrilled to have this out on DVD!!!

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Love Happens (2009)

It is not often that 'popular romance comedies' have the courage to tackle issues like death and grieving and make the story work, but such is the case with LOVE HAPPENS, a good little film written (with Mike Thompson) and directed by Brandon Camp. And it helps to have a solid cast of popular and well-schooled actors to pull off a subject that might make a few people uneasy.

Dr. Burke (Aaron Eckhart) is a seminar man who runs a business with his colleague Lane (Dan Fogler) based on helping people cope with grief a group called 'A-Okay'. Burke is a popular guru, more so because of his reason for ministering to grievers: his beloved wife died three years ago in a car accident so Burke can speak about grief from experience. But it seems he is running away from something, too. Most of his followers don't notice, but one man Walter (John Carroll Lynch) is a particularly needy client and seems to pick up on something missing in Burke's seminars. Burke is currently in Seattle (his deceased wife's home) with his manager Lane (who is cooking up all manner of marketing tools and opportunities for the A-Okay team). Burke happens to literally bump into Eloise (Jennifer Aniston) who owns a flower business catering to the hotel in which the seminar is being staged. Eloise seems addicted to losers, and is freshly apart from her latest affair: she is comforted and supported by her sole employee, the somewhat dingy Marty (Judy Greer in a terrific cameo), who encourages Eloise to look for some stability in her next mate.

Burke is attracted to Eloise but is so out of practice in the dating game that he comes across as vulnerable a trait that makes Eloise wary at first and attracted later. The odd things the two do in the mating dance finally result in the uncovering of the secret problems Burke carries. Refreshingly enough the film does not sell out with a happy-wappy ending, just a few thoughts that are particularly tender.

Eckhart and Aniston are a terrific team on the screen: both are lovable without resorting to being sappy and repetitive. Fogler and Greer are excellent as are such fine actors as Martin Sheen and Frances Conroy in memorable cameos. There is a lot to like in this film that makes it a step above the usual 'chick flicks' that were more popular in theaters. Perhaps audiences, sadly, have difficulty hearing about grieving, but death, as well as Love, happens! Grady Harp, February 10

"Love Happens" is the perfect name for this true turn of heart film.

Jennifer Aniston and Aaron Eckhart star as florist (Eloise Chandler) and self help guru (Dr Burke Ryan) as they slowly run through each others' emotional defensive shields. Dr Ryan, is a successful self help speaker who helps people deal with grief and loss, but cannot deal with his own issues. Eloise Chandler is a florist with several 'lost' relationships. Through the film both main characters dodge what is happening, and when they least expect it, love truly happens.

So much for the summary.

Unlike man films with truly predictable outcomes and even dialogue, Love Happens, falls just outside the envelope. It is not predictable, but more believable as far as scripting goes. Not sappy, but sappy enough for the lover of chick flicks, it strikes the right chord.

Both Aniston and Eckhart are believable in their roles. Their onscreen chemistry is remarkable and renders this film one of the best in current memory.

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I found this movie to be extremely helpful in the time I needed support the most. My little brother died obout a month ago. When I came home from the funeral this movie was in my mailbox from Netflix. I didn't even realize it was partly about letting go and taking the time needed to mourn the loss of our loved ones. I'm so thankful for watching this movie.

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I thoroughly dislike chick flicks, and rom-coms are just flat out annoying. So why do I like LOVE HAPPENS? Believe me, I gave this film every chance to bug me to the point I would stop watching, but it never happened. So again, why? I'll try to hack out a soppy answer.

Chemistry. There is a legitimate chemistry between LOVE HAPPENS stars Jennifer Aniston and Aaron Eckhart; they're not cookie cutter one-dimensionals that populate so many other films of this genre--these characters are believable, interact believably, and harbor true anguish and pain. Eckhart, playing self-help guru Burke (who has penned a bestseller about how to deal with pain and loss), by fate meets Eloise (Aniston), who is the florist for the Seattle hotel where Burke is conducting a seminar. Even though Burke is helping others cope with their grief, it becomes more and more obvious he's bottling up some pain of his own. (His wife having died in an auto accident some years before.) Meanwhile Eloise has been in one disastrous relationship after another, but she has a heart of gold and is willing to help Burke--if Burke will first help himself. All of this rushes headlong to a climactic scene featuring an interaction between Burke and his former father-in-law (Martin Sheen is very special); this scene was so compelling and poignant and tender I had to keep reminding myself I normally don't like movies like this.

Sure, much of the film is sappy and contrived, and Eloise's habit of leaving obscure words behind paintings at the hotel struck me as more than annoying, but overall I very much enjoyed LOVE HAPPENS. Dan Fogler and John Carroll Lynch stand out amidst a solid supporting cast. There's pain, there's humor, there's romance, there's anguish--in short, there's life. Why? Because LOVE HAPPENS.

--D. Mikels, Author, The Reckoning

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This film worked as a study in grief. The characters were sensitive, tried real hard, and worked through some heavy stuff. The idea of a bestselling author/speaker running seminars on grief when he had a few not-so-hidden bones rattling around in his closet was very intriguing. And I really liked the way it all played out.

What didn't work for me was the Eloise (Aniston)/Burke (Eckhart) romance aspect. I didn't understand why, in the midst of his struggle/depression, he became so passionately fascinated with her. I also didn't understand much of their relationship overall and why there was such interest on both sides. Many of their moments together just felt painful.

There was no sex but there were a few token comments. Overall pretty clean with some moderate language. If you like introspective relationships or exploring the fascinating world of mourning, or Eckhart or Aniston you might like it. I'd suggest a rental first if you are unsure.

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Running With Scissors (2006)

I don't know how I could have missed this when it first came out. Augusten Burroughs is my favorite memoirist and I've read all his books and praise them all. So, when I heard that Running with Scissors was being made into a film I was thrilled. I think, though, when I saw that it was marketed as a comedy AND the reviews were just mediocre, I decided not to see it. Big mistake.

This is an amazing story. And, the cast was incredible-the acting absolutely superb. I am just shocked at the poor reviews here. Not one thing was wrong with this movie. Really. Not one thing.

Jill Clayburgh and Annette Benning should have received an Academy for their part in this. Brian Cox was fantastic. And Joseph Cross, as Augusten was absolutely perfect. I can't praise Cross enough and I don't think too many people would have been able to pull this character off. Knowing Burroughs from his books, you see he has a caustic yet self-deprecating wit. But, to actually SEE him as the child he was-maintaining his innocence while being exposed to horrendous circumstances he was exposed to actually made me appreciate Burroughs even more than I already do. Alec Baldwin, as always, played his brief part perfectly-with empathy and depth.

Burroughs grew up in one of the most dysfunctional homes you will ever read about. After his parents divorced, he lived with his mentally ill and completely narcissistic mother until she handed Augusten over to her just-as-mentally-ill psychiatrist to raise him. The environment in this psychiatrist's home has to be seen (or read about) to be believed. Poor Augusten lived there for several years while his mother attempted to "find herself" and nurture herself at her son's expense. She even had the psychiatrist adopt her son.

Ironically, although it is difficult not to blame Burroughs' mother in all thisshe's the epitome of narcissism-the truth is, the MD is really the one to be reviled. Had his mother been treated by almost any other mental health professional rather than this one, it is likely everyone in Augusten's family would have been better off. Instead of treating his patients, the doctor did everything to mistreat them. I would like to believe that he was just insane, too, with no evil intent. But the truth is, I'm not so sure.

Somehow, despite his childhood, Augusten Burroughs became an adult to be admired. He went through incredibly difficult times, even after he left the psychiatrist's home. But, he persevered and his character was not permanently damaged. When reading his other books, it's clear that he analyzes all his behaviors and feelings and strives to be the best person he can possibly be.

This film is NOT a comedy. It has comedic elements, but it is a travesty that it was marketed as a comedy. One of the things that makes Burroughs' books so good is his dry (almost gallows) humor. But, his life isn't really a comedy. It's a tragedy that, thankfully, has a happy ending. Yes, I laughed at some parts, but it's laughter at the horror of what he lives through and the insanity of his environment. This movie is one of the most gut-wrenching films I've seen and should have been marketed entirely differently.

I really hope that the bad reviews here won't deter you from either purchasing or renting this film. I can't praise it highly enough.

...they'll seem like the poster children for mental and emotional health, after watching this film!

Augusten Burroughs (Joseph Cross) grows up in a household with his mother, Deirdre (Annette Benning), who has severe mental stability issues. I am no psychiatrist so I am not even going to try to label her. He also has an alcoholic father, Norman (Alec Baldwin), who seems to have little to no interest in his son. In fact, because of his absence, I thought at the beginning of the film Augusten's parents were already divorced.

Deirdre is more dependant on her son than he is on her, he seems to care for her, and she seems to lean on him. She is an aspiring poet who lets her son skip school to do her hair and plan parties. The mother and father fight right in front of Augusten without a thought to him or his feelings. After a rather explosive fight they seek marital counseling and that's our introduction to the colorful Dr. Finch (Brian Cox). Through a series of events Augusten ends up living with the Finch's and we are wrapped up in another household filled with the emotionally and mentally unstable.

Despite his surroundings, you watch Augusten grow up to be relatively 'normal'. In his need for stability and normalcy, he finds the unlikely hero in the form of the long suffering housewife of Dr.Finch, Agnes (Jill Clayburgh). She really touched me in the way she cared for Augusten.

With all the craziness that occurs in this film, it should be a lot darker than it is. Surprisingly this movie makes humor out of situations that should horrify. I laughed more than I cried; I giggled more than I gasped. In real life, none of the situations portrayed would be amusing, I don't think I could have watched the film without the humor; it would have been too depressing. The acting in this movie, by everyone, was absolutely excellent, real and flawless. The movie reminded me a bit of The Royal Tenenbaums, the crazy, surreal family.

This was a good movie and I really enjoyed it, but it did make me think people should have to pass a series of tests in order to procreate and raise children, yikes!

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This was a plesent surprise to pick up and watch the film adaptation of this book based on the memiors of Augusten Burrough, who at the age of 15 was signed away by his mother into the guardianship of her psychiatrist. This movie does an excellent job of portraying mental illness (bipolar and schizophrenia) and what actually occurs in the minds and daily lives of those who struggle with it. As for the Dr. Fitch, he is the exception to regular psychiatry, with loose boundaries and inappropriate relations with patients ended actually helping one of them. To those with mental illness, what appears to be real or "normal" to them can appear unbelievable to us. For Agusten, he grew up with no rules or boundaries, and it is amazing to see what will and insight can do. This is a great depiction of someone who overcame tremendous barriers to become something great. Thank him for sharing it with us. Rent this buy this read this, worth the time

Read Best Reviews of Running With Scissors (2006) Here

Definitely one of the most dark psychological comedies to come along in years, RUNNING WITH SCISSORS has an excellent cast telling a truly warped story. What makes this even more interesting is that it's semi-autobiographical. Based on the life of Augusten Burroughs and his dysfunctional surroundings, young actor Joseph Cross does an excellent job in portraying what it must've been like to grow up an adolescent amidst the chaos of mental illness, yet come out the other end as a functioning adult.

Annette Bening stars as Deidre Burroughs, Augusten's unstable mother, and does so brilliantly. Her mood swings and mental breakdowns are frightening, tear-jerky, and funny all at the same time. When she sets up Augusten to be adopted by her psychiatrist, the audience feels both a sense of relief and a terrible foreboding. Brian Cox stars as the manipulative yet strangely lovable psychoanalyst, Dr. Finch. His family is a mish-mash of his own kids and those he's adopted and taken advantage of financially. His wife Agnes, played superbly by Jill Clayburgh, is one of the shining lights in the film, giving us a much needed resting post to lean against while trying to grasp the amazing flaws of everyone else (she has her shortcomings, too, but they aren't as broad).

The story pulls no punches either, showing how Augusten's early development lead him toward homosexuality, Dr. Finch discussing his masturbatorium (figure it out), Deidre exploring lesbianism after a nasty divorce from her husband (played very well by Alec Baldwin), and the discovery of bowel movements as prognosticators.

The only downside to the entire movie was that it feels unbalanced, sometimes accelerating through scenes in mere seconds before grabbing traction again and moving fluidly forward.

One could also see the screenplay being a complete disaster if it weren't for the all-star, powerhouse cast. Brian Cox, Annette Bening, Alec Baldwin, Gwyneth Paltrow, Evan Rachel Woods, Joseph Fiennes, and many, many others lend their ample talents to the film. But the ending certainly makes up for any lagging script qualities. To learn that Augusten survived this raucous period in his life and came out the other end still a productive member of society is something to marvel at. And you probably will...

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Based on the memoirs of Augusten Burroughs, "Running with Scissors" was a film that I didn't know much about and wasn't truly interested in seeing in the first place. I had caught glimpses of it here and there, but never actually took the time to sit down and watch it. Well, curiousity got the better of me. After all, any film that stars Annette Bening ("American Beauty"), Brian Cox ("Manhunter,"Zodiac"), Gwyneth Paltrow ("Se7en"), Joseph Fiennes ("Shakespeare in Love," "Enemy at the Gates"), and Alec Baldwin ("The Departed) can't be that bad. Well, folks, it can be.

The film revolves around the life of Augusten Burroughs in the 70's. As a child, he's raised by his bipolar, poet mother, Deirdre (Annette Bening) and his hard-working father (Alec Baldwin). Towards the beginning of his teenage years, Augusten (Joseph Cross) copes with his parents divorcing and then taking care of his mother, who knows she'll make it big in the poetry business someday. Deirdre begins to see a psychiatrist, Dr. Finch (Brian Cox), to help her with her problems. Eventually, it comes to the conclusion that she needs Augusten out of her life if she ever wants to succeed with her dreams. The solution is to hand him over to live with Dr. Finch and his family, who consist of the loving, but quirky matriarch Agnes (Jill Clayburgh), the hot-headed Natalie (Evan Rachel Wood), the spiritual Hope (Gwyneth Paltrow), and the gay, adopted son, Neil (Joseph Fiennes), who Augusten begins to have feelings for. As years pass, Augusten begins to move past supporting his own mom and learns to start having to deal with his new family.

I've never walked out of a movie in my entire life. Even if I hate what's happening on the screen and can't stand it anymore, I still stay, hoping for some good to happen. "Running with Scissors" is a film that I almost stopped, mainly because of how much I disliked it. It's about as interesting as watching paint dry while the only sound you can hear are people yelling and cursing obscenities at each other. If I had stopped watching this film, not only would I have not missed out on anything great, but I would have been better off.

The film tries to be too quirky, but then tries to be too dramatic as well. There's no balance whatsoever. There is humor in the film, but it's quite dark. For instance, a character feels that her cat is going to die. She feels that she can speak to the cat and that the cat wants to die quickly. So what does she do? She puts a laundry basket over it so it can't move and it eventually dies from lack of water and food and the filmmakers play it off as a joke. Hilarious...no, sick and twisted. I didn't laugh once in the film, well, at least, not in the right spot (more on this later). Even though the Finch family is weird, there was no real reason to laugh at the situations they got themselves into because there was no purpose for them being weird. They're just weird. The dramatic aspect of the film didn't fare any better. I didn't understand any character choices whatsoever and no relationships were developed well enough to make me care about them. Again, the Finch family didn't feel like a family unit, but just a group of individuals living under the same roof. The film tried to be a drama with comedic bits, but it failed in that regard.

Before I begin this part of the review, I want to say that the acting is fairly good in the film and not terrible by any means. The main problem with the entire film is the characters, who are so poorly written, that it's criminal. Annette Bening's character was the worst of the bunch, which is unfortunate, because she's a great actress in the first place ("American Beauty" rules). If there's ever been a person I've wanted to slap in a film, it would be her character. Everytime she appeared on screen, I wanted to skip past it. The character is one-dimensional throughout the entire film. She's either angry, depressed, or drugged and that's it. I had no idea why Augusten still wanted to be with her, which made me care less about the story. Natalie, the chain-smoking, foul-mouthed daughter of Dr. Finch, also suffers from bad writing. She's annoying and complains about wanting to go to college, but talks about how she doesn't have money and other reasons hinder her. If we wanted to fall in love with her character, give her some drive and determination. Anyone can complain and moan about their situation. Big deal. Get over it and move on (this would be a good tagline for the film). Then, she tries to make the audience pity her in one scene and all I could do was laugh. And that laugh was the only one that came from me while I watched the entire film. I could go on and on about how much I loathed most (if not all) of the characters, but I don't want to waste that much more time on the film.

Another issue I had with the film was the profanity. Now, I can handle large portions of bad language only if it serves the story and the situations that the characters have to deal with, but in "Running with Scissors" it just felt so overdone and unnecessary. It became mind-numbing and tedious after awhile that I wished I could just gag all of the actors' mouths. I don't know if the filmmakers were aiming for humor at those points, but they just came off as being dirty and not needed at all.

The only reason I actually continued watching the film was Jill Clayburgh, the actress who played Agnes. As the mother of the household, she tries to keep everything together and everyone happy. Agnes is the most sympathetic character of the bunch and when she would get sad or angry, I felt that emotion due to the great acting by Clayburgh. In a film filled with unlikeable characters, I truly loved Clayburgh's performance and felt that it belonged in a better film. The final scene of the film with her and Joseph Cross was the best part of the film (not saying much), because of the character and the actress who portrayed her.

Overall, "Running with Scissors" is not a good nor enjoyable film at all. It's not a comedy nor a drama either. The characters are terribly written and unlikeable and the story as a whole doesn't work well either. The only person that comes out of the rubble unscathed is Jill Clayburgh, who turns in a fine performance. Besides that, there's nothing great to write home about. I really wish I had just turned it off in the first place.

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