Showing posts with label clint eastwood. Show all posts
Showing posts with label clint eastwood. Show all posts

Where Eagles Dare (1969) Review

Where Eagles Dare (1969)
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Quite simply one of the greatest war movies ever made. A top notch thriller loaded with action, espionage and double crosses, "Where Eagles Dare" is the kind of movie that Hollywood just doesn't make anymore. This isn't some politically correct drama steeped in reality. No, this is good guys vs. bad guys. This is pure unabashed fantasy which keeps the audience on the edge of its seat. This is just darn good entertainment!
Richard Burton is absolutely cunning as the British agent who leads an elite group of soldiers behind enemy lines and into a seemingly unpenetrable German castle to rescue an imprisoned American General. A young Clint Eastwood is the only American on the mission. Clint is his usual cool and calm self. However he, like the audience, isn't sure who to trust. Somebody's a double agent, but exactly who is anyone's guess. Don't worry about figuring it out, just sit back and enjoy the drama. You'll love the growing tension and suspicion between Burton and Eastwood.
The journey into the castle is classic heart-stopping drama. Even better is Burton's fight with a German soldier high atop a ski lift -- truly one of the most riveting action sequences ever filmed. Bullets are flyin' and bombs are blastin' throughout. In the end, heroes emerge while evil perpetrators get their just due. Classic, absolutely classic!
And yes, as several reviewers have noted, the stunning scenery and beautiful cinematography in this film would greatly benefit from a widescreen DVD treatment. So, how 'bout it, I want my DVD!

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TENSE AND SUSPENSEFUL WORLD WAR II ADVENTURE IN WHICH TWO ALLIESMUST RESCUE A CAPTURED AMERICAN GENERAL BEING HELD IN A FORTIFIED GERMAN CASTLE BEFORE THE NAZIS GET SECRET INFO ON HIM.

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Where Eagles Dare (Clint Eastwood Collection) (1969) Review

Where Eagles Dare (Clint Eastwood Collection) (1969)
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Quite simply one of the greatest war movies ever made. A top notch thriller loaded with action, espionage and double crosses, "Where Eagles Dare" is the kind of movie that Hollywood just doesn't make anymore. This isn't some politically correct drama steeped in reality. No, this is good guys vs. bad guys. This is pure unabashed fantasy which keeps the audience on the edge of its seat. This is just darn good entertainment!
Richard Burton is absolutely cunning as the British agent who leads an elite group of soldiers behind enemy lines and into a seemingly unpenetrable German castle to rescue an imprisoned American General. A young Clint Eastwood is the only American on the mission. Clint is his usual cool and calm self. However he, like the audience, isn't sure who to trust. Somebody's a double agent, but exactly who is anyone's guess. Don't worry about figuring it out, just sit back and enjoy the drama. You'll love the growing tension and suspicion between Burton and Eastwood.
The journey into the castle is classic heart-stopping drama. Even better is Burton's fight with a German soldier high atop a ski lift -- truly one of the most riveting action sequences ever filmed. Bullets are flyin' and bombs are blastin' throughout. In the end, heroes emerge while evil perpetrators get their just due. Classic, absolutely classic!
And yes, as several reviewers have noted, the stunning scenery and beautiful cinematography in this film would greatly benefit from a widescreen DVD treatment. So, how 'bout it, I want my DVD!

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Commandos, posing as German soldiers, parachute into a city to rescue a supposed allied general from a Nazi hideaway fortress that can only be reached by cable car.

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The Outlaw Josey Wales (1976) Review

The Outlaw Josey Wales (1976)
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Although Clint Eastwood gained his greatest critical acclaim as a director for 1992's "Unforgiven" and 2003's "Mystic River" -- both of which are incredible pieces of American cinema -- his best film remains this perennially popular Western from 1976. Here's Eastwood's own take on it: "I do believe that if I'd made that picture in 1992, in place of `Unforgiven,' it might have received the same amount of attention, because I think it's equally as good a film. I think the subject matter of `Josey Wales' is timeless." Orson Welles himself named it one of his favorite movies!
Yet critics at the time completely dismissed it as just another Clint Eastwood Western-Revenge flick. On the surface, the plot might give you that illusion: Missouri farmer Josey Wales loses his family to marauding Union cutthroats during the civil war. In retaliation, he joins Qunatrill's raiders in the guerrilla warfare that flames across Missouri. When the war ends, Wales refuses to surrender. He flies west across the country, chased by his former leader Fletcher (John Vernon in a great, sympathetic performance) and Terrill, the Union captain who murdered his family (Eastwood regular Bill McKinney). It seems Wales has no future except to stay alive long enough to get his revenge.
But...that's not at all what movie ends up being about. Gradually, Wales finds himself at the center of a growing community of outcasts from many different backgrounds: an old Cherokee named Lone Watie (Chief Dan George, in the film's most unforgettable performance), a band of Northern settlers (including Sondra Locke in her first role with Clint), a girl from another Native American tribe, the residents of a dying Texas town, and a red bone hound. Gradually, "The Outlaw Josey Wales" turns into a story about forgetting revenge and a fixation on death, and instead about embracing life and rebuilding a community. "Dying is easy for men like you and me," Wales says to a Comanche chief (Will Sampson) in one scene. "It's living that's hard." It's one of the most unexpectedly uplifting and moving films ever made. And, let's make no mistake about it, it's also an action-packed, tough, and exciting film.
Strangely, the film came out of extremely difficult circumstances and rough beginnings. Eastwood purchased the rights to Forrest Carter's novel "Gone to Texas," only to discover that the author was actually Asa (Ace) Carter, who had worked as a speech writer for George Wallace supporting racial segregation and had once created a subgroup of the Ku Klux Klan. Upon meeting Carter, Eastwood and his producer Robert Daley found the man to be a borderline sociopath (he drew a knife on one of Daley's secretaries at a restaurant). Regardless, Eastwood loved the beautiful story too much and pushed on with making the film. He hired Philip Kaufman to both write and direct the movie, now re-named "The Outlaw Josey Wales." Kaufman (along with Sonia Chernus) wrote a stunning script, but after only a few days on the set, it became obvious he wasn't working out as a director; his style clashed with Eastwood's. Eastwood quietly removed him as director and took over the job himself. As Eastwood's biographer notes, "Kaufman was to a degree the victim of Clint's growing confidence in his own abilities."
Despite this confused beginning, "The Outlaw Josey Wales" turned into a magical piece of Western cinema and a huge hit with audiences. It gets better and better with each viewing: a thrilling adventure when you first see it, its many layers of beautiful subtlety emerge each time you go back to it. Bruce Surtees's photography is astonishing, Jerry Fielding's music exciting and unusual for a Western, and every performance top-notch. Few films are as all-around well done as this American classic.
The DVD offers the film in a glorious widescreen transfer with a new 5.1 sound mix, but there are no extras. Considering the history behind the making of the film, this disc really ought to sport some fascinating commentaries and documentaries, but alas, nothing. Still, I can recommend few films higher than "The Outlaw Josey Wales."

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Josey Wales is a farmer turned fugitive in the post-civil war south who is chased by the law after he avenges the murder of his family and friends.DVD Features:Introduction:Introduction by Clint Eastwood Other:"Hell Hath No Fury" - 30:25 "Eastwood in Action" - 7:45


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Million Dollar Baby (Two-Disc Widescreen Edition) (2005) Review

Million Dollar Baby (Two-Disc Widescreen Edition) (2005)
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Hillary Swank (Margaret Fitzgerald), who proved her athleticism in her first major role, The Next Karate Kid, demonstrated it again, pummeling a heavy bag with a power left on which I wouldn't want to be on the receiving end. She's very convincing in this movie - both as a young woman from humble beginnings who wants to make a better life for herself, and as a boxer. In Million Dollar Baby, she returns to the visceral emotional range that left us so deeply moved in Boy's Don't Cry.
Clint Eastwood (Frankie Dunn), who has proved himself repeatedly, has perhaps turned in the best performance of his career. At times irascible, intellectual, mournful, instructive, reflective, passionate - in every manifestation, he reaches you. He was brilliant.
And Morgan Freeman is, well, Morgan Freeman. As the narrator of the story, and an actor within it, he lends a soft-spoken touch that ameliorates some of the film's darker elements. He also lent the film a certain amount of boxing sagacity, as he spoke in non-technical and sometimes quasi-technical terms of the basics of boxing.
This film ain't no Rocky. It has an intelligence and compassion that Rocky (and virtually every boxing film ever made, save perhaps Raging Bull) couldn't think to have. Beyond that, it actually has better fight sequences. More often than in most boxing films - certainly the very poor choreography of the Rocky fight sequences - the punches looked and felt real, or as real as "fake" can make them.
Margaret introduces herself to Frankie after a fight and asks him to train her. He turns her down flat, saying that he doesn't train girls. Given her pluckiness, she appears at his gym the next day, punching a heavy bag with all of the skill, style and fluidity of Pinocchio. Finally he agrees to train her ("finally" takes a while, and watching it come to fruition, the subtle changes in Eastwood's character, is a real treat to watch), and soon she is ready for her first fight.
Here's the only similarity to Rocky: she turns out to be a natural, with a wicked left hook and overhand right (at least that I could see) and is knocking out all of her opponents in the first round. Some might think that this is, perhaps, a bit much. However, in the sport of women's boxing, such a thing isn't uncommon. PLEASE don't think that I'm saying women are not good boxers or don't have the same abilities that men do. It's simply that the increasing popularity of the sport hasn't quite yet led to the kind of talent that exists in men's boxing (although, frankly, talent on that side isn't exactly at it's apex). Her superiority over lesser opponents isn't unheard of.
There's so much more I want to say about this film, because from this point forward it moved from being one of the best films of the year - purely on the strength of the writing, and the performances of Swank and Eastwood in particular - to one of the best films I've seen in several years. I'm so grateful that reviewers didn't give away the ending. I'll just say that the ending is layered with surprises, and that it's been a very, very long time that I haven't seen a single cell phone being used (how annoying is that, even with all of the polite requests and warnings?), and also seen so many in the theater remain in their seats long after the movie ended.
It's a brilliant, brilliant film, the kind that makes me want to go back and change the number of stars I've given most movies that I've reviewed, simply so that this 5 star review means more. I recently gave Sideways, Closer, and Finding Neverland 5 stars, and while they are all very, very worthy films - I'd like to give this one six.


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"I DON'T TRAIN GIRLS", trainer Frankie Dunn growls. But something's different about the spirited boxing hopeful who shows up daily at Dunn's gym. All she wants is a fighting chance. Clint Eastwood plays Dunn and directs, produces and composes music for this acclaimed, multi-award-winning tale of heart, hope and family. Hilary Swank plays resilient Maggie, determined not to abandon her one dream. And Morgan Freeman is Scrap, gym caretaker and counterpoint to Dunn's crustiness. Grab your dreams and come out swinging.DVD Features:DocumentariesFeaturetteInterviews


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Kelly's Heroes (1970) Review

Kelly's Heroes (1970)
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This is definitely one of the funniest war movies of all time! Donald Sutherland, who plays a hippie(!) tank commander, seems out of place in a WW2 setting. However, he had me laughing the whole way through! I can't imagine what this film would be like without his hysterical performance. One of my favorite scenes is when Sutherland's three Sherman tanks attack a Nazi railroad station while playing Hank Williams' music on a loud speaker! I realize that this "WW2 movie" has a definite 70's feel to it (especially with one of the hit songs of the decade, Burning Bridges), & some don't like this movie for that reason. I can't help but have fun everytime I see this! The tanks, even the German ones, look much more authentic than those in Patton or The Battle of the Bulge. This is a real treat for WW2 tank buffs like me who appreciate authenticity. I know the plot is hokey, but who cares? If you want to see a war movie that isn't depressing (like most) or boring then this is for you!

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A group of soldiers set out to rob a bank and almost win World War II.Genre: Feature Film-Action/AdventureRating: PGRelease Date: 8-FEB-2005Media Type: DVD

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Rawhide: Season Three, Vol. 1 Review

Rawhide: Season Three, Vol. 1
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The greatest western there has ever been or will ever be is Rawhide!
Outstanding western series! Keep them coming Paramount! We are loving it! It's true that Gil and Rowdy rule and Rawhide is #1!
episodes from the first half of Season 3
Season 3, Episode 1: Incident at Rojo Canyon
Season 3, Episode 2: Incident of the Challenge
Season 3, Episode 3: Incident at Dragoon Crossing
Season 3, Episode 4: Incident of the Night Visitor
Season 3, Episode 5: Incident of the Slavemaster
Season 3, Episode 6: Incident on the Road to Yesterday
Season 3, Episode 7: Incident at Superstition Prairie
Season 3, Episode 8: Incident at Poco Tiempo
Season 3, Episode 9: Incident of the Captive
Season 3, Episode 10: Incident of the Buffalo Soldier
Season 3, Episode 11: Incident of the Broken Word
Season 3, Episode 12: Incident at the Top of the World
Season 3, Episode 13: Incident Near the Promised Land
Season 3, Episode 14: Incident of the Big Blowout
Season 3, Episode 15: Incident of the Fish Out of Water
All episdoes are outstanding!
After years of waiting and the cruel betrayal of Columbia House, who had started making DVDs available in 2003, uncut and in series order but then abruptly stopped August 2004, Parmount has come to the rescue! Now in Paramount's capable hands, we are finally making real progress!
Paramount has released more episodes than anyone else to date, even more than Columbia House who had released dozens of VHS tapes(not in episode order). Eric Fleming is amazing as Gil Favor in this seris, there's no one else like him. Rowdy is also incredible in this series. The details of the old west in this series are fantastic. They don't make anything like it nowadays and we'll probably never see anything like it again.
Thank you Paramount!
Here's a great editorial review for Rawhide below
Like anyone growing up in the late fifties and early sixties I watched as much television as possible. Remember that this was the era of the eleven inch, black and white screen, the single three inch speaker and the universal remote was the youngest family member who had to get up to turn the knobs. This was also the golden years of television. The series that were around back then created the genres that are still around decades later. There was also something special about TV back then, it was the era of the western. Every single boy had a cowboy hat, boots and play six shooter. Even the girls refused to be left out and clamored for a fringe skirt cowgirl outfit and hat. The vast majority of television programming was dedicated to the American old west. Every network, all three of them, filled their schedules with one variation of the theme after another. Most of those series are now only a small footnote in the history of television. Several remain today as cult classics and the undisputed leaders in this field. After `Gunsmoke' one TV western still stands above the rest `Rawhide'. This was `THE' show to watch back then. We kids would put on our cowboy gear, make the coffee table into a covered wagon and sit there mesmerized by the action. This is more than an old television show; for many of us this is a piece of our personal history.
The folks over at Paramount Pictures have the most incredible vault of classic television series imaginable. Anybody would love to be able to sit there for a month or two watching the myriad of shows they have on tap. Since this is not a likely prospect it is very fortunate that Paramount has been in a sharing mood. Lately they have been bringing out DVD set after set of series from these golden years. Now they have the second volume of the second season and like the previous ones, it is fantastic. The thing about `Rawhide' is it may have been one of the most famous television westerns but it was not very typical of the genre. Most westerns had the required action. There were good guys with white hats and bad one wearing black and the Native Americans, `Indians' back then, where rarely more than savages. Rawhide took a different slant. It was a dramatic series that just happened to be set in the old west. The six-shooter was there but not as important as the moral and emotional dilemmas the characters faced each week. The stories were centered on the characters over mindless action. It was possible to do this back then. Now so much of television has degenerated into mindless pap that it is easy to forget just how powerful this medium is. In those days everything was new and the studios were willing to take a chance. Rawhide stands the test of time because it dared to be different. So bring in the youngsters and let them see television the way it was meant to be. If they complain just make them stand behind the TV holding a set of rabbit ear antennas like we had to.
The premise of the series is elegant in its simplicity following the lives a group of cowboys working on a cattle drive. Many westerns showed cowboys riding around, shooing cattle now and again but it always felt like the cowpokes really didn't have a whole lot to do. This series depicted the arduous struggle to move a heard of cattle from one location to another. It was a daily hardship battling the weather, rustlers, the cattle and even each other. The drama of the series came organically from the realism of the characters and stories. These were the kind of men that built the west. At the head of the chain of command is Gil Favor (Eric Fleming), the trail boss. He is the one in command of the drovers and support staff on the drive. He is a man who has been around and seen it all. Although he is grizzled and tough he is also fair. His right hand man is Rowdy Yates (Clint Eastwood), the ramrod. It is up to him to work along side the men making sure they do things right. While the men keep the cattle in line it is up to Rowdy to keep them moving in the right direction. Also in constant attendance is Wishbone (Paul Brinegar) the camp cook. He you are responsible for providing a group of hungry cowboys with chow you have to be ready for just about anything. He depends on his assistant Mushy (James Murdock). One of the senior wranglers is Hey Soos (Robert Cabal) he is not a stranger to getting into trouble. Usually there to scout out the land ahead is Pete Nolan (Sheb Wooley).
This series doesn't look or feel like a television show at all. It is more like short, 50 minute, movies. The production quality here is spectacular. There is more emphasis on the plot than action. The fight scenes are just a small part of the series and this set it apart from the large pack of westerns back then. Life on a long cattle drive was shown in a realistic fashion. On such a trek boredom was the real enemy. Cowpokes looking for some excitement on their down time would head off to the nearest town and typically get into some mess or another. There are also plenty of slice of life shots. In one the men side around the chuck wagon, the center of cattle drive society, and grab a snack, mend their clothes, get in a snooze or tend to their saddles. These quite times were usually disrupted by some form of mayhem. Either it is a group of cattle rustlers out to steal the heard or an Indiana attack that forces the cowboys into action. Each episode was titles `Incident at ...' which is extremely fitting. These stories are notable incidents on an otherwise routine cattle drive.
Every episode begins with Gil waxing philosophically about some aspect of his line of work. Whether it is how the good Lord swells a little stream so it takes days to cross or the economics of bringing in the heard on time and in sellable shape Gil gets to show off his deeper side. This was also the series that made a star out of Clint Eastwood. He is more than an actor; he is a true renaissance man who has achieved fame as an actor, director, jazz musician, composer and even a politician. This is where it all began for him. He could stare down the meanest bad guy with a single stare and if necessary back it up with his six-shooter. Also gaining a good deal of fame here was the singer of the theme song, Frankie Lane. This song has lived on long after the series was cancelled and is known throughout the world.
Paramount certainly took care of the original elements of this series. The black and white full screen video is incredibly clear. There is a little speck every so often but over all the video is excellent. This is better than I remember the show ever being. the Dolby 2.0 mono is clear and without flaw. These episodes are completely re-mastered and it shows. Typical of an older television set for Paramount there are no extras included. That really doesn't matter here; the series is a great buy on its own. This is a must have for everyone that appreciates quality television.And here's another good editorial review.
More often than not, Rawhide (1960) is remembered as the show that started the long and illustrious career of Clint Eastwood. After all, his appearance in this Western-themed show would eventually lead to his participation in the classic Sergio Leone spaghetti westerns as The Man With No Name. From there he would start directing and then eventually become the Academy Award winning talent that he is today. it's a very successful show in its own right, as illustrated by this release of Rawhide
Rawhide was always a fan favorite for those interested in the Western genre (and those old enough to have seen the show), and even today it is still a standout in the genre, with excellent direction, writing, and acting.
The series as a whole revolves around the cattle drives of the old west, but that simple premise leaves plenty of room for the writers to come up with tons of interesting stories, episode after episode. What's...Read more›

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The tale of Gil Favor, trail boss, and Rowdy Yates, his assistant, as they drive cattle across the old West. Along the way they meet up with adventure and drama.

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The Outlaw Josey Wales (2008) Review

The Outlaw Josey Wales (2008)
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Although Clint Eastwood gained his greatest critical acclaim as a director for 1992's "Unforgiven" and 2003's "Mystic River" -- both of which are incredible pieces of American cinema -- his best film remains this perennially popular Western from 1976. Here's Eastwood's own take on it: "I do believe that if I'd made that picture in 1992, in place of `Unforgiven,' it might have received the same amount of attention, because I think it's equally as good a film. I think the subject matter of `Josey Wales' is timeless." Orson Welles himself named it one of his favorite movies!
Yet critics at the time completely dismissed it as just another Clint Eastwood Western-Revenge flick. On the surface, the plot might give you that illusion: Missouri farmer Josey Wales loses his family to marauding Union cutthroats during the civil war. In retaliation, he joins Qunatrill's raiders in the guerrilla warfare that flames across Missouri. When the war ends, Wales refuses to surrender. He flies west across the country, chased by his former leader Fletcher (John Vernon in a great, sympathetic performance) and Terrill, the Union captain who murdered his family (Eastwood regular Bill McKinney). It seems Wales has no future except to stay alive long enough to get his revenge.
But...that's not at all what movie ends up being about. Gradually, Wales finds himself at the center of a growing community of outcasts from many different backgrounds: an old Cherokee named Lone Watie (Chief Dan George, in the film's most unforgettable performance), a band of Northern settlers (including Sondra Locke in her first role with Clint), a girl from another Native American tribe, the residents of a dying Texas town, and a red bone hound. Gradually, "The Outlaw Josey Wales" turns into a story about forgetting revenge and a fixation on death, and instead about embracing life and rebuilding a community. "Dying is easy for men like you and me," Wales says to a Comanche chief (Will Sampson) in one scene. "It's living that's hard." It's one of the most unexpectedly uplifting and moving films ever made. And, let's make no mistake about it, it's also an action-packed, tough, and exciting film.
Strangely, the film came out of extremely difficult circumstances and rough beginnings. Eastwood purchased the rights to Forrest Carter's novel "Gone to Texas," only to discover that the author was actually Asa (Ace) Carter, who had worked as a speech writer for George Wallace supporting racial segregation and had once created a subgroup of the Ku Klux Klan. Upon meeting Carter, Eastwood and his producer Robert Daley found the man to be a borderline sociopath (he drew a knife on one of Daley's secretaries at a restaurant). Regardless, Eastwood loved the beautiful story too much and pushed on with making the film. He hired Philip Kaufman to both write and direct the movie, now re-named "The Outlaw Josey Wales." Kaufman (along with Sonia Chernus) wrote a stunning script, but after only a few days on the set, it became obvious he wasn't working out as a director; his style clashed with Eastwood's. Eastwood quietly removed him as director and took over the job himself. As Eastwood's biographer notes, "Kaufman was to a degree the victim of Clint's growing confidence in his own abilities."
Despite this confused beginning, "The Outlaw Josey Wales" turned into a magical piece of Western cinema and a huge hit with audiences. It gets better and better with each viewing: a thrilling adventure when you first see it, its many layers of beautiful subtlety emerge each time you go back to it. Bruce Surtees's photography is astonishing, Jerry Fielding's music exciting and unusual for a Western, and every performance top-notch. Few films are as all-around well done as this American classic.
The DVD offers the film in a glorious widescreen transfer with a new 5.1 sound mix, but there are no extras. Considering the history behind the making of the film, this disc really ought to sport some fascinating commentaries and documentaries, but alas, nothing. Still, I can recommend few films higher than "The Outlaw Josey Wales."

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Studio: Warner Home VideoRelease Date: 09/02/2008Run time: 135 minutesRating: Pg

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Space Cowboys (2000) Review

Space Cowboys (2000)
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A Russian satellite is having problems with its' guidance system. The technology is dated, and the only one that has a solution to the problem is the person that designed it. That person is Clint Eastwood, and he has a hard time comprehending how they got a hold of classified information, but agrees to do what he can to help as long as they include his other buddies that were never given the chance to be in space. Tommy Lee Jones, James Garner, and Donald Sutherland are his partners in crime, and the situations and antics they get into are hilarious. What a stellar cast, and the supporting cast is just as impressive with James Cromwell, Marcia Gay Harden, and William Devane. This film is very entertaining, well acted, and has many memorable moments. It is one you will enjoy time after time.


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In 1958, the members of Team Daedalus, a group of top Air Force test pilots, were ready to serve their country as the first Americans in space but were pushed aside. Now, as a Russian satellite fails and is about to crash into earth, Team Daedalus is back in action in a rescue mission.

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Every Which Way But Loose (2008) Review

Every Which Way But Loose  (2008)
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Okay, okay, before I start getting e-mails up the waz detailing the differences between monkeys and apes, I know Clyde (the main character in the film owns an orange, male ape) wasn't a monkey, but `Clint and his orangutan' just didn't have the same zing...Every Which Way But Loose (1978), directed by James Fargo, who, back in the mid to late 70's seemed to have a promising career, working with Eastwood earlier in 1976's The Enforcer, but after the predictable and hokey 1982 Chuck Norris martial arts actioneer Forced Vengeance, he soon found himself relegated to the domain of the small screen, directing episodes of such 80's television shows as The A-Team, Scarecrow and Mrs. King, and Hunter. Starring in the film is Clint Eastwood (Unforgiven), one time Eastwood co-habitator (that means they shacked up together, but never got hitched) Sondra Locke (The Outlaw Josey Wales, The Gauntlet), Geoffrey Lewis (Salem's Lot, Bronco Billy), and one of the more curmudgeonly actresses I've ever seen in Ruth Gordon (Rosemary's Baby, Harold and Maude). Also appearing is Beverly D'Angelo (National Lampoon's Vacation), Bill McKinney (The Outlaw Josey Wales, The Gauntlet), and John Quade (Bad Company, High Plains Drifter) as Cholla, leader of the Black Widows, what has to be the most inept biker gang ever committed to celluloid...
Eastwood is Philo Beddoe, a truck driver who earns a little extra income as a bare-knuckled fighter in what appear to be unsanctioned street fights, with his friend Orville Boggs (Lewis), a tow truck driver as his sort of manager (well, not really manager, but Orville researches the opponents and makes the bets). Philo, along with his pet orangutan Clyde, and Orville live with Ma Boggs, a cantankerous old biddy who's constantly complaining about how Clyde defecates all over the place, and constantly steals her Oreos. Anyway, life seems to be going alright, that is until Philo falls for a country singer named Lynn Halsey-Taylor (Locke). After making the bumpity bump between the sheets and accepting a good deal of money from Philo (there is a name for women like that, but she did give Philo a rather convincing sob story), Lynn mysteriously up and leaves without so much as a how do you do, headed back to Denver...which prompts Philo to pick up and take after her, with Orville and Clyde in tow. Along the way they make a few enemies in a couple of cops who carry a grudge way to far (just let it go boys, you'll live longer) and also in a particularly lame biker group calling themselves the Black Widows, led by their portly leader Cholla (John Quade), both groups in pursuit of Philo for what we in the business like to call payback (which also happens to be the name of a really good Mel Gibson film based on a Donald Westlake book). Philo does finally find Lynn, the cops and the bikers find Philo, and Philo finds himself with the opportunity to face off against the legendary street fighter Tank Murdock, supposedly the best there is...
The production notes state that when this script was originally presented to Eastwood, it was done so in the hopes that he would pass it along to Burt Reynolds...but Eastwood, who was looking for way to break from the western genre that launched him into stardom, liked it so much he decided he wanted the role himself. Also, many around him at the time, especially the studio executives at Warner Brothers, tried to dissuade him from making the film as they didn't think it would fly, but, after the film's release it ended up being the top grossing film of Eastwood's career, so successful it spawned a popular sequel...I often wonder how many wonderful films got quashed by know nothing studio execs because the script didn't have the juice of someone like Eastwood behind them...anyway, this film is just a good time, and doesn't tend to take itself too seriously. Eastwood carries the movie, with his laid back machismo, but he did have a bit of competition in the ape and Ruth Gordon who tend to steal most of the scenes they're in (probably my favorite scene is when Ma's home alone, confronted by the biker gang searching for Philo, and is forced to use her shotgun which I think is similar to what someone might use to hunt elephants). Also, I know many people would probably like to credit individuals from `da hood' with starting the whole wearing your baseball cap crooked fad, but I contend it was actually Geoffrey Lewis' character Orville that made it popular. Locke did well, but I always felt she exuded an inherently creepy quality (check out the confrontation scene between her character and Philo near the end), no matter what film I saw her in (she appeared in like seven of Eastwood's films, that is until the relationship took the last train to splitsville), and here is no different. Maybe it's her excessively large eyeballs, or her borderline albino condition...and I really can't review this film without mentioning the soundtrack. Normally, I don't listen to country and western music, but I really did enjoy its' usage in here, featuring performers like Eddie Rabbitt, Mel Tillis, and Charlie Rich...also Locke performs one or two number surprisingly well...and the memorable theme used for the Black Widow gang...I found myself humming along every time they made their appearance in the film.
The wide screen (1.85:1) picture looks very good on this DVD, and the Dolby Digital 5.1 sound comes through reasonably clear. Special features include a theatrical trailer for the film, production notes, and a filmography for Eastwood. I would've liked to seen a cast commentary included, as I think everyone had a great time making the film, and probably could have shared some wonderful anecdotes, but whatever...this film was followed by the equally popular sequel Any Which Way You Can (1980).
Cookieman108


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EVERY WHICH WAY BUT LOOSE - Blu-Ray Movie

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Absolute Power (Snap Case) (1997) Review

Absolute Power (Snap Case) (1997)
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At the start of "Absolute Power" Luther Whitne (Clint Eastwood), cat burglar par excellence, finds himself in a very strange situation. While robbing a rich man's safe in a large bedroom closet, he is interrupted by the appearance of a man and woman who head straight for the bed. While hiding in the closet, where he sees what is going on through a two-way mirror, he watches while the sex play gets rough: the man hits her, she stabs him with a letter opener, and then two men come into the room and shoot her. Luther gets out of there, but while his presence was undetected it does not go undiscovered. The problem is that the man he was watching happens to be the President of the United States (Gene Hackman).
Now, I have to stop at this point and tell you that one of my cinematic pet peeves is the idea that the United States Secret Service will let the president do anything, no matter how stupid or reckless, without batting an eye. Indeed, in "Absolute Power" there are two such agents, who help to cover up the murder and then try to track down Luther and kill him. However, the actors playing those two agents happen to be Scott Glenn and Dennis Haysbert, which is an important fact because a lot of the faults in this film area absolved by the casting, the credit for which goes to the film's director: Clint Eastwood.
The hook for this thriller is the idea that the president, his Chief of Staff (Judy Davis), and the Secret Service are out to get Luther, whose stated intention is to get out of town and get lost as quick as possible. But the key to this film ends up being a rather odd romantic triangle that exists between Luther, his estranged daughter, Kate (Laura Linney), and the D.C. homicide cop, Seth Frank (Ed Harris), who is assigned to the murder. Frank interviews Luther, not because he thinks the old con is a murderer, but because he is one of the few that could have pulled off the heist. He then moves on to Kate, hoping to get her to persuade her father to turn himself in before the wrath of the rich man (E.G. Marshall) whose wife is dead comes crashing down on him. Frank clearly likes Kate and is rather impressed by Luther, which is good because I like smart cops. For his part, Luther clearly has some admiration for the detective and also likes his taste in women.
My favorite scene in this movie is when Frank takes Kate to her father's house, where she has never been, and (knowing where Luther hides the key), takes her inside. In one room she finds a gallery of photographs, of all of the key moments in her life after her father left. "She was at none of these," she insists to Frank, although clearly that was never the case and we can see in an instant that she is rethinking her entire relationship with her father. As much as it is fun to watch Luther outsmart the cops, the Secret Service, and the hitman sent by old man Sullivan, the heart of this film is between Luther and Kate. Even when she sets him up, believing it to be the only way of helping keep her father alive, he surprises her by showing up. His reasoning? He did not want her to believe he was a murderer. Besides, his daughter wanted to see him.
I understand the script by William Goldman is quite different from David Balducci's novel, but that simply has to do with Eastwood playing Luther (if you read the novel you will understand why this would matter in terms of the significant changes). Eastwood's direction is competent as always, and, as I mentioned above, he gets the credit for being able to bring together such a solid cast for one of his projects (who would turn down a Clint Eastwood movie?). Final Note: the White House Tour Guide is played by the director's daughter, Kimber Eastwood.

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He was there he shouldn't have been and saw what he shouldn't have seen. Now, who will believe the word of a career thief and ex-con? Who will trust Luther Whitney when he says he saw a woman killed and that the man responsible for her death is the President of the United States? Clint Eastwood portrays Whitney and directs this crisp, finely acted thriller based on David Baldacci's best-selling novel. A stellar cast which includes Gene Hackman and Ed Harris creates well-rounded characters that intensify constantly spiraling game of cat and mouse between Whitney, local police and the highest levels of White House power. Eastwood is a master at steadily raising the stakes in thrillers. Here his mastery is absolute.

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Gran Torino (Widescreen Edition) Review

Gran Torino (Widescreen Edition)
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Throughout his illustrious acting career, Clint Eastwood has delivered a series of iconic characters, such as The Man with no name, Dirty Harry, Josie Wales, and Will Munny in Unforgiven.
Throughout his illustrious directing career he has delivered outstanding movies such as Unforgiven, Mystic River, and Million Dollar Baby, for which he has won five Academy Awards, for best Picture, Best Director, and including the Irving Thalberg Life Achievement Award.
The actors who have worked with him have been blessed with Oscar: Gene Hackman for Unforgiven, Tim Robbins and Sean Penn for Mystic River, Morgan Freeman and Hilary Swank for Million Dollar Baby.
In Gran Torino he both directs and acts, and delivers an acting performance that will be remembered long after the final credits roll, in its unique way, as memorable as any other character he has created.
Gran Torino is the second best movie I have seen this year. Not just for the acting, not just for the directing, but for the storytelling, and the emotional journey on which it takes you, the laughter, the feeling of being gripped, and its more surprising moments.
In the opening scenes, we have the exposition of the character. We get to know Walt Kowalski, by how people act around him, and his seemingly hateful attitude towards people. More is conveyed through a scowl, and a snarl than with words. When the mischievous grandchildren go through his stuff in the basement, we see the Silver Star he won in Korea. There are three other important symbols in the movie, the lighter, the gun, and the car.
We see a hero with a warrior past, a patriot who fought for a cause greater than himself. Clearly, his bigotry stems from those experiences.
He's not just mean, he's 'get of my lawn' mean. He's Dirty Harry 'Go ahead punk, make my day!,' mean.
His dead wife's priest bugs him to hear his confession, at her request. The priest in a way is his wife's conscience.
When he snarls down the barrel of his rifle, at the neighborhood punk: 'I could blow your head off, and sleep like a baby,' you get the sense that he means it.
So, with all that happens, we see the change in his decision making, from someone reluctant to be involved in his neighbor's affairs, and a story can turn on something as random as looking at an empty beer cooler.
For all his faults, Walt has mature masculine character. Even though he is a difficult father, he has taught his children character. So, when he sees the boy next door lacks character, and a strong male role model, he takes him under his wing, and teaches him how to be a man.
The scenes where the boy practises Walt's high octane ball busting banter, are the funniest in the movie. Through knowing Walt, he makes decisions he never would have made by himself. In so doing, Walt finds meaning and purpose, and a chance for redemption, and the boy becomes a man.
The Academy's actor awards tend to go to actors in two types of role:
1.Psychopath- No Country for Old Men, The Usual Suspects, There Will Be Blood, Training Day, Silence of the Lambs.
2.Mentally Disabled, Social or Physical Handicap, overcomes great adversity or discrimination- Shine, As Good as It Gets, A Beautiful Mind, Ray, Scent of a Woman, Capote, Philadelphia, The Pianist, A Beautiful Life.
Every rule has an exception. Russell Crowe in Gladiator played a character with thematic similarities to Walt.
For a 78 year old man to direct and be lead actor in a movie of this caliber is an achievement worthy at the very least of being nominated for the highest award for Acting, Directing or both.
I hope you find this review helpful.

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A disgruntled Korean War vet, Walt Kowalski (Eastwood), sets out to reform his neighbor, a young Hmong teenager, who tried to steal Kowalski's prized possession: his 1972 Gran Torino.

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Clint Eastwood American Icon Collection (Play Misty for Me / The Eiger Sanction / Coogan's Bluff / The Beguiled) Review

Clint Eastwood American Icon Collection (Play Misty for Me / The Eiger Sanction / Coogan's Bluff / The Beguiled)
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This mini 4 film collection is deal and a half. All 4 look great in their original aspect ratios and are enhanced for 16 X 9 widescreen TV's.
Audio is still the original mono but it sounds clean and clear.
Some good extra's on the Play Misty For Me disc, incl. a Clint Eastwood interview and the others have trailers and production notes.
Can't beat the value for the price!

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With over 50 years in show business, Clint Eastwood has established himself as a film legend by creating memorable characters and directing enduring movies. Now, four of his most unforgettable films are available together in the Clint Eastwood: American Icon Collection. Featuring some of his most diverse roles, this set brings you the thrills and excitement of Play Misty for Me and The Eiger Sanction (both also directed by Eastwood), as well as the riveting intrigue and passion of Coogan\'s Bluff and The Beguiled. Showcasing the career of a true Hollywood star, the Clint Eastwood: American Icon Collection is a must-own addition to any film library.Play Misty for MeIn his directorial debut, Clint Eastwood stars as a radio disc jockey who becomes the victim of psychotic obsession when he tries to end a torrid affair with a fan (Jessica Walter).The Eiger SanctionClint Eastwood directs and stars in this action thriller about a professional assassin who is forced out of retirement in order to avenge a friend\'s murder in the Swiss Alps.Coogan\'s BluffClint Eastwood stars as a soft-spoken, straightforward Arizona lawman whose unorthodox methods of capturing an escaped murderer anger a tough NYC police lieutenant.The BeguiledIn this psychological thriller of love, betrayal and hidden passions, Clint Eastwood stars as a wounded soldier who finds shelter in an all-girls academy during the Civil War.



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Unforgiven (1992) Review

Unforgiven  (1992)
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There are a plethora of reviews of the movie, but my review is mostly a comparison of the BD vs DVD version. I won't discuss its merits as a western, which is a classic and worthy of 5 stars. This BD disk is 3 stars for its technical quality.
The BD version is worth buying if you don't own the 2 disk special edition, which has the better DVD transfer, and cost more, even after discounts! But if you own the better DVD version and are looking to own the best version for home viewing, hold on.
While the audio is crisp and clear, there is no magic in its mastering or imaging, its just clearer sound than the DVD.
The BD transfer is generally sharp, but there are moments so dull, I thought I was running the DVD version. The high resolution of BD removes jaggies seen in diagonal lines and pixelation revealed by DVD resolution projected into a large HDTV, but this BD's colors are often washed out, and edges of objects blurred. This lack of resolution is much worse in the night scenes including the finale scene, and is 80% less during daylight shots. Some of the daylight shots do appear as blurry as the night shots. Unlike better BD out there, overall the background elements do not have more striking detail over the DVD. By comparison, a stellar transfer exists even in old movies. If you are a fan of WWII airplanes, see the 1969 'Battle of Britain' or the classic 2001: Space Odyssey.
However, if you don't own the 2 disk set, this BD disk incorporates all the extras of the 2 disk set into one disk, and a better buy than the original DVD release.

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Clint Eastwood and Morgan Freeman play retired, down-on-their-luck outlaws who pick up their guns one last time to collect a bounty offered by the vengeful prostitutes of the remote Wyoming town of Big Whiskey. Richard Harris is an ill-fated interloper, a colorful killer-for-hire called English Bob. And Best Supporting Actor Oscar winner Gene Hackman is the sly and brutal local sheriff whose brand of law enforcement ranges from unconventional to ruthless.

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Heartbreak Ridge (Snap Case) (1986) Review

Heartbreak Ridge (Snap Case) (1986)
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In Heartbreak Ridge, Clint Eastwood brings the story of whipping a group of slacker marines into shape to life. Although Clint still packs plenty of great one-liners (which are hilarious), his character shows many other sides as well. The other characters are also very colorful, and display a great transition toward the end of the movie. A must-see for Clint fans as well as anybody else.

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A Marine Corps drill sergeant starts his last tour of duty before mandatory retirement and leads his men into Grenada.Genre: Feature Film-DramaRating: RRelease Date: 27-SEP-2005Media Type: DVD

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Away All Boats (1956) Review

Away All Boats (1956)
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I was a big fan of Chandler as a boy in the 1950's. My personal favorites of his from then and as an adult are Pillars of the Sky and Yankee Pasha. As always with older films, you have to put them in the context of the time in which they were made as far as style, realism, etc. Believe me, this guy was handsome to the ladies and a man's man to the guys....tons of on screen magnetism.
The main thing I want to add about both Chandler and this movie is my experience watching this film as a Navy officer aboard a ship of the very same type during the Viet Nam era. The title of the film refers to the fact that the ship (the Belinda, as I recall) was an amphibious cargo ship, one which carries marine vehicles, anchors off the coast, lowers boats ("away all boats") into the water and drops the vehicles into the boats for the trip to the beach with U.S Marines who drive them ashore and onward. In the officers' wardroom aboard the USS El Paso in the early '70's, we watched this movie multiple times and loved it as well done and realistic.
We did get some big chuckles out of the casting comparing actors like Richard Boone ("Have Gun Will Travel") playing, I think, the First Lieutenant, and Lex Barker (Tarzan) as the Executive Officer and comparing these guys to our own counterparts. We all thought the film was "Navy" all the way, however. I'm not sure if these amphibious cargo ships are still in operation, but they were used through the first Gulf War.
This movie is realistic and an accurate depiction of a U.S.Navy amphibious ship during wartime. Chandler is certainly the main man in the story but does not dominate to quite the same extent as in some of his other films. He is good in the role, however, and this is an authentic depiction of Navy life and a good story.

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Hereafter (2010) Review

Hereafter (2010)
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Many of us have a terrible tendency to pigeonhole filmmakers into the genres we think they're best suited for. When I first saw the trailer for "Hereafter," I, like much of the moviegoing public, was unpleasantly surprised at the thought of Clint Eastwood having directed a supernatural drama. Given his recent triumphs with films like "Mystic River," "Million Dollar Baby," "Changeling," "Gran Torino," and "Invictus," it just didn't seem like something he would have or should have done. As usual, I was reacting impulsively; "Hereafter" is an incredibly strong film, in large part because Eastwood resisted the temptation to treat it as a thriller. It certainly has mysterious elements, but for the most part, it's a poignant, thought-provoking story of how different people react to traumatic circumstances.
The common thread of the story is death - or, more accurately, what awaits us after we die. Although glimpses of a spiritual void are revealed, neither Eastwood nor writer Peter Morgan makes any grand claims as to what it is or how it works. In other words, the film assumes the reality of life after death, but it doesn't linger on details such as heaven, hell, purgatory, or anything else resembling eternal punishment or eternal reward. There isn't even a discussion about the existence of God. This isn't a criticism. We've seen far too many movies in which deathly states are both explicitly examined and regarded with either extreme sentimentality or extreme terror; "Hereafter" wisely avoids these clichés, in effect keeping the true nature of death a mystery.
The film is initially structured as three separate storylines, all of which theatrically but cleverly converge during the final act. In the first storyline, we follow Marie Lelay (Cécile de France), a French television journalist for a left-wing political program. While on vacation, a tsunami tears through the resort and sweeps her away, causing a near death experience. (While never directly stated, I'm forced to assume that Eastwood was depicting the 2004 Indian Ocean Tsunami that destroyed coastal cities in Indonesia, India, Thailand, and Sri Lanka.) Miraculously, she's revived. However, upon returning to France, she finds the experience has had more of an effect than she ever thought possible. She can no longer concentrate on her work, damaging her celebrity status. She's consumed with thoughts of life after death, a possibility that neither her atheist lover (Thierry Neuvic) nor her secular coworkers are willing to consider.
The second story focuses on George Lonegan (Matt Damon) a San Francisco factory worker who, after a childhood illness, gained psychic powers, specifically the ability to talk to the dead. He doesn't consider it a blessing, and he flatly refuses to step back into the spotlight as a celebrity psychic. In an Italian cooking class, he strikes up a friendship with a female student named Melanie (Bryce Dallas Howard), which seems like the beginnings of a contrived Hollywood romance until he takes her to his apartment; at that point, a simple but disturbing scene makes his reasons for trying to keep his ability abundantly clear. His brother (Jay Mohr) simply doesn't understand where he's coming from; the way he sees it, George is missing out on a tremendous financial opportunity.
The third story centers on a British boy named Marcus (Frankie McLaren), whose identical twin brother, Jason (George McLaren), is struck and killed after running in the middle of the street. This tragedy is made worse due to the fact that his mother, Jackie (Lyndsey Marshal), is a both drug addict and an alcoholic, forcing her into rehab; Marcus, now alone and in foster care, becomes withdrawn and moody, looking uncannily like the proverbial creepy child from a horror movie - pale skin, sunken eyes, and never a smile on his face. He gets obsessed with finding some way to reconnect with Jason's spirit, thus beginning his citywide search for a medium, someone who isn't merely selling crackpot ideas but can actually speak with the dead.
This particular plotline includes one of the film's best scenes, in which Jackie tearfully but bravely says goodbye to Marcus in the Social Services office. The reason it works so well is because it develops Jackie against our expectations. We've been conditioned by other films to see characters like her as hopeless and uncaring; I was prepared for scenes of emotional breakdowns and irrational behavior, such as her being completely unable to cope with Jason's death and somehow finding a way to blame it on Marcus. But nothing that conventional ever happens - even before her son dies, we see that she's finally coming to terms with her addiction problems, and her resolve only seems to strengthen after Jason's funeral. So too does her love for Marcus.
The ending is perhaps too conventional, although it appropriately challenges George's assertion that absolutely nothing good can come from his psychic abilities. It also nicely plays into the film's message, namely that, regardless of whether or not there is life after death, we must make the most of the time we're given here on Earth. Inevitably, this will involve the difficult but necessary task of moving on after a period of grieving; life is not about staying in the past, but going ahead. There may be certain atmospheric elements of "Hereafter" that seem atypical for Clint Eastwood, but in no way do they affect his affinity for strength of character and engaging stories. Don't dismiss this movie simply because of its supernatural overtones. There's so much more to it than that.

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George (Matt Damon) is a blue-collar American with a special connection to the afterlife dating from his childhood. French journalist Marie (Cécile de France) has a near-death experience that shakes her reality. And when London schoolboy Marcus (Frankie and George McLaren) loses the person closest to him, he desperately needs answers. Each seeking the truth, their lives will intersect, forever changed by what they believe might – or must – exist in the hereafter.

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Clint Eastwood Western Icon Collection (High Plains Drifter/Joe Kidd/Two Mules For Sister Sara) (1972) Review

Clint Eastwood Western Icon Collection (High Plains Drifter/Joe Kidd/Two Mules For Sister Sara) (1972)
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All three movies have been digitally remastered, but unfortunately the sound wasn't. Just the basic Dolby recording which is disappointing. And the only extras offered are the theater trailers; no deleted scenes, interviews, photo stills or any of the other things we've come to expect from these types of collections. Great movies but delivered in a mediocre way.

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With his steely-eyed stare and one of the most commanding screen presences of all time, Clint Eastwood is a true American icon to film fans everywhere. Join him in the Clint Eastwood: Western Icon Collection in three of his most popular films: High Plains Drifter, Joe Kidd and Two Mules for Sister Sara. This powerful, must-have collection showcases Clint Eastwood in some of the toughest and most unforgettable roles of his career. High Plains Drifter When "The Stranger" (Clint Eastwood) rides into the sin-ridden town of Lago, bullets fly as he battles three ruthless gunmen in a pulse-pounding shoot-‘em-up. Joe Kidd Gunslinger Joe Kidd (Clint Eastwood) is hired by a wealthy landowner (Robert Duvall) to quell a range war with Mexican revolutionaries, but he soon finds his loyalties in question when he falls for a beautiful rebel. Two Mules for Sister Sara A hard-hitting drifter (Clint Eastwood) and a unusual nun (Shirley MacLaine) set off on an action-packed adventure when they join a band of freedom fighters in their mission to capture a well-protected enemy garrison.

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