Showing posts with label great movie. Show all posts
Showing posts with label great movie. 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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The Dirty Dozen (1967) Review

The Dirty Dozen (1967)
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"The Dirty Dozen", Robert Aldrich's 1967 adventure classic, would redefine a whole genre of films, as public attitudes towards warfare and heroism changed, due to Vietnam. With 'heroes' who were certainly not noble, a mission that would require a level of cruelty film audiences had never before seen from American fighting men, and graphic language and bloodshed, the impact of the the film was both immediate (despite huge 'box office', many critics panned the film as 'disturbing' and glorifying violence), and continuing (influencing films as diverse as "Patton" and "Saving Private Ryan"). It can be viewed at many levels, as a crackling good adventure yarn, an 'anti-establishment' and anti-war statement, the ultimate 'buddy' film...few films have generated as much controversy, or stood the passage of time, better!
Based on E.M. Nathanson's novel (of rumored 'Death Row' convicts offered a pardon or reduction of sentence for volunteering for a suicide mission), with a large dash of the Pathfinders' legendary "Filthy Thirteen" of WWII tossed in, the property was purchased as a potential starring vehicle for John Wayne. The Duke passed on the project, however (choosing to make "The Green Berets", instead). Director Aldrich never envisioned Wayne in the lead, preferring WWII Marine vet Lee Marvin in the complex role of maverick Maj. John Reisman, and the actor, fresh from winning an Oscar for "Cat Ballou", was dead-on perfect in the part. Veteran stars Ernest Borgnine, Robert Ryan, Ralph Meeker, Robert Webber, George Kennedy, and Richard Jaeckel were cast as Marvin's military allies and adversaries.
For the "Front Six" of the Dozen, sullen Charles Bronson (another WWII vet), John Cassavetes (who would garner an Oscar nomination), Telly Savalas (in the most 'whacked-out' role in his career), Clint Walker (of "Cheyenne" TV fame), football legend Jim Brown (in only his second film), and popular singer Trini Lopez (in his film debut) would dominate the screen time, with a "Back Six" of character actors in much smaller roles, simply filling out the rest of the twelve parts. But a movie 'miracle' occurred; when Walker objected to a scene where, as a bogus 'General', he would idiotically review an Airborne unit (feeling it demeaned Native Americans, who his character portrayed), Aldrich passed the scene to "Back Six" actor Donald Sutherland...and the scene would spectacularly launch his career, leading to his starring role in "M.A.S.H."
Aldrich's meticulous shooting style, and the often rainy British weather (where the film was shot), more than doubled the shooting schedule, and after seven months on location, Trini Lopez (on the advice of friend Frank Sinatra), informed Aldrich and the producers that he was missing singing dates, and would need a pay hike to continue. To Lopez' surprise, Aldrich 'dropped' him, having him die in the climactic parachute drop!
The director was warned that if he didn't eliminate the film's most controversial scene (pouring gasoline and dropping grenades on the women guests, as well as the Nazi officers seeking refuge in the bomb shelters), he would lose any chance of a 'Best Director' Oscar. After soul-searching, he left the scene in ("War is Hell, and HAS to be portrayed that way"), and while he sacrificed the prize, Robert Aldrich gave the film a brutal honesty that subsequent wars would sadly verify.
With loads of Disc Two Special Features that open up the film and gives an insight into why it has become a 'classic' (including the first "Dirty Dozen" TV 'sequel', a Lee Marvin Marine 'Leadership' training film, and an astonishing documentary on the "Filthy Thirteen"), it is absolutely an essential for any 'War Film' library.
"The Dirty Dozen" survived contemporary criticism, and has proven to be one of the most enduring war films of all time, as fresh today as when it debuted in 1967.


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Item Name: The Dirty Dozen [Blu-ray]; Studio:Warner Home Video

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Jeremiah Johnson (1972) Review

Jeremiah Johnson (1972)
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This movie is one of several fascinating historical threads that I have been following since I first saw it as a 12-year old and loved it. First, it is based on the actual life of a mountain man named John Johnston, later changed to Johnson, and known in the West from the mid-1840s as Liver-Eating Johnson (see the book "Crow Killer" published 1958, R.W. Thorp & R. Bunker). I did not know this until recently and assumed it was all fiction. He was a huge man for his time, 6'2" and 240 pounds in his early 20's, had fists the size of baked hams and was best in hand-to-hand fighting with his 16" Bowie knife. Thorp and Bunker based the book on first-person interviews with several mountain men and others who had known of him, including, surprisingly, the famous photographer of the 1870's West, W.H. Jackson (photographer for the Hayden Expedition and famous for the first photograph of Mount of the Holy Cross near Vail, Colorado), but the real detail being furnished by an old mountain man named White-Eye Anderson, who told the story to R.W.T. in 1941 when he was in his 90's. After Johnson's Flathead wife was murdered on the Musselshell in Montana by a band of young Crow braves, Johnson "took the trail" on the entire Crow nation. His calling card, for over 20 years of butchery on the Crows, was to remove the liver of every Crow he killed and eat it. The Crows called him "Dapiek Absaroka". Vardis Fischer, on whose book this movie is based, "borrowed" as well certain scenes from a book written in the 1840's called "Life in the Far West" by George Ruxton, a first-person account of life in and near the Colorado Rockies. This movie does a fine job with a subset of Johnston's life, leaving out his service in the Civil War, and his later life as a town marshal and finally, his death in an old veterans home in Los Angeles. I got the notion that Fischer's book bordered on plagiarism after reading Ruxton, and after reading Crow Killer it seems all Fischer did was change Johnson's name to Jeremiah and slap on a cover with his name on it. The movie also leaves out that Johnson spies, among the pile of bones that was his wife outside the cabin, a round object about the size of an orange - the skull of his unborn baby. He collects the bones of wife and baby and puts them in an iron pot and inters them behind carefully mortised rocks near the cabin; a shrine, his "kittle 'o bones" those closest to him called it (never in his presence) he visits over the years. Will Geer's character, near as I kin figger, is based on a friend of Johnson's named "Bear Claw" Chris Lapp, a man known to say, when presented with grizzly claws his mountain man friends collected for him to make necklaces of, "Great Jehosophat! Pocahontas and John Smith!" The Crazy Woman, one of the most sympathetic characters I have ever seen in a movie, was in real life the wife of John Morgan, a foolish homesteader on the Oregon Trail who quarreled with the wagon master and took off on his own only to be tomahawked and scalped alive by Crows, his daughter raped and scalped alive, and his two young sons killed. Mrs Morgan, having killed several of the Indians with an axe yet driven insane by the loss, lived on the Musselshell and was cared for by Johnson and his fellow mountain men for years. The movie leaves out the little detail that she and Johnson beheaded the Crow corpses and set them on stakes at each corner of the graveyard where she buried her children, the weathered skulls a powerful medicine for the Crows ever after. It was the Crow's deference to this insane white woman living in their midst that finally convinced Johnson to call off his vendetta against them, after having killed nearly 400 Crow warriors. Liver-Eating Johnson's grave (and here I borrow heavily from "Crow Killer") is in a cemetary off of Sepulveda Boulevard (interesting, that. One of Johnson's comrades was a huge black-bearded Hispanic named "Big Anton Sepulveda") in a section called San Juan Hill, row D, 2nd stone from the road reads "Jno. Johnston, Co. H, 2nd Colo. Cav.". Get the movie and enjoy it; it's a true story. Only took me 30 years to find that out.

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Robert Redford has one of his best-ever roles as a 19th century mountain man in a wilderness of harsh elements and hostile Indians. Directed by The Firm's Sydney Pollack. Year: 1972 Director: Sydney Pollack Starring: Robert Redford, Will Geer, Stefan Gierasch DVD Features:FeaturetteProduction Notes


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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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Conspiracy Theory (1997) Review

Conspiracy Theory (1997)
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I was shocked at how much I enjoyed this movie. When it hit theaters I wasn't interested in seeing it and only saw it recently. Being a huge Star Trek: The Next Generation fan, it was a cheap thrill to know that Patrick Stewart would be in this film... and he proves what an incredible actor he is. His character (Jonas) is so evil, you want him to just die, already!
Jerry Fletcher (Mel Gibson) is a cab driver in New York City. He is a nutty but harmless (or is he?) conspiracy theory junkie. He has all sorts of theories about crop circles, crime, government control, you name it.
He is sure that people are out to kill him, so he always sets up an elaborate escape plan and sets booby traps everywhere in his slum apartment. Jerry is unexplicably obsessed with Alice Sutton (Julia Roberts), who is an attorney with the Department of Justice. He continues to stalk her and tries continuously to contact her to espouse his latest theories. Alice feels sorry for Jerry and thinks of him as a sometimes annoying, but caring, sweet, lonely man who is a little touched in the head.
Jerry has a self-published newsletter he sends out to a whopping 5 subscribers. As a number of them start mysteriously dying one by one, Alice suddenly starts to believe there is more to Jerry than just being a nutty cab driver.
Those who couldn't stomach "The Marathon Man" may have trouble seeing similar torture scenes at the hands of Jonas, but they are brief in comparison. The film is a total thriller that had me on the edge of my seat. The plot was so well thought-out, that while you're watching in suspense, you don't find yourself saying, "that's ridiculous!"

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A CONSPIRACY OBSESSED CABDRIVER NAMED JERRY FLETCHER BELIEVES HEHAS AN INEXPLICABLE CONNECTION TO A JUSTICE DEPARTMENT ATTORNEY,ALICE SUTTON. HE KEEPS TRYING TO WARN HER ABOUT IMPENDING CONSPIRACIES EVEN THOUGH SHE GENTLY BUT FIRMLY DISMISSES HISCONCERNS.

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A Soldier's Story (1984) Review

A Soldier's Story (1984)
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A phenomenal cast brings Charles Fuller's adaptation of his Pulitzer Prize-winning play to the big screen. Howard E. Rollins, Jr., is magnetic as the Army Captain sent to investigate the murder of a black Sergeant in Louisiana during World War II; his careful detective work uncovers the complex layers of racism (both externalized and internalized) that led up to the crime. Adolph Caesar gives a superb, Oscar-nominated performance as the (unsympathetic) victim whose story is told through a series of flashbacks. And Larry Riley, David Alan Grier, Robert Townsend, and the always-magnificent Denzel Washington register strongly in important supporting roles. Effective as both a mystery and a social commentary, this worthy nominee for the 1984 Best Picture Oscar is tightly directed by Norman Jewison.
The DVD presentation of this recent screen classic offers an excellent film-to-video transfer, featuring a sharp picture and crisp sound. The disc contains both the widescreen and fullscreen editions, and includes the original theatrical trailer. Also offered is a short but very moving 1999 documentary entitled "March to Freedom", which recounts several astonishing real-life stories of racism in the American armed forces during World War II. All-in-all, this is a highly recommended DVD that deserves a place in your home video library.

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Rollins is a proud black army attorney sent to investigate the ruthless shooting death of Caesar. He learns that Caesar was a vicious man who served the white world and despised his own roots.Genre: Feature Film-DramaRating: PGRelease Date: 28-AUG-2001Media Type: DVD

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The Negotiator (1998) Review

The Negotiator (1998)
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Someone is embezzling money from the police department, and when Danny Roman is accused of the deed, he ends up taking several hostages within the department when things escalate and get out of hand. Danny has lost confidence in everyone in his own department, so he requests hostage negotiator Chris Sabian to help negotiate, and help prove his innocence. As the situation gets to a critical level, pieces of the puzzle start to fall into place. This is a very intense emotional suspense movie. Samuel Jackson and Kevin Spacey turn in phenomenal performances. This thrill a minute film is a definite must see.


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This film centers on a former FBI hostage negotiator who, after being framed for murder, tries to clear his name by taking several people hostage in order to uncover the guilty party.

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Eye of the Needle (1981) Review

Eye of the Needle (1981)
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Hubby and I long ago nicknamed Donald Sutherland "A or F Sutherland." This is because his movies tend to be either "A"s or "F"s with nothing inbetween. "Eye Of The Needle" is one of his very best "A" films. It is based on the equally superb novel of the same name. It is rare when a novel and its film version are equal in excellence but this is one of those rare happenings. Sutherland plays a German spy, called "The Needle," stationed in England during WWII. He uncovers the real destination of the planned Allied D-Day invasion. In trying to get this information to his country and escape on a German submarine, he ends up stranded on an island with Kate Nelligan and her bitter and crippled husband. This is unfortunate for the Needle. For he finds himself emotionally captivated, as well as sexually, with Nelligan. Although he has always been able to ruthlessly kill anyone who stood in his mission's way before, Nelligan's fierce courage handicaps him. A love story as well as a war-espionage story, it is an exhilirating experience from start to finish. See it.

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Donald Sutherland (Outbreak) and Kate Nelligan (Up Close & Personal) ignite the screen as ill-fated lovers in this "exciting, emotionally involving thriller" (New York Magazine).Based on the best-selling novel by Ken Follett, this searing mystery is a roller coaster ride of suspense, centering on the relationship between a master spy and a brave womanwith the fate of the world hanging in the balance.Englishmen know him as Faber, but to the Fatherland, he's the lethal spy known as "The Needle." On his way back to Germany, Faber is shipwrecked on an island outpost where he befriends Lucy, a beautiful Englishwoman who lives there with her family. Lonely and scorned by her bitter, crippled husband, Lucy falls for the enigmatic stranger, not knowing that he's atraitor determined to prevent the D-Day invasion. But as their passion erupts, Lucy discovers the brutal truthas love and war melt into an electrifying climax of eroticism, adrenaline and terror!

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The Road Warrior (1982) Review

The Road Warrior (1982)
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I'm saying "finally" because we've finally received a version of the Road Warrior that looks outstanding! The picture looks the best I've ever seen and while the sound isn't as great in terms of bass reproduction, it still sounds very clear, just a tiny bit lackluster. Several of the scenes have a bit of softness to them probably due to age but I'd say about 95% of the film looks crystal clear. There aren't many extras other than an introduction by film critic Leonard Maltin and a filmmaker commentary. A bit lacking in the extras department but the commentary is informative enough for film enthusiasts and fans of the film. It'd be nice to get a retrospective documentary one day on this classic.
At the end of the day, the movie is delivered in an above average presentation and definitely worth a peek in HD.

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In a post-nuclear war world, Gibson plays Max, a lone adventurer who drives the roads of outback Australia in an endless search for gasoline. His opponents include Lord Humungus, and they battle over a tiny band of civilized survivors and their horde of fuel.Genre: Feature Film-Action/AdventureRating: RRelease Date: 3-FEB-2004Media Type: DVD

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The Warriors (1979) Review

The Warriors (1979)
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I'm David Shaber's daughter, Sam, (Samantha.) My father wrote the screenplay for The Warriors, and I'm hoping this "review" gets printed because he just passed away on Thursday morning, November 4th, of a sudden burst anneurism. With so many "Warriors" fans out there, I thought you would want to know. I'm incredibly warmed by these wonderful comments about this film and I know that if he read them (although he had barely learned how to search the internet before he died) he would chuckle in his lighthearted way and say something like "Oh, well isn't that nice," all-the-while refusing to take credit for any of it. But I know he deserved that credit, having taken a dark, psychological study of gang warfare and infusing it with a classic but clever and topical, good vs. evil story. (And maybe I shouldn't admit it, but my dad didn't really like the baseball face-paint idea which I believe was one of Walter Hill's additions - he thought that was too unrealistic and "Hollywood"...) Anyway, I do hope the movie is re-issued with the extra scenes at some point, and for those real "followers" I just discovered that you can find a complete list of his produced titles on the Internet Movie Database (IMDb.com) if you want to check it out. The Warriors is indeed an AFFECTING picture, whether you love it or hate it. So thanks for your comments and take care, -Sam.

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Traffic (2001) Review

Traffic (2001)
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To say that this is a film with a message would be an understatement, because it comes across so emphatically clear and succinct, and it is this: To wage a war against drugs, you must first come to terms with the sobering fact that the enemy is often a member of your own family; and how do you wage a war against your own family? A sobering message? Insightful? Indeed. And, when you consider the implications of it all, devastating. Ponder that awhile and you'll begin to get a sense of the futility visited upon those who would attempt to rectify a situation that affects practically everyone everywhere sooner or later, either directly or indirectly; and it is just that situation that is addressed and presented with no-holds-barred by director Steven Soderbergh in his brilliant, hard hitting film, "Traffic," starring Michael Douglas and Benicio Del Toro. The film examines the trafficking of drugs between Mexico and the United States, and the long-ranging effects thereof; and Soderbergh tells the story through a number of perspectives, which effectively presents the "big picture" of the drug trade and the subsequent impact it all has on the lives of so many people.
Probably the most telling perspective in terms of futility is that which is shown through the eyes of Robert Wakefield (Michael Douglas), a judge who is appointed the country's "Drug Czar," and given the task of "making a difference." It's a pivotal character inasmuch as it is through his involvement that so much information is presented, not all of which is anything new, but when taken within the context of the story has a tremendous emotional impact. Through Wakefield, not only is the unbelievably far-reaching problem of illegal drugs illuminated, but the attitudes of all of those it touches on all levels, from the heads of the Mexican cartels to the kids who use and abuse the product made so readily available to them by the drug lords.
A man of principle and high ideals, Wakefield begins by educating and familiarizing himself with all facets of the drug trade. He quickly learns that although he is far from naive in terms of the reality of what he is dealing with, he actually has no concept of the depth and scope of it, like how much better equipped and financed the cartels are than the U.S. Government, for instance. Another troubling aspect of the story involving Wakefield is the lack of respect accorded him by the young people with whom he comes into contact, not only in his official position, but simply as a human being-- especially by his own sixteen-year-old daughter and her "friends." Unfortunately, it realistically reflects an attitude prevalent within a wide faction of our society today; and it's one of the strengths of the film that it can so succinctly capture something so distressing, something that should be of monumental concern to everyone, for it's an integral part of a larger something that touches us all. Also realistically portrayed is Wakefield's reaction to all of this; the helplessness born of the limited ways of combating what he encounters is extremely well realized and conveyed by the film, and it enhances even more that already overpowering sense of futility.
From the Mexican side of the border, the story unfolds through the perspective of Javier Rodriguez Rodriguez (Benicio Del Toro), a veteran of the Mexican Highway Patrol; and it's from his side of the fence that we begin to understand the ramifications of the politics, money and power, and ruthlessness that so empowers the cartels. In these segments, the dialogue is in Spanish (with English subtitles), and Soderbergh uses a tint to the film that lends a visual sense of detachment to the action; it's almost like watching an old newsreel, which gives it an air of authenticity that works because it's incorporated with the emotional substance that ultimately provides the real impact.
The superlative cast Soderbergh assembled for this film includes Don Cheadle, Luis Guzman, Dennis Quaid, Catherine Zeta-Jones, Steven Bauer, Jacob Vargas, Erika Christensen, Miguel Ferrer, Amy Irving, Tomas Milian and James Brolin. An important film of gut-wrenching implications and staggering emotional proportions, "Traffic" evokes a sense of futility and loss (especially in the final scenes) that is, at times, overwhelming. It makes you realize just how huge the drug trafficking trade is, and how any efforts to eliminate or even contain it simply pale in the light of it's enormity. It's like a terminal cancer, spreading and eating away at the fabric of our society; a disease that reduces the value of human life to the barest minimum. It's a movie that will affect everyone on a different level emotionally, depending somewhat upon personal experience and frame of reference, but there is no doubt that this is a film that will create a lasting impression on anyone who sees it; but be prepared, for this is powerful drama that elicits a sense of hopelessness which-- I'm sure for many-- may hit just a bit too close to home for comfort.

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A twisting tale that attempts to chronicle the complex and diverse war on drugs. An Ohio Supreme Court Judge is appointed Drug Czar, but his loyalties are divided as he finds out his daughter is addicted to heroin. A jailed kingpin's wife attempts to take over his successful drug business. A local constable from Mexico struggles with his own ethics and how they play into the drug war.

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Saving Private Ryan (1998) Review

Saving Private Ryan  (1998)
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"Saving Private Ryan" is, by all accounts, an American masterpiece and one of the premier World War II films. Its release on Blu-Ray has been highly anticipated and, for the most part, it doesn't disappoint. First of all, the transfer is every bit as astonishingly sharp as expected. I am by no means a videophile, but there didn't appear to be a single moment of artificial enhancement of the film. The print is appropriately accompanied by a slight sheen of grain whilst still retaining a high level of detail. As far as I'm concerned this is an easy five star transfer. The film runs 2:49:28 and features audio and subtitles in English, French, Spanish, and Portuguese. Prior to the menu loading are two easily skippped trailers for the "Minority Report" Blu-Ray and the long overdue home video release of "The African Queen".
There are no features on the first disc, not even a commentary track (Spielberg is well known for his dislike of commentary tracks). The special features are included on the second disc and all are presented in standard definition with the exception of the two film trailers. This is disappointing but not surprising, as it's something of an industry trend. There were no new features produced for this release, which is especially surprising considering the wealth of new high definition features that were produced for the "Minority Report" Blu-Ray. The positive side is that it pulls the features from all previous DVD editions. So even if it is all in standard definition, at least the consumer is presented with the complete special features collection. Most of the titles are rather self-explanatory, but here's a complete rundown of the features:
1) "Introduction" (2:35) - Director Steven Spielberg discusses what attracted him to this project. This would've made more sense if it was included on the first disc with the film, as most will only put the second disc in after watching the film, thus making this more of an epilogue!
2) "Looking Into the Past" (4:40) - This functions as a sort of extension of the introduction, as Spielberg discusses the influences that ultimately led him to creating this film.
3) "Miller and His Platoon" (8:23) - This feature discusses the different personalities of the principle characters with particular focus on Tom Hank's character. Spielberg and Hanks also speak candidly about their interest in World War II in general. There's some interesting on-set footage included as well.
4) "Boot Camp" (7:37) - This features the great Captain Dale Dye discussing how he helped train the actors for their roles, as well as the unique boot camp the actors participated in during production.
5) "Making Saving Private Ryan" (22:05) - A strong making-of feature which highlights Spielberg's directing style relative to the film with some outstanding behind the scenes footage. This is far better than the typical promotional fluff studios place on video releases with a "making of" label attached.

6) "Re-Creating Omaha Beach" (17:58) - An interesting feature discussing how the crew mounted the most impressive battle scene of the film.

7) "Music and Sound" (15:59) - Composer John Williams discusses how he went about scoring the film.

8) "Parting Thoughts" (3:43) - A nice bookend feature that contains bits of interview footage with Hanks and Spielberg.

9) "Into the Breach: Saving Private Ryan" (25:01) - A standard behind-the-scenes feature covering production of the film. This feels like a promotional piece that was bumpered between films on television during its theatrical run. This feature was ported over from the original DVD release of the film and is in rather poor quality (even for standard definiton). I'm definitely glad they included this, but the "Making Saving Private Ryan" feature is far superior.

10) "Shooting War" (1:28:05) - Tom Hanks (in full beard, as this was filmed while "Cast Away" was under production) hosts this feature focusing on the men who filmed and photographed World War II. This is perhaps the strongest feature here, bolstered by plenty of amazing war footage and anecdotes from veterans.

11) Theatrical Trailer in High Definition (2:16)

12) Re-Release Trailer in High Definition (2:05)
To be fair, all the features truly do look quite excellent with the notable exception of the "Into the Breach" feature. I've been spoiled on the clarity of Blu-Ray, however, so it's still something of a disappointment. Aside from that, this is by far the best release of the film yet. The print is fantastic, it's a huge upgrade over the DVD, and the features are expansive and plentiful. Highly recommended!
UPDATE 05/11/10: Apparently this Blu-Ray has been recalled because of an audio sync problem that occurs after Chapter 15 (about two hours into the film). I was aware of the claims on its release date, but even after watching my copy twice I never encountered any issues. Still, for the company to take this sort of action proves the problem is indeed legitimate, so hopefully Paramount's response will be swift and painless for those who have already purchased this product.
FOLLOW-UP 05/26/10: The Blu-Ray issue has been resolved, Amazon only offers the corrected copies for sale and all other retailers should have them on the shelves now. If buying locally, the easiest way to tell the difference is to check the backside of the Blu-Ray for a yellow UPC sticker. Also, whereas the original defective discs were grey, the new corrected copies are blue discs.

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Training Day (Snap Case) (2001) Review

Training Day (Snap Case) (2001)
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I must say, my preconceptions about Training Day were all wrong. The trailer I saw in the theatres made it look like a belated ripoff of The Corruptor, while director Antoine Fuqua's disastrous fumble with The Replacement Killers several years ago did nothing to boost my confidence.
My doubts were dispelled the minute Denzel Washington looked up from his newspaper. It is indeed good to see Washington, one of the most gifted actors of our time, abandon the saintly martyrs he's been prone to playing for 10 years and sink his teeth into a role which allows him to show a mix of deep charisma and dangerous viciousness. That same alchemy had made his breakthrough performance in 1989's Glory amazingly compelling, and in Training Day, there isn't a single moment where Washington is less than completely absorbing. Ethan Hawke also gives the performance of his career as Jake Hoyt, an idealistic but easily swayed young cop who finds himself drawn into a web of corruption, violence, and twisted morals.
Fuqua's directing is still overly stylish at times, but after a hyperactive first act, the film begins to roar. David Ayer's script is dazzling, a combination of rat-a-tat street vernacular and relentless forward momentum, and after the midpoint of the movie, the intensity of the scenes would reach incredible levels. And that's when Fuqua's show-offy camerawork finds a raison d'etre. In this film, Fuqua even finds room for some comparatively simple scenes which are really like a breath of fresh air to his filmmaking -- for example, the "you're a leader" car scene, and that beautifully understated ending shot. I hope he makes this part of his regular style, because there's only so much virtuoso camera one can take before it gets tiring, as is the case in the opening of the film.
A white-knuckle thriller, well worthy of the accolades it received. I stand humbly corrected on my original predictions.

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WORKING UNDERCOVER IS A JOB. AND AN ATTITUDE. A MAD DOG NARCO COP BLURS THE LINE BETWEEN COP AND CRIMINAL AS HE MENTORS AN IDEALISTIC ROOKIE PARTNER DURING HIS TRAINING DAY. SPECIAL FEATURES: NEVER BEFORE SEEN FOOTAGE: STUNNING ALTERNATE ENDING: SUBTITLES IN ENGLISH, FRENCH AND SPANISH: AND MUCH MORE.

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From the Terrace (1960) Review

From the Terrace (1960)
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A view FROM THE TERRACE is what Paul Newman's character David Alfred Eaton has of his future wife Mary (JoAnne Woodward). The screen play was based on a best-selling novel of the same name by John O'Hara. Given it was released in the 1950s when sex on the screen was verboten and not much more explicit in novels (ban a book in Boston), one must appreciate the work it took for Newman and Woodward to give these performances.
Like many other teenagers of my generation, I was "in love" with Paul Newman. Newman could make female hearts flutter by simply looking at the camera with his big blue eyes. Many other teens preferred Marlon Brando, his peer and rival for female affection. I believe these two actors were the Leonardo de Caprio and Brad Pitt of their day, although in the long run, Newman (like de Caprio) has had more staying power and gracefully made the transition to mature roles.
In the 1950s, to see a film one had to attend a theater, where the screen was usually covered with a huge velvet curtain. FTT played at the Center theater in my small town, and I saw the film six times after it was released. I was able to get into the theater for a quarter, and as my allowance was $3, this was no small sacrifice. So, you might say this film was one of my all time favorites.
Watching it again almost 50 years later, I wondered how I would react, and of course the passage of time and arrival of many other actors and vast changes in filmmaking have affected the way I view the film and Newman, but I still like him enormously, and this film holds it's own, though the storyline may seem archaic.
This film is about infidelity and divorce and the price of success, a story line that may be lost on generations raised in an age of no-fault divorces and dual earner households. Once upon a time, divorce and infidelity were considered absolutely scandalous, and financially disastrous. In fact, if you divorced, your life was ruined. Many couples stayed together and suffered the ignominy of a cheating spouse. FTT was a ground-breaking film because it tackled these issues head-on.
The DVD version of the film is well done, and the price reasonable (technicolor and cinemascope production). Do your self a favorite, buy this DVD and add it to the shelf where you keep CAT ON A HOT TIN ROOF and other 50's favorites.

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Paul Newman portrays a young man whose struggle for success threatens his personal happiness, in this well-scripted screen version of John O'Hara's best-selling novel.Having never known his father's love or respect, Alfred Eaton (Newman) sets out to prove himself in the business world.Marrying the "right" woman (Joanne Woodward), he works unceasingly, but is ultimately confronted with crises and choices that force him to rethink his priorities.Co-starring Myrna Loy as Alfred's alcoholic mother, Leon Ames as his embittered father, and Ina Balin as the woman who might bring him genuine happiness, From The Terrace is an absorbing tale of ambition, power and love fueled by sharp dialogue, complex characterizations and keen insight into the human heart.

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The Star / Zvezda (2002) Review

The Star / Zvezda (2002)
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I had seen some Russian war films while on travel in Asia and was impressed with how well done they were, so I took a chance on The Star and was glad I did. The story of a reconnaissance team's mission behind German lines is, for the most part, realistically depicted and soldiers, in particular, will enjoy this film. The degree of accuracy in weapons, equipment, tactics, and movement is very high. The studio really had some depth of resources when it came to period weapons and equipment. No doubt, much of this was captured originals. The tanks - of which there were quiet a few - appeared to be soviet with a variety of detailed visual modifications to make them resemble Tiger's, Panthers, and Mark
IVs. The actors were clearly well coached in their roles by knowledgeable technical advisors. The action occurs in the woods, weeds, swamps, mud, and streams of eastern russia. A good use of location far beyond the studio back lot. The standard compromises for unbelievable daring and heroics, the need to speak loud enough for the audience to hear, and staging action in broad daylight so that there will be something other than shadows for the audience to see all apply, but are dealt with plausibly. Relatively little dialog is needed because the director is up to the job of conveying the story of the mission visually. You can really tell what is happening in the action and pursuit scenes both day and night. Good cinematography and a very good transfer to DVD. There a subtitles, but they are not intrusive. The Russian language adds to the realism and immersion. Yeah, it's violent on the R-rated level and not for the kids. The Russian soldiers are stereotypically heroic patriots. There are no German characters, at least that live long. The Germans are depicted as evil targets to be interrogated and disposed of. Those that are on screen for any time at all are well costumed and acted, but, much as in the Dirty Dozen, they receive little sympathy and are a poor insurance risk. But they are not assumed to fools and prove quiet capable of systematically hunting down team Star. The use of brief narration to replace the standard enemy headquarters scene where the German staff would react to the incursion and order counter measures is a bit hokey due to the odd translation which is Russian accented English and does not sound like a German battle report, but allows the focus on the team, now on the run, to remain unbroken.

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The Second World War in Russia. The year 1944. The "Star" is a radio call sign for a group of war scouts who went on an assignment behind the German front line. Having found the location of German tank concentration, they report to the headquarters, at the cost of their lives, about the impending attack.Intense and dramatic, the film makes one realize who had won in that war, and at what price.The movie's superb directing, stunning cinematography and poignant, sensuous music immerse the viewer in the atmosphere of war, when just one erroneous step may lead to fatal consequences.Based on the story by Emmanuil Kazakevich.

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The Sum of Us (1995) Review

The Sum of Us (1995)
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At first "The Sum of Us" seems like a familiar variation on the bossy parent-rebellious child theme, albeit a fairly entertaining one. The twist here is that the child (Russell Crowe) is a strapping gay man and the parent (Jack Thompson) is a widowed father entirely sympathetic to his son's lifestyle and need for romance. The early, farcical going has plenty of low-voltage laughs, as the well-meaning Thompson inadvertently breaks up a planned hot evening between Crowe and a new potential lover, and Thompson utilizes a dating service to meet an attractive divorcee. The two principals address the camera in knowing asides a la "Shirley Valentine." Halfway through, though, the story takes unexpected, darker turns and "The Sum of Us" attains a new level of profundity, becoming a moving meditation on the enduring strength of love, both familial and romantic, in the face of adversity. Crowe, caught here before the calcification of Hollywood superstardom, is loose, just buff enough, and charming; Thompson's turn as the father, by turns overbearing, loving and finally dependent on his son, is superb. Their fully-formed, utterly convincing relationship is what carries the picture. Highly recommended.

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Jack Thompson (Star Wars, Episode II: Attack of the Clones) and OscarÂ(r) winner* Russell Crowe (A Beautiful Mind) star in this "fresh spin [on an] old heart-tugging plot" (Los Angeles Times)the overprotective parent's well-intended interference with an adult child'slife. "Extraordinarily funny [and] startlingly effective" (The San Francisco Examiner), thisaward-winning** film is mandatory viewing for anyone who's ever been a parent or had one!Harry Mitchell (Thompson) has a problem with his gay son Jeff (Crowe): Harry thinks he needs to finda mate! With a loving push out of the nestand into the gay bars of Sydneyhe becomes his son'sbiggest cheerleader. But it's Harry's secret romance with an attractive but judgmental divorcÃ(c)e that puts father and son at odds and prompts them to discover that acceptance is a two-way street!*2000: Actor, Gladiator**American Film Institute Award: Screenplay; Cleveland International Film Festival: Best Film; Montreal World Film Festival: Screenplay

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Cold Mountain (Two-Disc Collector's Edition) (2003) Review

Cold Mountain (Two-Disc Collector's Edition) (2003)
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"Cold Mountains", one of the best films of the year (it's a crime it wasn't nominated for Best Picture), is beautifully crafted, stirring, poetic tale of love, loss, and the will to survive. Directed and adapted to the screen by the wonderful Anthony Minghella and boasting a stunning cast of Jude Law, Nicole Kidman, Renee Zellweger, Philip Seymour Hoffman, Natalie Portman, Giovanni Ribisi, Jack White, Brendan Gleeson, and Donald Sutherland, this film is truly a force to be reckoned with.
"Cold Mountain" tells the story of Inman (Law), a carpenter working in Cold Mountain, North Carolina in 1861 when the alluring, elegant, and well-educated Ada (Kidman) and her father, Reverend Monroe (Sutherland), move to the Blue Mountains from the city. Inman and Ada, in true Hollywood fashion, are instantly taken by each other and engage in restrained flirtation, Ada's preacher father and their different social classes being the bulwark from romance. Soon the Civil War begins and the entire young male population of Cold Mountain departs in eager anticipation of glorious battle. Inman and Ada engage in one fleeting, hungry kiss before he rushes off to join the departing procession.
During battle, Inman is wounded and, after reading Ada's numerous earnest letters imploring him to return to her, deserts the Confederate army and embarks upon an Odyssey-like journey back home to his true love. Meanwhile, Ada's father has died, leaving her helpless and alone on their 300 acre farm. Soon Ruby (Zellweger) arrives and offers Ada her services in exchange for food and shelter. Realizing that she simply cannot manage on her own, Ada agrees. The rest of this spellbinding film flashes back and forth between Ada, being "all that keeps Inman from sliding into some dark place" and Inman, being Ada's "last thread of courage". Though these two souls barely know each other, they both remarkably become the single thing in each others world worth living for, worth fighting for.
When boiled down to it, "Cold Mountain" is simply a beautiful testament of the human soul's fierce will to survive and, as corny as it sounds, the power of love. If it weren't for their love, neither Ada nor Inman would have found the will and courage to survive after their lives had been shattered by the brutalities of war.
The seamlessly intertwined music plays such a large emotional role in this film. From Gabriel Yard's haunting score to Alison Krauss' tender songs, the music in this films helps to create an absorbing atmosphere that sucks you right into the Civil War. In addition, John Seale's breathtaking cinematography complete with sweeping views of the snow-encrusted Blue Mountains makes this a film you simply must see on the big screen.
This has been a very difficult review for me to write. Upon first seeing "Cold Mountain", I was pleased with the film, but definitely not as taken with it as I soon came to be. That all changed in the weeks following. I simply cannot get this film out of my head. The hope, the sacrifices, the pain, the loss, the love. It really sticks with you. It's hard to put my feelings into words and I sincerely hope that this review has given you the incentive to go see this film, and by doing so, embark upon an unforgettable journey.

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Nicole Kidman (Academy Award(R) Winner -- Best Actress, THE HOURS, 2002) stars with Academy Award(R) winner Renée Zellweger (Best Supporting Actress, COLD MOUNTAIN, 2003) and Academy Award® nominee Jude Law (Best Actor, COLD MOUNTAIN). At the dawn of the Civil War, the men of Cold Mountain, North Carolina, rush to join the Confederate army. Ada (Kidman) has vowed to wait for Inman (Law), but as the war drags on and letters go unanswered, she must find the will to survive. At war's end, hearts will be dashed, dreams fulfilled, and the strength of the human spirit tested ... but not broken! Directed by Academy Award® winner Anthony Minghella (Best Director, THE ENGLISH PATIENT, 1996).

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