Showing posts with label playstation 3. Show all posts
Showing posts with label playstation 3. Show all posts

The Notebook (Limited Edition Gift Set) (2008) Review

The Notebook (Limited Edition Gift Set)  (2008)
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THE NOTEBOOK has long been my favorite of Nicholas Sparks' many books, so it is a happy surprise to me that the wonderful story transferred to the big screen with all the sweetness, warmth, and tenderness that made the book a runaway best seller.
The best part of this movie was the incredible chemistry between Rachel McAdams and Ryan Gosling as the young lovers Allie and Noah. Their story was told by an elderly couple in a nursing home. James Garner and Gena Rowlands were outstanding as the devoted "Duke" and the woman with irreversible dementia. As Duke recounted the story of Allie and Noah from the notebook he carried with him, the lady's memory began to come back and she could remember.
The movie always changes the book but the one major change (the ending) which had the audience letting out a collective gasp and reaching for the nearest tissue was, in my opinion, really good even if it was pure Hollywood melodrama.
Why does a movie like THE NOTEBOOK appeal to so many? Is it that every woman longs for a man who loves as deeply as Noah? Is it that every one wants a love that transcends all problems---those of class, education, family objection----and lasts forever? Or just maybe in a world of high-tech gizmos and high security alerts, it's nice to get back to basics with a really good love story....and this is definitely that.

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Behind every great love is a great story. As teenagers, Allie (Rachel McAdams) and Noah (Ryan Gosling) begin a whirlwind courtship that soon blossoms into tender intimacy. The young couple is quickly separated by Allies upper-class parents who insist that Noah isnt right for her. Several years pass, and when they meet again, their passion is rekindled, forcing Allie to choose between her soulmate and class order. This beautiful tale has a particularly special meaning to an older gentleman (James Garner) who regularly reads the timeless love story to his aging companion (Gena Rowlands). Based on the best-selling novel by Nicholas Sparks, The Notebook is at once heartwarming and heartbreaking and will capture you in its sweeping and emotional force.

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Any Given Sunday (Director's Cut) (2009) Review

Any Given Sunday (Director's Cut)  (2009)
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No one can accuse Oliver Stone of being original. In 1987's Wall Street he took the age old story of a youngster being seduced by money and power and turned into one of the most scathing attacks on heartless Capitalism. So predictably Any Given Sunday doesn't really have anything new to say, just a lot of old things to shout.
One negative review of the film said "Stone directs like a deranged rooftop sniper". And with full frontal nudity, severed eyeballs on the feild and a general air of violent intensity it is clear that the film is excessive. But that is also why it works. Stone manages to give the viewer that voyeuristic delight of a peeping tom who's only allowed to look at something for two seconds before he pulls the camera away. As he did with JFK and NIXON, Stone uses every camera angle concievable, but unlike those two films Any Given Sunday never really becomes a flawless whole.
The film tells the story of the Miami Sharks head coach Tony D'amato(Al Pacino looking very angry). His team is on a losing streak, his quarterback(Dennis Qauid) is injured and is replaced by the talented but ego-centric Willie Beaman (Jamie Foxx), who according to D'amato "may sell a lot of T-shirts but is ripping the team apart". Now D'amato has got to battle this kid, the greedy ice cold team owner (Cameron Diaz) and a corrupt team doctor who lets injured players on the field despite fatal risks and then justifies it to himself with twisted morality(James Woods). The scenes between these four principles are stunning, and even there Stone refuses to let the camera sit still. It might have been a wiser descision to tone down the off-field scenes.
Any Given Sunday may seem from its reviews as a tradional sports movie, with the big game ending and bonding theme. While it has those, it far too cynical and ambitious to be just about that. Just incase you don't get it, Stone gives you images of Ben Hur (Football as the modern Gladiator arena) and even casts Charlton Heston as the league comissioner. And ofcourse you get the prescribed dose of anti-consumerism ranting.
In final analysis, Any Given Sunday is not a great film or a historical achievement. But its frequently inspired, always fixating and exhausting. When it hits, it hits very hard.

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Life is a contact sport and football is life when three-time academy award-winning filmmaker Oliver Stone and a dynamic acting ensemble explore the fortunes of the Miami Sharks in Any Given Sunday. At the 50-year line of this gridiron cosmos is Al Pacino as Tony D'Amato, the embattled Sharks coach facing a full-on blitz of team strife plus a new, marketing-savvy sharks owner (Cameron Diaz) who's sure Tony is way too old school. An injured quarterback (Dennis Quaid), a flashy, bull-headed backup QB (Jamie Foxx), a slithery team doctor (James Woods) and a running back with an incentive-laden contract (LL Cool J) also provide some of the stories that zigzag like diagrams in a playbook. and throughout, there's the awesome spectacle of motion, sound and action orchestrated by Stone.

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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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Rambo Review

Rambo
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Well I must admit I had to have this, cos let's face it, it's Rambo. I'm a huge fan of the original trilogy and was a huge fan of Stallone's recent revival of the character in 'John Rambo' which i thought was a raw and gritty supercharged action film yet with depth of character and story that easily surpassed any of it's disposable contemporaries. Make no bones about it; "the expendables" sticker on the front the "expendables" trailer; the trailers of films from all of the actors in the "expendables" - this is a pure money making and marketing combo to tie in with the release of Sly's latest actioner. BUT, I have to say, what whilst expecting nothing more than the all new "Rambo - to hell and back" production diaries special feature, and maybe a couple of extended scenes in the movie, I was actually really surprised at just how different this new cut of the film is.
This is not just the theatrical cut with a couple of extra bits, this is a true director's cut style extended edition with a completely re-edited opening, many extended takes, many alternate takes, and whole new extra scenes that all blend seemlessly to really compliment and add much to the film. A lot of this really helps to elaborate the story, and really flesh out character and themes that whilst hinted at in the original, were never really fully explored. When Rambo says in the original "no, what you're trying to do is change what is", and Sara asks him "and what is?"; he just says "go home". I always used to wonder, "yeah, what is??". Well, a whole knew alternate take here reveals all, and also a few real home truths about his real feelings about war and regret. And that's not all, you find out so much more about the characters, their relationships, motivation, and so many tiny insertions of lines here and there, very subtle shot changes, alternate dialog, black and white flashbacks, that it's almost an entirely new take on the film. It's all great stuff!
A word of warning tho, there do appear to be a few cuts and alterations to some of the more violent and extreme/controversial scences. Some of these bits are alternate takes (when the main bad guy leader takes delivery of the young village boy for example), but others are just plain removed, or cut short. The child being stabbed in the attack on the village is missing, the guy flying though the air with both legs blown off is cut short, the bearded mercenary stabbing the solider under the hut is removed, and a few other bits that seemed slightly shortened. I should add that these alterations are VERY few, I probably counted 5 or 6, and doubt that this was a censorship issue as the majority of the blood soaked limb exploding violence is completely intact. I'd imagine this was purely a directorial/artistic decision, (a lot of the excised scenes were digital effects, some of which don't stand up quite as effectively as others). Something to bear in mind though before you buy!
The stunning MPEG 4 AVC encoded 1080p picture and 7.1 dts hd master audio remain, giving an blu-ray experience of reference quality, just like the original lionsgate release. People may hesitate to buy this, thinking that they're not really getting much for their money, but trust me this is FAR from a lazy release to steal your money, this is a superb director's cut edition that totally delivers. Also, for any foreign buyers, the blu ray is officially ABC encoded, so it will play on any blu ray player. Enjoy an all new Rambo!

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The next chapter finds Rambo recruited by missionaries to protect them during a humanitarian aid effort on behalf of the persecuted Karen people of Burma. After the missionaries are taken prisoner by Burmese soldiers, Rambo gets a second impossible job: rescue the missionaries in the midst of a civil war.

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Eragon (2006) Review

Eragon  (2006)
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Honestly, I wanted to cry as I sat there in the theater watching this movie. What a waste of ten bucks. If you have read the books, and excitedly waited out the release of the movie, you are undoubtably as disappointed as I am. The books had such scope, like a Lord of the Rings junior. There was no way to get everything important shoved into an hour and a half movie. Why not go ahead and make a 2 and a half hour epic? I'd have watched it!!
Here is what you'll miss in the movie:
-The relationship between Brom and Eragon is very underdeveloped, so much so that when Brom dies, you're like, whoopdeedoo.
-Saphira ages from a tiny dragon into just about full grown in one ridiculous moment.
-Eragon's journey with Murtagh is like, 5 seconds long. No Hadrac desert, no bonding. Again, you could care less about Murtagh in the movie.
-The Dwarven kingdom was UNBELIEVABLY disappointing. If you read the book, you probably had quite a vision workded up in your head, with the Star Rose and all. The movie pretty much annihilates all that. And the dwarves themselves are stupid-looking. You can't slap some armor on a guy with a beard and call them a dwarf.
-Arya is an ELF. Did they really go over on the budget that they couldn't even give her POINTED EARS???
-The battle between Eragon and the Shade is like nothing. I was so bored.
Over all, this movie takes a perfectly paced book and puts it into hyperdrive, taking all the wonder and fun right out of it. You'll sit down to watch this movie and all you'll be able to do is watch in horror as they slaughter it. It is a terrible shame. Had they had a larger CGI budget, blatantly copied some LOTR stuff, and had Mr. Paolini perhaps overseen the novel-to-script process, well, maybe he did, but they just shoved some more money at him and he said, "Whatever, I'm alright with you destroying my cool book. Go for it."
Now, if I were to choose one or two things from the movie that didn't totally and completely suck, I will say this:
Saphira, for the amount of CGI that was spent on her, is perfect. She was totally real. The voice of Rachel Weisz is perfect as well. Eragon, Edward Speelers, he was great too. Too bad he had to over-act in order to compensate for the crappy, crappy dialogue and lack of character development.
If they happen to make a sequel, Lord help us. The second book is even more complex and wide-scoped than the first. It will not translate well based on it's predecessor. I say they scrap the first movie, and make it all over, with a bigger budget, and the fans of the book get all editing priveledges. Then we'd have our Eragon come to life, rather than this horrible, mess of a mutilated movie!!


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In his homeland of Alagaesia, a farm boy happens upon a dragon's egg -- a discovery that leads him on a predestined journey where he realized he's the one person who can defend his home against an evil king.

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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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August Rush (2007) Review

August Rush  (2007)
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"August Rush" is a fairy tale. It doesn't have princes, princesses, evil stepmothers, witches, or big bad wolves, but it's a fairy tale nonetheless. And as such, it tells a story that resonates so strongly with its audience that it casts a magic spell. This movie is told in the language of music, and it exemplifies the harmonic connections between people, the rhythmic bonds that can never be broken in spite of distance and time. It's also told in the language of faith, of the belief that love will indeed conquer all. No, this is not a realistic idea, but that's not the point. Isn't it nice that we have films like this to escape to when realism is bringing us down? Isn't it wonderful when we find that one film that can raise our spirits? "August Rush" was that film for me, and I recommend it to anyone in need of a rejuvenating emotional boost.
The film stars Freddie Highmore as an orphan named Evan Taylor, a quiet yet determined musical prodigy. He was born as the result of a chance encounter between two musicians: an Irish rock guitarist named Louis Connelly (Jonathan Rhys Meyers) and a classically trained American cellist named Lyla Novacek (Keri Russell). While living in New York City, they met and separated through twists of fate--Lyla's controlling father (William Sadler) doesn't take the news of her unplanned pregnancy very well, and when she's hit by a car and injured, he uses that opportunity to make her believe that her baby did not survive. In reality, the baby was delivered and put into the legal system as a parentless orphan. Lyla and Louis go their separate ways, believing that they would never see each other again.
In the present day, their eleven-year-old son Evan lives in an orphanage with a number of broken-spirited boys. They're so disillusioned that they bully him into believing as they do. They constantly tell him that no one is coming for him, that his ability to hear music in everything makes him nothing more than a freak. And they will not stand for his belief that he actually hears the music of his parents calling out to him. But Evan refuses to sink to their level of hopelessness; he runs away to New York City, where the music seems to be beckoning him towards his destiny. It's there he meets Wizard (Robin Williams), a shady musician who houses a number of musically inclined children in an abandoned theater. He, too, is beaten down by life, so much so that he uses these children for his own financial gain. When he discovers Evan's natural ability to play the guitar, he gives him the pseudonym August Rush and forces him to perform in parks and on street corners.
Lyla, meanwhile, is living in Chicago as a music teacher. Single and without any children, she seems complacent yet stable in her new life. But all that changes when (1) she's offered a change to once again play with the New York Philharmonic Orchestra, and (2) she learns that her baby did not die eleven years ago. With a powerful yet unexplainable determination, she travels back to New York on a quest to find her long lost son, a quest that will hopefully be added by her playing of the cello. Hoping to help find Evan is Richard Jeffries (Terrence Howard), a social worker who met the boy when he was still living at the orphanage.
And then, of course, there's Louis, who has since gone on to be a businessman in San Francisco. His band members haven't forgiven him for leaving, least of all his brother, Marshall (Alex O'Loughlin). But worst of all, Louis hasn't been able to forgive himself, and upon seeing footage of himself performing on stage, he remembers the love he felt for Lyla. The memory is so strong that's he vows to reunite with her. This journey of finding lost love leads him from Chicago back to New York City, where he's inspired to rejoin with his band and restart his singing career. Much like his son--whom he doesn't know exists--Louis is a gifted guitar player; one can hear his passion and energy with every chord, and his music operates at the same frequency as Lyla's cello playing.
As you can probably tell, most of the film thrives on serendipity, and it gets more and more prominent with every passing scene. A kind-hearted pastor eventually takes Evan in, and when made aware of his musical genius, they send him to the Julliard School of Music. He composes a piece within the first six months of his stay, one that the faculty believes is good enough to be performed. Thus sets into motion the events leading to one of the most satisfying endings of any movie I've seen this year, a scene so touching that I was in awe. As I listened to Evan's "August's Rhapsody," I felt as if I had been enveloped in the folds of hope, love, and happiness; the earthiness of the chimes blended perfectly with the smoothness of the violins and the energy of the guitars, all of which made his unwavering faith in the power of connection perfectly clear.
This is the magic of "August Rush," a film so wonderful that I cannot recommend it enough. It's a modern day fable with a timeless message, and it comes across so well that I never once stopped to consider how implausible it is. Plausibility doesn't even come into play, here. What does come into play is the emotional impact, the sense that we can get something out of it if we surrender to pure fantasy. Evan opens the film by saying, "Music is all around us--all we have to do is listen." This is one of the year's best films, and if you keep that quote in mind when seeing it, you'll be more inclined to agree.

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There’s music in the wind and sky. Can you hear it? And there’s hope. Can you feel it? The boy called August Rush can. The music mysteriously draws him, penniless and alone, to New York City in a quest to find – somehow, someway – the parents separated from him years earlier. And along the way he may also find the musical genius hidden within him. Experience the magic of this rhapsodic epic of the heart starring Freddie Highmore (as August), Keri Russell, Jonathan Rhys Meyers, Terrence Howard and Robin Williams. "I believe in music the way some people believe in fairy tales," August says. Open your heart and listen. You’ll believe, too.

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The Searchers (1956) Review

The Searchers  (1956)
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Even if you've never seen John Ford's THE SEARCHERS, you will have, undoubtedly, seen a film that owes it's 'style' to the film. DANCES WITH WOLVES, THE OUTLAW JOSIE WALES, UNFORGIVEN, JEREMIAH JOHNSON, and OPEN RANGE are just a few westerns that have 'borrowed' from it, but THE SEARCHERS' impact transcends the genre, itself; STAR WARS, THE ENGLISH PATIENT, THE LAST SAMURAI, even THE LORD OF THE RINGS have elements that can be traced back to Ford's 1956 'intimate' epic. When you add the fact that THE SEARCHERS also contains John Wayne's greatest performance to the film's merits, it becomes easy to see why it is on the short list of the greatest motion pictures ever made.
The plot is deceptively simple; after a Comanche raiding party massacres a family, taking the youngest daughter prisoner, her uncle, Ethan Edwards (Wayne), and adopted brother, Martin Pawley (Jeffrey Hunter), begin a long quest to try and rescue her. Over the course of years, a rich tapestry of characters and events unfold, as the nature of the pair's motives are revealed, and bigoted, bitter Edwards emerges as a twisted man bent on killing the 'tainted' white girl. Only Pawley's love of his 'sister' and determination to protect her stands in his way, making the film's climax, and Wayne's portrayal of Edwards, an unforgettable experience.
With all of Ford's unique 'touches' clearly in evidence (the doorways 'framing' the film's opening and conclusion, with a cave opening serving the same function at the film's climax; the extensive use of Monument Valley; and the nearly lurid palette of color highlighting key moments) and his reliance on his 'stock' company of players (Wayne, Ward Bond, John Qualen, Olive Carey, Harry Carey, Jr, Hank Worden, and Ken Curtis), the film marks the emergence of the 'mature' Ford, no longer deifying the innocence of the era, but dealing with it in human terms, where 'white men' were as capable of savagery as Indians, frequently with less justification.
Featuring 18-year old Natalie Wood in one of her first 'adult' roles, the sparkling Vera Miles as Pawley's love interest, Wayne's son Patrick in comic relief, and the harmonies of the Sons of the Pioneers accenting Max Steiner's rich score, THE SEARCHERS is a timeless movie experience that becomes richer with each viewing.
It is truly a masterpiece!

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Working together for the 12th time, John Wayne and director John Ford forged The Searchers into an indelible image of the frontier and the men and women who challenged it. Wayne plays ex-Confederate soldier Ethan Edwards, a believer more in bullets than in words. He's seeking his niece, captured by Comanches who massacred his family. He won't surrender to hunger, thirst, the elements or loneliness. And in his obsessive, five-year quest, Ethan encounters something he didn't expect to find: his own humanity.

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Rome: The Complete Series Review

Rome: The Complete Series
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THE SERIES
Rome wasn't built in one day, we all know that and its story can't be told over 2 seasons but this is probably the best we're going to have, audio-visually, for a long time to come. This is an interrupted, extremely ambitious and, eventually, unaffordable HBO project meant to illustrate the process though which an up and coming but flawed - expansionist, aristocrat driven, slave labor dependent - republic morphs into an equally or more so flawed, unsustainable empire. [Hmmm... lessons to learn? Anyone? Anyone?]
HBO and the producers of the show should be commended for doing everything in their power to stay as close as artistically possible to the historical record, whatever was available, of the period - and 'Rome' covers Cesar's climb to power and the period shortly thereafter, up to Octavian's triumph and transformation into 'Augustus' - the struggles, the intrigue, the atrocities - and how the events it triggered affected the aristocrats and the plebes, rich and poor, citizens, free men and slaves. The point of view and the storytelling shifts or swings between the history makers - Cesar, his family, Octavian, the aristocrats opposing Cesar - and two more or less ordinary Forrest Gump-like Roman soldiers who find themselves involved with almost everything historians wrote about those years and are also depicted during their more ordinary moments.
'Rome' is a feast to the eye, at least in the Blu-ray version that I'm watching. The colors are vibrant and the details on ornaments, wall graffiti, costumes, makeup are as accurate as they come. I would say almost the same about the sounds of Rome but we know so much less about the music of antiquity... Due to obvious budget constraints, camera angles are almost always narrow, focusing on specific buildings or people with the occasional, probably CGI-produced, panoramic shots. And no large, uber-expensive battle scenes but that's okay because the overall story is told well. I don't believe we ever see more than a few dozen humans on any scene but we should admire the director and the camera people even more for their ability to maintain our suspension of disbelief with the limited means at their disposal. Having some of the scenes shot on location - 'Rome' was made in Italy at the Cinecita studios - makes watching even more enjoyable.THE BLU-RAY EDITION
The Blu-ray edition excels in every aspect, from packaging to the quality of the actual episodes to the Blu-ray specific extras.
The two season's 22 episodes of about one hour each are delivered on 10 discs. They come inside an amazingly beautiful book-like binding with each disc on its own 2-page presentation/display that consists of one picture on the left page and some details on each of the episodes on that specific disc on the right-side page which also holds the disc. There are additional pages that contain titles or some artwork for a total of 30, thick cardboard, full color pages. It's nice that a cloth bookmark was added to help keep track of where one may be with the viewing. The box the book slides in is color-coordinated with the book covers - dark, weathered dried-blood reddish-brown with gold lettering and accents. Simply amazing.
Each episode is presented in 1080p, 16:9 screen and DTS-HD Master Audio 5.1 Surround sound for English and German as well as DTS Digital Surround 2.0 for Spanish, French, Castilian and Polish (voice over). Subtitles are available in dozens on languages.
Blu-ray specific extras include the invaluable "All Roads Lead to Rome" - a historian presents the historical fact as the episodes run, a 'must watch' when 'Rome' is viewed the second time around because the abundance of information would make watching it the first time too distracting. Also Blu-ray specific is 'Bloodlines', another interactive guide that shows and helps us understand the connections between the various Roman families.
In addition, 13 of the 22 episodes come with audio commentary alternative sound tracks from the cast and crew - presumably to be listened to on the third watching of the series. There are also a number of the usual 'behind the scenes' and 'how did we make this' featurettes.MY RATING
Not surprisingly, I will rate 'Rome' as a 5-star. It's not perfect but it doesn't need to be so to earn its stars - Amazon's five stars mean 'I love it' not 'it's perfect'. And I absolutely love it. In fact, I am going through the second watching now - the one with 'All Roads Lead to Rome' turned on - and I love 'Rome' even more.
My only issue is that which earned 'Rome' its MA (mature audiences) rating. I am quite frustrated for not being able to watch 'Rome' with my kids in the same room. I know that some would call it 'butchery' but Blu-ray technology should allow for a 'cleaned', PG-13 version that kids could watch too because I can see how watching a show like this, especially with the historical interactive guide turned on, would make some curious enough to actually read more on the topic.
___________________________________________________
FAIR WARNINGAnyone considering watching 'Rome' in a 'family' setting should be aware that the show is rated TV MA and for good reason. 'Rome' attempts to accurately depict the Rome of 2000 years ago where sexual inhibitions were all but absent, most women were viewed as 'property' and slaves were numerous. You WILL see explicit sex, frontal male nudity and covering your kids eyes won't be enough - consider earplugs or frequent use of the 'mute' button because the sounds of sex are even more explicit than the images. Besides engaging in sex largely for amusement, violence was part of the Roman way of life - torture, gladiator and other arena fights, assassinations were common. Well... those were the Romans - love them or hate them.

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Four hundred years after the founding of the Republic, Rome is the wealthiest city in the world, a cosmopolitan metropolis of one million people, epicenter of a sprawling empire. But now, the city's foundations are crumbling, eaten away by corruption and excess...And two soldiers unwittingly become entwined in historical events, their fates inexorably tied to the fate of Rome itself. The entire award-winning, critically-acclaimed series will be available as a Blu-ray gift set, just in time for the holiday season.

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Kingdom of Heaven (Director's Cut) Review

Kingdom of Heaven (Director's Cut)
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(Please note: This is for the 4 disc director's cut--for some reason this is combined with ALL versions of the movie including the Blu-ray. The Blu-ray features ONLY the first two discs of this set on one Blu-ray disc. None of the discs with extras are included as part of the package).
Sometimes longer is better particularly when you have a complex story. The theatrical version of "Kingdom of Heaven" was flawed from the beginning with significant narrative gaps that undermine the character development and the smooth momentum of the story. That's because Fox had Scott cut the film by nearly an hour deleted significant and important character development at the expense of trying to fit in more showings per theater. The result was a sprawling ambitious project that had the epic scope of "Lawrence of Arabia" without the narrative strength. Thank God for DVD. "Kingdom of Heaven: The Director's Cut" restores the material demonstrating that the original 3 hour cut was a brilliant film that played theatrical late last year after the film had bombed at the box office. The reason the film bombed was the idiotic decision to cut the film and make it shorter reducing the film's impact. While it might not have made a huge amount of money it would have done well at the box office as a prestige film AND would have deservedly been nominated for Oscars. Much of the background story is fleshed out and the relationships between the various characters are more clearly defined. "Kingdom of Heaven" is a magnificent epic film that recalls the power of David Lean's epics and allows Scott's historical drama to breath. If you've seen the theatrical cut you owe it to yourself to see this major film from a major talent.
The film is presented like the "Lord of the Rings" deluxe sets with the film spread over two discs. Featuring a beautiful anamorphic transfer this version of the film actually looks superior with less issues with digital artifacts when compared to the previous edition of the film. The 5.1 audio presentation sounds wonderful with both a 5.1 and 5.1DTS track that makes exceptional use of the format. You'll feel like you've put plopped down into the middle of the battle sequences in the action sequences and there's wonderful ambient sound effects sprinkled throughout the film even during sequences that are dialogue driven.
Special features are terrific in this set. We start off with an introduction by Scott discussing the "Director's Cut" compared to the theatrical version of the film. Featuring Scott, writer William Monahan and actor Orlando Bloom the first commentary track (it was recorded separately and pieced together) becomes a rich resource of trivia beginning with the origin of the project and how Scott and Monahan ended up working together. The second commentary track has visual effects director Wes Sewell, assistant director Adam Somner and producer Lisa Elizey discussing the technical aspects of the shoot and the challenges they faced covering everything from the use of digital and on set effects to second unit photography. The last commentary has editor Dody Dorn discussing the two different versions of the film. We also have production notes and information about the shooting of the film provided as text commentary.
The third and fourth discs have most of the supplements. Unfortunately neither has the excellent A&E documentary that was part of the two disc set so you may want to hold on to your other set if you haven't sold it already. We have "The Path to Redemption" presented in six separate parts with each running anywhere from a half hour to twenty minutes a piece covering the making of the film. The first of the three parts include text, images, early screenplay drafts and notes on the shooting of the movie. The second part has cast rehearsals covering everything from the training with the weapons to costume tests. The third of the three parts has storyboards as well as a short documentary featuring scholars discussing the accuracy of the film.
The fourth disc features the last three parts on the film and includes video shot on location, storyboard galleries and photo galleries as well as deleted/extended/alternate scenes with optional commentary by Scott and editor Dorn. There's also a section on the visual effects of the film as well as various sound elements to create the unique sound mix of the film presented in various stages. The last section features trailers, TV spots, the Showest presentation. There's also footage from various premieres around the world, poster galleries, footage of the press junket shot on video, image and poster galleries as well as a brief featurette similar to the one done for "Gladiator: The Extended Version" that discussed the creation of this special edition.
An exceptional film that was badly butchered by Fox prior to its premiere due to skittish leadership at Fox, the film has finally been presented the way it should have been in the first place. Fox DVD has done an exceptional job in putting together this package and has made amends for the way it handled the film when it was released theatrical last year. Highly recommended.


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Among the best directors of our time, Ridley Scott (Gladiator), contributes generously to this extraordinary Collector's Edition of Kingdom of Heaven. Featuring his Director's Cut of the film and hours of fascinating extras ? including a six-part tour from conception to completion of filmmaking ? this definitive set makes what Variety called a "genuinely spectacular" film even more so!
An epic marvel that's as beautifully acted as it is visually awesome, Kingdom of Heaven stars Orlando Bloom as Balian, a Jerusalem blacksmith who has lost his family ? and his faith. But when his father (Liam Neeson) shows him his destiny, Balian vows to defend his country, and in the process, falls in love, becomes a formidable leader, and steps forever into history

Audio: English: 5.1 DTS HD Master Audio (Lossless)
Language: Subtitled: English, Spanish, & French
Theatrical Aspect Ratio: Widescreen: 2.35:1


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Led Zeppelin - The Song Remains the Same Review

Led Zeppelin - The Song Remains the Same
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This 1976 concert film is one Led Zeppelin item that really did deserve to be improved and expanded. In the November 2007 glut of new Zep products related to the film, this 2-DVD set is clearly the optimal purchase. (Note that this review was written after actually purchasing and consuming the item in question, which appears to be a real rarity so far.) The "Collector's Edition" DVD set adds merchandise that will only be of value to super-diehards, and the new edition of the soundtrack album is apparently built around the new remaster of the movie itself and displays some odd editing choices. I have always felt that the purely audio soundtrack of the movie suffers from the lack of visuals - for example, all 27 minutes of "Dazed and Confused" makes more sense visually because you can watch the theatricality of Jimmy Page's stage performance, while merely listening to the accompanying soundtrack can be tedious. To a lesser extent, the same goes for the extra lengthy "Moby Dick" because while soloing, John Bonham could be even more enjoyable to watch than to listen to. So the film itself is the apotheosis of the entire "The Song Remains the Same" project, and this 2-DVD set presents much needed improvements in audio and video quality, with some bonus items that add value for the enthusiastic fan without becoming obsessive.
Though I'm a lifelong Zep fan, I actually hadn't seen this movie in around 20 years. And I had forgotten how cheesy the non-concert footage truly is, with the fantasy sequences serving as little more than period vanity pieces that rarely rise above the amateurish. But who cares, because the concert sequences are stupendous, and in this DVD set they have been presented for maximum aural and visual impact (yes these two shows weren't the band's best, but they were still light years beyond most other rock acts). As for the DVD extras, the interviews and news segments have some curiosity value, but the true goodies are the extra concert sequences. We finally have official video for the blistering performance of "Celebration Day," which was always my favorite from the old original soundtrack album. Other bonuses include "Misty Mountain Hop," though the uncoordinated performance of this song deserved to be left out of the original film; plus a surprisingly heavy take on "Over the Hills and Far Away."
For many years the original movie and soundtrack were the only (official) live Zep documents available. For the real live goods, we now have the 2003 CD package "How the West Was Won" and the 2003 self-titled DVD set, which are considerably more hard-hitting and far-reaching than "The Song Remains the Same." But even though it's no longer the definitive live document, fans have long deserved an improved version of the film. For all but the most obsessive collectors, the 2-DVD set is the way to go. [~doomsdayer520~]

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The line forms here for the world’s greatest and possibly most influential band – Led Zeppelin! With Dazed and Confused, Stairway to Heaven, Whole Lotta Love and more signature performances, this mesmerizing movie built around Zep’s famed ’73 NYC concerts is convincing proof why. Band members supervised the Re-mastering and Dolby 5.1 Re-mixing of the film’s image and sound. In addition to their performances, fantasy sequences and at-home glimpses of Jimmy Page, Robert Plant, John Paul Jones and the late John Bonham, this 2-disc Special Edition has over 40 minutes of newly-added extra features including: Two (2) never-before-released songs in rare performance footage: Celebration and Over the Hills and Far Away; Vintage TV Footage: Drake Hotel Robbery during the New York Concert Stand; Robert Plant BBC Interview and Tampa Concert Band Arrival. Also available in Hi-Def and Blu Ray!

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Across the Universe (2007) Review

Across the Universe  (2007)
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Julie Taymor once again uses her considerable innovative magic to create a film that not only is mesmerizingly beautiful to watch, but also a 'semi-documentary' about the world changes that occurred in the late 1960s and early 1970s as young people for the first time spoke out against the war in Vietnam, the death of Martin Luther King, and the senseless mayhem that extended from the battlefields of Vietnam to the streets of America, all set to the significant, timely music of the Beatles. It sounds like an impossible juxtaposition of themes and ideas, but in Taymor's hands it succeeds.
Opening in Liverpool, England (where the Beatles began their impact on music and thought) we met Jude (Jim Sturgess), a working class boy with the gifts of an artist who decides to set off on a sea journey to meet the father he has never known. Once in New York he meets Max (Joe Anderson) and Lucy (Evan Rachel Wood) who represent the wealthy class, but who both show roots of rebellion against the comfortable norm and an objection to the war that is festering like an abscess in the rice paddies of Vietnam. Jude meets his janitor father in a union that is anticlimactic, and in disappointment he falls in with Max, living the artists' life in the Village with free-wheeling singer Sadie (Dana Fuchs), her beau/guitarist JoJo (Martin Luther) and their newest tenant Prudence (T.V. Carpio), an Asian girl trying to find her place in a confusing world. The group eventually bond with music and rebellion mixed with free love and the passion that they can make a difference, while around them racial crises are at a peak and the draft tags many of the young men (including Max) for the war they cannot condone. From all of this turmoil the story builds to a climax leading to some very touching scenes that convey the spirit of the times and the overriding importance of love and understanding in a world torn apart by political and racial crises.
The cast is strong with each of the actors singing their own versions of various Beatle songs very well (the division between singing and spoken dialect favors the former). But the real magic comes from Julie Taymor's mixture of hallucinogenic visuals, wonderfully choreographed crowd scenes, and ingenious movement from reality scenes displayed on the television to the reactive scenes of the world as viewed through the eyes of the youths and the lyrics of the songs. It is at once touching in its ability to recreate a particular period of history and wholly entertaining in the inventive use of music/dance/visual effects/drama. This film is important now and will only increase in stature as a document of that troubled but exciting time in the history of the world. We can only wonder why the youth of today are not responding to the Iraq War in a like manner, or, more uncomfortable to consider, why we, now as adults, can't muster the same degree of distress about the myriad traumas that are still happening 'Across the Universe'. Grady Harp, April 08

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Across the Universe, from director Julie Taymor, is a revolutionary rock musical that re-imagines America in the turbulent late-1960s, a time when battle lines were being drawn at home and abroad. When young dockworker Jude (Jim Sturgess) leaves Liverpool to find his estranged father in America, he is swept up by the waves of change that are re-shaping the nation. Jude falls in love with Lucy (Evan Rachel Wood), a rich but sheltered American girl who joins the growing anti-war movement in New York's Greenwich Village. As the body count in Vietnam rises, political tensions at home spiral out of control and the star-crossed lovers find themselves in a psychedelic world gone mad. With a cameo by Bono, Across the Universe is "the kind of movie you watch again, like listening to a favorite album." (Roger Ebert, Chicago Sun-Times)

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GoodFellas (1990) Review

GoodFellas  (1990)
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There's nothing I can say that hasn't already been said about "Goodfellas"... it's one of the best movies ever. To hell with the AFI, this is arguably one of the top 10 American movies ever made! Martin Scorsese, Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco: five top-notch talents operating on all 8 cylinders in this story about three decades of life in the mob.
Now, you'd think that Warner Brothers would give this movie the most complete Warner DVD release that's ever existed. A fervent popular following, a high level of anticipation for a special edition, and the current booming state of the DVD industry should've made this a no-brainer slam dunk for Warner's marketing and home video departments. And so, after years of having to flip over the old disc, after years of almost crushing that flimsy snap case, after years of listening to that 5.1 surround that sounded suspiciously like 2-channel, should you get this new version?? The answer is a resounding..."maybe".
Arguably the biggest plus to this new edition of "Goodfellas" is the fact that the whole movie is contained on a single side of a dual-layered disc. The "all-new digital transfer", enhanced for 16:9, is only a marginal improvement over the original release (which was also listed as being "enhanced for widescreen TVs" on the package; it wasn't). Strangely enough, in the scene where Jimmy (De Niro) and Paulie (Paul Sorvino) go to convince Henry to go home to Karen, there is a very noticeable screen-split line on the film that sections De Niro's face in half. This isn't the transfer's problem, per se; it looks more like something off the film print. The strange thing is I don't remember this streak being present on the old version. Maybe it's only a minor peeve, but still, this is the kind of thing you'd expect a studio to clean up for a special edition.
The English audio is the same old Dolby-Surround-masquerading-as-5.1 mix used in the old version. The package incorrectly lists Spanish as the alternate language; it's still French. Nothing more to say about that.
The disc menus are static, and they all have this generic-sounding jazz score playing over them. Remember all the jazz in "Goodfellas"? Yeah, me neither.
Of course, the real reason most people are running out to get this new set is to see the special features. This DVD includes 2 commentaries: one with various cast & crew members, the other with Henry Hill & ex-FBI agent Ed McDonald (who plays himself at the end of the movie). Of the 2 commentaries, the track with real-life players Hill and McDonald is infinitely more interesting, even though Hill mumbles more than Keith Richards having an acid flashback.
When I bought this set, I was looking forward to some feature-length Scorsese, Pesci, Liotta &/or Bracco commentary (I didn't dare to hope for Robert De Niro, I mean, be serious), with some funny stories or moviemaking info. Instead, what you get is a few new comments cobbled together with 10-15 year old sound bites from De Niro and Joe Pesci. Basically, the first 90 minutes of commentary is a total strokefest ("oh-this-guy-was-so-great", "oh-she-did-a-really-good-job") with only Scorsese, author Nick Pileggi, Liotta, and cinematographer Michael Ballhaus saving it. It picks up towards the end, though, when Lorraine Bracco (who shoots down the "screen-specific commentary" illusion when she talks about having watched the movie on the morning she's being interviewed) and editor Thelma Schoonmaker drop some funny thoughts.
As for the rest of the extras? There's really no need to have a second disc to contain them; the total running time of all the "documentaries", as Warner calls them ("featurettes", I call 'em), along with the theatrical trailer is less than an hour. Plenty of room for these on the first disc, but then I guess Warner felt they needed another selling point with the whole 2-disc thing. To summarize the 1/2-hour making-of documentary: "Martin Scorsese is a great director." Remember those 6 words and everything else is cream cheese.
The second major documentary, at around 13 minutes long, has interviews with some younger writer-directors who've found themselves influenced by "Goodfellas". Only 5 words to remember this time: "'Goodfellas' is a brilliant movie."
The other two featurettes are about 10 minutes altogether. One is a storyboard-to-screen comparison, the other is a little throwaway piece with some cast & crew anecdotes. 4 words will do this one just fine: "Warner Brothers is lazy."
It's really a shame that Warner Brothers couldn't wait just a tad longer and include some truly special features for one of the best movies their studio has ever produced. With the stellar jobs they've done on their other 2-disc reissues, like "Enter the Dragon", "The Right Stuff", "Singin' in the Rain" --jeez, even "Robin Hood: Prince of Thieves" has better features than this!!-- I expected Warner Bros. to really pull out all the stops for this new edition of "Goodfellas", but it's a big letdown. Still, it is an improvement (no matter how minor) over the previous release, and as it is probably the "best" version we're ever gonna get on DVD, I would have to recommend picking it up.
However, if you already own the movie, keep three things in mind. Ask yourself 1.) if you really mind flipping the old disc over, 2.) if you've got a normal full-screen TV, do you really need a new anamorphic transfer?, and 3.) do you really need to see the special features if they're not exactly top quality? If your answer to any of these things is "no", then I'd think long and hard about shelling out another $20.
**UPDATE - 12/31/2010** Having recently gotten a PS3, I've been going nuts updating as many of my DVDs as possible to Blu-Ray, but like most people who've made the switch, I've come to learn that it's not always worth it in every case. I just got the new 20th Anniversary Edition Goodfellas BluRay and I can confirm that it has the same exact lame special features we were issued on the so-called "special" edition DVD six years ago (with two "new" extras; more on that in a minute).
The image upgrade is noticeable to me, but not impressive enough (that line is STILL running down De Niro's face) for me to recommend laying out yet another 20-odd dollars for the same product. C'mon, Warners, all this time and you still haven't learned your lesson? And being that this is Blu-Ray, maybe a TrueHD audio track would be in order? Nope, we get the same old 5.1. Thanks a pantload.
So what's new on this 20th Anniversary release? Well, I'll admit it does have a snazzy hardbound book-shaped case, even if it doesn't have much in common with the film, design-wise. There's also a pretty nice booklet about 30 pages long with stills from the movie. There are also two additional features that weren't present on the original DVD: a documentary on the history of the '30s and '40s gangster movies and a selection of mob-themed Looney Tunes shorts. The problem is, this is recycled content; the cartoons can be found in the Looney Tunes sets, while the documentary is a leftover from a Warner Brothers gangster movie box set released a few years ago. They're both fun, both interesting, but have only the most tenuous connections with Goodfellas. Couldn't squeeze one substantial new extra out of this new release, could they? Once again, all people wanted was a little decent treatment given to one of the best movies ever produced by a major studio. Once again, Warner Brothers has proven they just don't get it. Fair enough, but this is the last copy of Goodfellas I buy. I don't care if they come out with the deluxe 25th Anniversary 3D Super-BluRay Scratch 'n Sniff Edition, I'm not biting.
On a side note, I just want to say thanks to everybody for all the helpful votes and whatnot, glad you found this review useful over time. Take care!

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When Martin Scorsese, one of the world's most skillful and respected directors, reunited with two-time Oscar-winner Robert De Niro in GoodFellas, the result was one of the most powerful films of the year. Based on the true-life best seller Wiseguy by Nicholas Pileggi and backed by a dynamic pop/rock oldies soundtrack, critics and filmgoers alike declared GoodFellas great. It was named 1990's best film by the New York, Los Angeles and National Society of Film Critics. And it earned six Academy Award nominations, including Best Picture and Best Director. Robert De Niro received wide recognition for his performance as veteran criminal Jimmy "The Gent" Conway. And as the volatile Tommy DeVito, Joe Pesci walked off with the Best Supporting Actor Oscar. Academy Award nominee Lorraine Bracco, Ray Liotta and Paul Sorvino also turned in electrifying performances. You have to see it to believe it - then watch it again. GoodFellas explores the criminal life like no other movie.

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I Am Legend (2007) Review

I Am Legend  (2007)
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"I Am Legend" is not a film that sticks closely to it's source material. While that is it's biggest flaw, it is also where it shines. If you ha told me two years ago that I'd get misty-eyed watching Will Smith sing "Three Little Birds" in a big budget motion picture I'd have laughed myself silly, but this adaptation of Richard Mathson's untouchable novel that -while itself being a vampire story- inspired the entire zombie film genre as we know it takes the story we all know whether we've read the book or not and turns it into an exceptionally personal affair for all of us. One man. One dog. A familiar metropolis deserted by day, but crawling with death by nightfall. This is our setting and it's one that never gets old for me.
The plague that wipes out Robert Neville's world is never fully explained, simply inferred to be the result of some sort of failed cure for cancer. Gone from the novel and the original Vincent Price classic, The Last Man on Earth, is the long struggle of Neville to save his ill daughter, his wife's tranformation, and the shocking actions of the US government to contain the plague. What it left is simply one man, alone trying to maintain his sanity and hopelessly searching for a cure to a disease that has already wiped humanity off the face of the earth and left the "survivors" as rabid vampiric horrors. It's sad, it's pathetic, and it's perfectly human. Will Smith has a penchant for picking terrible, schmaltzy films to star in, but no one can deny his talent and charisma as a leading man. Naturally, this is a film he must carry single-handedly and he does an awesome job of it; he's dramatic, he's relateable, and at times, he is funny. The humor is that of the dark and inappropriate kind, but in a world like his, that is all there is left.
The vampires/zombies/infected in this are all CG and more than a bit reminiscent of Gollum from The Lord of the Rings. I'm not a fan of these kind of effects when practical would have been more effective and was acutely aware of the fact that I watching computer-generated monsters, but they worked nonetheless. The infected prove to be terrifying foes for Neville to face, combining suprising cunning, inhuman strength, and impossible agility (hence the CG). Their only weakness is that sunlight kills them almost instantly. Neville plays a game of cat-and-mouse with them, gathering supplies, researching cure, and searching for survivors by day while making sure to get back to his fortified apartment before nightfall when the creatures come out to hunt for his hiding place. More than a few shades of 28 Days Later are present in this film, which is funny considering the book and it's film offspring are largely what provided the elements of that film. So I guess the genre has officially come full circle now.
Ultimately, it's the personal touches that make "I Am Legend" such a treat. Bob Marley provides both the soundtrack to Robert Neville's day and the inspiration for his work, which is both ironic and uplifting at times. This may sound strange for a horror flick, but if you are a fan of Marley (himself a Legend) it makes all the sense in the world as you watch. Watching Neville attempt to interact with mannequins he's set up as he returns the movies he rents (in alphabetical order, one at a time) and seeing him snap when one of the figures is moved is both amusing and, at times, intensely disturbing. When relief finally comes, Neville finds he has lost the ability to interact with other humans at all and is relegated to performing lines from "Shrek", which is playing on his television at the time. The ending is a complete 180 from the book which is disappointing, but not as corny as it could have been. The novel I Am Legend has one of the most brilliant and darkly ironic endings ever put on paper, but director Francis Lawrence didn't ruin it by go for the happy ending either. The result is a compromise between the pitch blackness of the book and the cloying cheese that many Will Smith fans love. It turns out a bittersweet and hopeful conclsion that should satisfy both while not thrilling either. But I left the theater with "Redemption Song" still ringing in my ears and a satisfied feeling. If only every movie could do that for me.
"I Am Legend" fails to adapt the book of the same name to the big screen, but succeeds in so many other ways. I can't give it a perfect score, but I will give it a very hearty recommendation to fans of Will Smith, zombies, vampires, and Bob Marley. Enjoy.

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Robert Neville is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable, and man-made. Somehow immune, Neville is now the last human survivor in what is left of New York City and maybe the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone. Mutant victims of the plague -- The Infected -- lurk in the shadows... watching Neville's every move... waiting for him to make a fatal mistake. Perhaps mankind's last, best hope, Neville is driven by only one remaining mission: to find a way to reverse the effects of the virus using his own immune blood. But he knows he is outnumbered... and quickly running out of time.

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A Few Good Men (1992) Review

A Few Good Men  (1992)
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How much critical thought can the military allow its rank and file? Certainly most orders must be followed unquestioningly; otherwise ultimately the entire Armed Services would collapse. But where do you draw the line? Does it matter how well soldiers know not only their military but also their civic duties? Does it matter whether trials against members of the military are handled by way of court-martials, or before a country's ordinary courts?
I first saw "A Few Good Men" as an in-flight movie, and after the first couple of scenes I thought that for once they'd really picked the right kind of flick: A bit cliched (yet another idle, unengaged lawyer being dragged into vigorously pursuing a case against his will), but good actors, a good director and a promising storyline.
Then the movie cut from the introductory scenes in Washington, D.C. to Guantanamo Bay, Cuba, and Jack Nicholson (Colonel Nathan Jessup) inquired: "Who the f**k is PFC William T. Santiago?"
And suddenly I was all eyes and ears.
Director Rob Reiner and Nicholson's costars describe on the movie's DVD how from the first time Nicholson spoke this (his very first) line in rehearsal he had everybody's attention; and the overall bar for a good performance immediately rose to new heights. Based on my own reaction, I believe them sight unseen. Or actually, not really "unseen," as the result of Nicholson's influence is there for everybody to watch: Never mind that he doesn't actually have all that much screen time, his intensity as an actor and the personality of his character, Colonel Jessup, dominate this movie more than anything else; far beyond the now-famous final showdown with Tom Cruise's Lieutenant Kaffee. Nobody could have brought more power to the role of Jessup than Nicholson, no other actor made him a more complex figure, and nobody delivered his final monologue so as to force you to think about the issues he (and this film) addresses; and that despite all the movie's cliches: The reluctant lawyer turning out a courtroom genius (as lead counsel in a murder trial, barely a year out of law school and without *any* prior trial experience, no less), the son fighting to rid himself of a deceased superstar-father's overbearing shadow, and the "redneck" background of the victim's superior officer Lieutenant Kendrick (Kiefer Sutherland, who nevertheless milks the role for all it's worth).
Screenwriter Aaron Sorkin, who adapted his own play, reportedly based the story's premise - the attempted cover-up of a death resulting from an illegal pseudo-disciplinary action - on a real-life case that his sister, a lawyer, had come across in the JAG Corps. (Although even if I take his assertion at face value that assigning the matter to a junior lawyer without trial experience was part of the cover-up, I still don't believe the real case continued the way it does here. But be that as it may.) Worse, the victim is a marine serving at "Gitmo," the U.S. Naval Base at Guantanamo Bay, where *any* kind of tension assumes an entirely different dimension than in virtually any other location. In come Lt. Daniel Kaffee (Tom Cruise) and co-counsels Lt. Sam Weinberg (Kevin Pollack) and Lt.Cmdr. JoAnne Galloway (Demi Moore), assigned to defend the two marines held responsible for Santiago's death; L.Cpl. Harold Dawson (Wolfgang Bodison) and PFC Louden Downey (James Marshall), who claim to have acted on Kendrick's orders to subject Santiago to a "code red," an act of humiliating peer-punishment, after Santiago had gone outside the chain of command to rat on a fellow marine (none other than Dawson), attempting to obtain a transfer out of "Gitmo." But while Kendrick sternly denies having given any such order and prosecuting attorney Captain Ross (Kevin Bacon) is ready to have the defendants' entire company swear that Kendrick actually ordered them to leave Santiago alone, Kaffee and Co. believe their clients' story - which ultimately leads them to Jessup himself, as it is unthinkable that the event should have occurred without his knowledge or even specific direction.
By the time of this movie's production, Tom Cruise had made the part of the shallow youngster suddenly propelled into manhood one of his trademark characters (see, e.g., "The Color of Money," "Top Gun" and "Rain Man"); nevertheless, his considerable skill (mostly) elevates Kaffee's part above cardboard level. Demi Moore gives one of her strongest-ever performances as Commander Galloway, who would love to be lead counsel herself in accordance with her rank's entitlements, but overcomes her disappointment to push Kaffee to a top-notch performance instead. Kevin Pollack's, Kevin Bacon's and J.T. Walsh's (Jessup's deputy Lt.Col. Markinson's) performances are straight-laced enough to easily be overlooked, but they're fine throughout and absolutely crucial foils for Kaffee, Galloway and Jessup; and so, vis-a-vis Dawson, is James Marshall's shy, scared Downey, who is clearly in way over his head. The movie's greatest surprise, however, is Wolfgang Bodison, who, although otherwise involved with the production, had never acted before being drafted by Rob Reiner solely on the basis of his physical appearance, which matched Dawson's better than any established actor's; and who gives a stunning performance as the young Lance Corporal who will rather be convicted of murder than take an unhonorable plea bargain, yet comes to understand his actions' full complexity upon hearing the jury's verdict.
"Unit - corps - God - country" is the code of honor according to which, Dawson tells Kaffee, the marines at "Gitmo" live their lives; and Colonel Jessup declares that under his command orders are followed "or people die," and words like "honor," "code" and "loyalty" to him are the backbone of a life spent defending freedom. Proud words for sure: But for the "code red," but for the trespass over that invisible line between a legal and an immoral, illegal order they might well be justified. That line, however, exists, and is drawn even in a non-public court-martial. I'd like to believe that insofar at least, this movie gets it completely right.
Also recommended:
Basic
Rules of Engagement
The Firm
The Border
Guantanamo: 'Honor Bound to Defend Freedom'
The Caine Mutiny (Collector's Edition)

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The Godfather - The Coppola Restoration Giftset (The Godfather / The Godfather Part II / The Godfather Part III) Review

The Godfather - The Coppola Restoration Giftset (The Godfather / The Godfather Part II / The Godfather Part III)
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For those crying for the "Godfather Saga"/"Godfather Epic" versions, you are missing the point. Restoration expert Robert Harris (and countless others) worked for over a year from the best available print materials (as the original negatives are badly damaged and faded) to restore the first and second films to their original theatrical glory, which is something these iconic films of American Cinema deserve. That is the point of restoration.
If you are looking for a "wow" disc to show off your Blu-ray home theater sound and video, this is not it. If you are looking to experience modern American Gangster cinema in its 1970's glory, this is as close as you are ever likely to get, muted sepia-esque color, film grain and all.
These were not done exclusively for the home market. The priority was that they were restored for theatres, because that is where they would be judged the most critically, and all indications are that they do not disappoint. Never watch these films in your living room with the lights on. Watch them like you do in the theater, lights out, to appreciate the effort that went into these films.

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THE GODFATHER: Popularly viewed as one of the best American films ever made, the multi-generational crime saga The Godfather (1972) is a touchstone of cinema: one of the most widely imitated, quoted, and lampooned movies of all time. Marlon Brando and Al Pacino star as Vito Corleone and his youngest son, Michael, respectively. It is the late 1940s in New York and Corleone is, in the parlance of organized crime, a "godfather" or "don," the head of a Mafia family. Michael, a free thinker who defied his father by enlisting in the Marines to fight in World War II, has returned a captain and a war hero. Having long ago rejected the family business, Michael shows up at the wedding of his sister, Connie (Talia Shire), with his non-Italian girlfriend, Kay (Diane Keaton), who learns for the first time about the family "business." A few months later at Christmas time, the don barely survives being shot by gunmen in the employ of a drug-trafficking rival whose request for aid from the Corleones' political connections was rejected. After saving his father from a second assassination attempt, Michael persuades his hotheaded eldest brother, Sonny (James Caan), and family advisors Tom Hagen (Robert Duvall) and Sal Tessio (Abe Vigoda) that he should be the one to exact revenge on the men responsible. After murdering a corrupt police captain and the drug trafficker, Michael hides out in Sicily while a gang war erupts at home. Falling in love with a local girl, Michael marries her, but she is later slain by Corleone enemies in an attempt on Michael's life. Sonny is also butchered, having been betrayed by Connie's husband. As Michael returns home and convinces Kay to marry him, his father recovers and makes peace with his rivals, realizing that another powerful don was pulling the strings behind the narcotics endeavor that began the gang warfare. Once Michael has been groomed as the new don, he leads the family to a new era of prosperity, then launches a campaign of murderous revenge against those who once tried to wipe out the Corleones, consolidating his family's power and completing his own moral downfall. Nominated for 11 Academy Awards and winning for Best Picture, Best Actor (Marlon Brando), and Best Adapted Screenplay, The Godfather was followed by a pair of sequels.
THE GODFATHER PART II: This brilliant companion piece to the original The Godfather continues the saga of two generations of successive power within the Corleone family. Coppola tells two stories in Part II: the roots and rise of a young Don Vito, played with uncanny ability by Robert De Niro, and the ascension of Michael (Al Pacino) as the new Don. Reassembling many of the talents who helped make The Godfather, Coppola has produced a movie of staggering magnitude and vision, and undeniably the best sequel ever made. Robert De Niro won an Oscar®; the film received six Academy Awards, including Best Picture of 1974.
THE GODFATHER PART III: One of the greatest sagas in movie history continues! In this third film in the epic Corleone trilogy, Al Pacino reprises the role of powerful family leader Michael Corleone. Now in his 60's, Michael is dominated by two passions: freeing his family from crime and finding a suitable successor. That successor could be fiery Vincent (Andy Garcia)... but he may also be the spark that turns Michael's hope of business legitimacy into an inferno of mob violence. Francis Ford Coppola directs Pacino, Garcia, Diane Keaton, Talia Shire, Eli Wallach, Sofia Coppola, Joe Montegna and others in this exciting, long-awaited film that masterfully explores the themes of power, tradition, revenge and love. Seven Academy Award® nominations, including Best Picture.

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Starship Troopers (+ BD Live) Review

Starship Troopers (+ BD Live)
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So says Paul Verhoeven, who has said (and says again in the commentary on this DVD release) that it's one of the statements made by this morally complex film.
I love listening to Verhoeven's commentaries (especially the one he does with Arnold Schwarzenegger on _Total Recall_). Here he shares the task with screenwriter Ed Neumeier, and putting the two of them together was an excellent choice. The commentary is one of the best features of the special edition.
The film itself is hard to evaluate. Because it's Verhoeven, it's got sex, gore, and social satire. What it's also got -- and something that was arguably missing from the Robert A. Heinlein novel on which the film is based -- is a high level of moral complexity that doesn't divide everyone neatly into Good Guys and Bad Guys.
The effect is odd, and oddly disturbing. On one hand, the film succeeds quite well as a combat shoot-'em-up in the style of the great World War II films. At that level, if we like, we can take the 'bugs' of Klendathu, playing as they do into our 'natural' loathing of insects, as a politically correct version of the sort of enemy Heinlein probably intended. (As long as we don't take the film's incompetent 'military action' too seriously.)
On the other hand, the film also contains lots of sly references to the Third Reich, lots of little clues that suggest the 'bugs' didn't start the war, and lots of opportunities for the characters _and_ the audience to conclude that war may not be the best way to approach the problem here at issue.
Okay, this latter stuff is a huge departure from Heinlein's novel, which was primarily focused on what makes military folks tick and what it means to be a responsible citizen. Heinlein's civics lesson is duly incorporated into the film, of course: a 'citizen' is one who takes personal responsibility for the safety and well-being of the body politic. But the film doesn't stop there.
In fact, it incorporates elements that could have come from two other SF novels that have been read as responses to _Starship Troopers_, namely, Joe Haldeman's _The Forever War_ and Orson Scott Card's _Ender's Game_. I don't _know_ that Neumeier had either of these novels in mind, but there's an important reference to Mormons in the screenplay that in this context might suggest Card. Be that as it may, Heinlein's civics lesson is here subjected to severe scrutiny and even dark satire.
That's okay by me. I regard _Starship Troopers_ as one of RAH's better novels (and as a success in its exploration of the military-man-coming-of-age mindset; I can see why military readers like it so well). Nevertheless there are problems with it that a straightforward screen adaptation wouldn't have been able to address. Neumeier and Verhoeven address those problems precisely by exaggerating them and sometimes openly ridiculing them -- while still managing to remain sensitive to the integrity of the military outlook.
Such nuance may unfortunately be lost on much of the film's audience. Heinlein fans may either disapprove of Verhoeven's approach or miss it altogether; viewers who haven't read their Heinlein may not even be aware that there's an argument going on (and mistake this gorefest for nothing more than an earlier version of _Independence Day_).
That's too bad, because this well-scripted, special-effects-laden film is a cinematic triumph on several levels -- only one of which is the gut-wrenching battle between humans and bugs. Verhoeven has long been clear that this film is _not_ an endorsement of either war itself or the fascistic society it tends to promote; that this isn't just obvious is a testament to Verhoeven's subtlety and, indeed, his _refusal_ to engage in 'propaganda' of the sort he satirizes.
It's an odd film in the sense that, in order to like it properly, you have to dislike it. If you enjoy it too much, you're missing the point its director wanted it to make.

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From the bridge of the Fleet Battlestation Ticonderoga, with its sweeping galactic views, to the desolate terrain of planet Klendathu, teeming with shrieking, fire-spitting, brain-sucking special effects creatures, acclaimed director Paul Verhoeven crafts a dazzling epic based on Robert A. Heinlein's classic sci-fi adventure. Casper Van Dien, Dina Meyer, Denise Richards, Jake Busey, Neil Patrick Harris, Patrick Muldoon, and Michael Ironside star as the courageous soldiers who travel to the distant and desolate Klendathu system for the ultimate showdown between the species.

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