Showing posts with label 1001 movies you must see before you die. Show all posts
Showing posts with label 1001 movies you must see before you die. Show all posts

Little Big Man (1970) Review

Little Big Man  (1970)
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Advertised as a comedy when originally released, LITTLE BIG MAN is much, much more than that. Director Arthur Penn's sweeping film depicting the clash of the Indian and white cultures will have you chuckling one moment, then shaking your head sadly at man's inhumanity to man the next.
Dustin Hoffman as the ever industrious Jack Crabb takes this movie on his shoulders and carries it superbly. To say that the actor shows some "range" in this role is the epitome of an understatement: from portraying an adolescent teenager to a fragile 121-year-old-man (phenomenal makeup job), from snake-oil salesman to mule skinner, Hoffman brings Jack's fascinating life to splendorous glory. And Hoffman is funny--darn funny--with a wonderful knack for physical comedy.
In addition to Hoffman, LITTLE BIG MAN offers other savory treats. Richard Mulligan is absolutely delightful as a narcissistic General George Armstrong Custer--the stunning Faye Dunaway positively wicked as naughty Mrs. Pendrake. Chief Dan George, who portrays Old Lodge Skins, Jack's adopted Cheyenne grandfather, delivers countless one-liners, yet lends a quiet, heartfelt dignity to his role. In fact, this is a movie one will wish to savor again and again--a beautifully crafted, well-made film that is timeless in its ability to entertain.
--D. Mikels

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Big Parade Review

Big Parade
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The Big Parade is a lengthy film but, for the most part, it is lively and fast-paced. At the beginning, I thought the film was the classic tale of a naive, spoiled rich kid (played by the great John Gilbert) drawn to the battle field by the parades and glamorization of the war. It is so much more than that. The main character, Jim Apperson, acually adjusts to soldier life very well. He quickly acquires two close buddies (played by Tom O'Brien and Karl Dane), demonstrates impressive innovation and ambition (creating a shower out of a barrel) and--of course--gets a French girlfriend, Melisande (played by Renee Adoree).
The first half of the film is a bit slow at times, although the antics of O'Brien and Dane provide comedy relief that is often hilarious (especially Dane's character). It is definitely worth the wait when Jim's unit goes off to battle. Melisande desperately clings to Jimmy not to leave (symbolism that foreshadows Jim's ultimate fate). Once on the battlefield, the fighting scenes are as well-done as any I've seen on the First World War. The troops slowly move through the devastated landscape, preparing for the next sniper attack. The three buddies end up in a trench together and spit in a target to decide who will go over the top and take out a German machine gunner (the WINNER goes over the top), Jim goes after a German he has wounded in order to finish him off and then finds he is unable to when he sees that his enemy is just a young kid. When Jim realizes the horror of war, only one thing really matters: the French girl he left behind. He must find her again! The film is one of the funniest, suspense-filled, and touching films I've seen (yes, it's all those things and more). Give it a try!

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Spaceballs (1987) Review

Spaceballs  (1987)
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I love the film so it was a no-brainer to get it for the store, and my slight disappointment is offset with showing what a high storage capacity can do for this product.
The package comes with both the BD and the standard def discs and included are all of the special features we know from the 2005 release. So what's changed? Nothing except for the languages: Dubbed in DTS for six languages (including Castilian, German, Italian and French) and Mono or Dolby for three others, and subtitled in nine languages (incl. Danish, Swedish and Norwegian). None of the supplements have been upgraded but that DTS always sounds awesome during the main feature. The picture has not been cleaned up from the transfer so there is plenty of artifact, hair and random film discolorations. I enjoyed watching some of the same special features again, including the John Candy memorial and the Mel Brooks conversation. The ludiricous speed is just as lame as before.
The menu is a killer if your player is not tuned up (or older). It becomes painful when trying to watch those flubs sequences as there is no play all option. It is Spaceballs, it is Mel Brooks - so it makes it a worthwhile purchase if you did not already upgrade a few years ago to that special edition DVD (especially with both included here). I would normally rate this lower but there is so much here I had to go up one.

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The farce is with you in this "uproarious salute to science fiction" (The Hollywood Reporter) that teams comedy legend Mel Brooks with an all-star cast of cutups including John Candy (Splash), Rick Moranis (Ghostbusters) and Bill Pullman (Ruthless People)!When the evil Dark Helmet (Moranis) attempts to steal all the air from planet Druidia, a determined Druish Princess (Daphne Zuniga), a clueless rogue (Pullman) and a half-man/half-dog creature who's his own best friend (Candy) set out to stop him! But with the forces of darkness closing in on them at ludicrous speed, they'll need the help of a wise imp named Yogurt (Brooks) and the mystical power of "The Schwartz" to bring peaceand merchandising rightsto the entire galaxy!

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Braveheart (1995) Review

Braveheart  (1995)
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"Braveheart" is quite simply, one of the best and most successful movies ever created and a huge part of that success comes from the efforts extended by Mel Gibson, as he wore three different hats for this masterpiece, those being producer, director and star. The one oddity about this movie for me was that I pretty much wore out my VHS copy of it and had, a couple years ago, purchased the DVD but only just recently took the opportunity to watch it again and no matter how many times you watch this movie, it is still a stunning, compelling and extraordinarily intriguing film that draws you in to the life of William Wallace despite already knowing how it's going to end.
The one thing that drives this movie is the spirit that Mel Gibson puts into his character of William Wallace and it is of no surprise that "Braveheart" won five Academy Awards, including Best Picture of 1995 and Best Director for Mel Gibson. The only true surprise was that he wasn't among the top five nominated for or won the Best Actor award.
High praise also goes to the long list of supporting actors and actresses that starred in this superb film! Most notable was the performance by Sophie Marceau, one of the most beautiful women on the planet. Patrick McGoohan was absolutely incredible in the role of the villain Longshanks, King Edward I, delivering a memorable performance.
One of the most notable performances in this film, among the many, was the work done by James Horner who was responsible for the score. As is normally the case when his name appears in the credits, everything about the score, from the first reel to the last, is incredibly well blended into the movie and serves extremely well in enhancing the experience of the movie.
The Premise:
As the old saying goes, is it Hollywood or History? The truth is, of course it's a bit of history, put together Hollywood style to make one of the best films ever presented to an audience. The truth behind it is that we'll never know as recorded history from this era is circumspect as best. Where a huge portion of the credit for this film lays is in the hands of Randall Wallace, a descendant of William Wallace's.
As this historic film opens, we see a young William Wallace in Scotland as he's learning the harsh lessons of life in his era. After his family is killed in battle he's fortunate enough to have his Uncle Argyle (played brilliantly by Brian Cox) take him under his wing! Several years later he returns home to find that his countrymen are still suffering under the yoke of English oppression but he didn't come home for that, he came home for Murron MacClannough (Catherine McCormack), seeking her hand in marriage. Unfortunate events unfold from there and William loses the love of his life and goes on a rampage not only to avenge his love but to free his country...
What follows from there is not only one of the best films of the nineties but one of the best films of all times. I highly recommend "Braveheart" to any and all who are interested in seeing what true movie making is about! {ssintrepid}
Special Features:
-2 Theatrical Trailers
-Commentary by Director Mel Gibson
-A Filmmaker's Passion: The Making of Braveheart

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Braveheart [VHS] (1995)Mel Gibson (Actor), Sophie Marceau (Actor), Mel Gibson

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Schindler's List Collector's Gift Set (1993) Review

Schindler's List Collector's Gift Set (1993)
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Meet Oskar Schindler. A German living in occupied Poland during World War II. A member in good standing of the Nazi party. A womanizer, a war profiteer...and ultimately a man of conscience. A man who became one of the great unsung heroes and humanitarians of the war.
"Schindler's List" chronicles Oskar Schindler's spiritual odyssey from war profiteer to humanitarian and hero. Winner of seven Academy Awards® in 1993, including Best Picture, this harrowing and heart-rending film is Steven Spielberg's masterpiece, and perhaps one of the finest and most important movies ever made. It depicts Schindler's ultimately successful attempt to rescue 1,100 Jews from Hitler's "Final Solution" by getting them to safety outside Poland.
Dynamic performances abound in this beautiful movie, Especially noteworthy are Liam Neeson as the suave Schindler, Ralph Fiennes as the monstrously depraved Nazi colonel, Amon Goeth, and Ben Kingsley as the dignified, principled Jewish prisoner Itzhak Stern.
"Schindler's List" is definitely not light entertainment! This beautiful movie allows viewers to feel like they're actually a part of one of the darkest, most horrific periods in history. (I'm sure this is the reason the film was shot in black-and-white, with only minor "colorized" bits included.) The story of the Holocaust needs to be told over and over again, in hopes that future generations can understand the horrors perpetrated on an entire race of people and prevent future occurrences. "Schindler's List" is perhaps one of the best and most effective vehicles for telling that story I've ever experienced.

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The Ten Commandments Review

The Ten Commandments
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In terms of adjusted box office, Cecile B. DeMille's 1956 film "The Ten Commandments" is the fifth biggest grossing movie of all time, ahead of "Titanic," but behind "Gone With the Wind," "Star Wars," "The Sound of Music," and "E.T." There was a sense in which that film, with the parting of the Red Sea sequence, was the first big special effects film. Of course, the story of how Moses led the Hebrews out of Egypt had more going for it and that story is certainly worthy of further examination. Yes, "Prince of Egypt" was a musical, but it also focused more on the relationship between Moses and Ramses, who were friends growing up, rather than the rivalry we saw between Charlton Heston and Yul Brynner. Now we have this 2006 mini-series. The good news is that it does try to tell us a different part of the story in its second half, but the bad news is for every step forward there are steps backwards, and on balance this version does not come out ahead.
The mini-series aired in two parts, with the end of Part 1 being the parting of the Red Sea (not a real cliffhanger). The first part moves through the story of Moses from the night he floated down the Nile in basket to that moment in front of the Red Sea at a fast clip. Moses (Dougray Scott) grows up, kills an overseer, goes off into the desert, saves Jethro's sheep and marries his daughter, sees the burning bush and is back in Egypt telling Ramses (Paul Rhys) to let the Hebrews go. The plagues of Egypt come quickly as well, and there is a clear suggestion of how the frogs, locust, etc., were related to the Nile turning to blood. This Moses is not raised alongside Ramses, but Menerith (Naveen Andrews), the natural son of the princess, and they are the brothers who are torn and who face each other at the edge of the Red Sea. Moses has enlisted his brother Aaron (Linus Roache) to speak for him, and this version deals more with the reluctance and doubts of Moses, more so as the leader than as the deliverer of the Hebrews out of bondage.
This is little in the first half of "The Ten Commandments" to justify having made the mini-series. The only things that stood out where the idea that God wants Moses to work out some things in his own mind and the scene where Moses is forced to work as a slave, which this time is after he returns to Egypt. What is important in the first part is the idea that even before their deliverance, the Hebrews challenge the leadership of Moses. However, after the conclusion of the parting of the Red Sea the rest of the second half is devoted to the period in which the Hebrews wandered in the desert before reaching the Promised Land. This is where this version of "The Ten Commandments" starts to tell a different story, for a lot happens in the hour between the Red Sea and the Golden Calf. There is manna in the wilderness and turning the slaves into an army. Above all this there is the need for Moses the Deliver to become Moses the Law Giver. However, the impetus for this transition comes from a melodramatic irony that smacks of soap opera more than scripture.
Time and time again I question what Ron Hutchinson, who won an Emmy in 1989 for writing "Murderers Among Us: The Simon Wiesenthal Story," is doing in this story. At one point Moses is training the army and Joshua (Karim Salah) refuses because he sees being a solider as an admission of not having faith in God. Moses then tells what must be the oldest story of how God helps people; certainly it is an older version of the one Karl Malden tells to Jed Bartlett on "The West Wing." The relevance of the story to the point being made is lost because we cannot believe Moses is telling this story. However, this is a Moses who is not a cool and commanding presence. His doubts and lack of resolve are arguably the biggest reasons why the people doubt God; they have problems believing in his messenger.
I have always been bothered by the Hebrews challenging the idea that their God WAS God during the Exodus. What happened at the Red Sea should prove the point once and for all. The manna in the desert and Moses smiting a rock to bring forth water might be "minor" miracles, but they are nothing to scoff at and reminders of everything God did to get them out of bondage. Being freaked because Moses has gone up on the mountain and you think he is not coming back is one thing, but making the Golden Calf is a really bad idea. Hutchinson sticks to the book of Exodus and covers the slaughter by the sons of Levi that was the bloody aftermath of the great sin the people sinned.
This becomes the final act before the denouement where Moses sees the Promised Land but is not allowed to cross over. Hutchinson does play with Biblical chronology, because the battles they fought are covered in Numbers. However, my final complaint is not about chronology but rather that the story essentially ends with the slaying of the three thousand men, and not as Exodus does with the construction of the tabernacle and the ark, symbolizing the renewal of the covenant, which I find to be the more important part of the story. I would have preferred seeing this version of "The Ten Commandments" be restricted to what happened after they crossed the Red Seas; after all, the Hebrews forget the evidence of the power of God. The other half of the min-series could have covered the history of Numbers and Deuteronomy, the part of the Exodus that remains to be told in such a format.

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The Ten Commandments unfolds with all of the spectacle, violent human drama, and grand inspiration that have earned it its distinction as the greatest story ever told. When an oracle prophesizes that a child will become Prince of Egypt, a time of danger approaches the kingdom. The Egyptian Pharaoh orders the massacre of all newborn males. But one child, Moses--the son of a Hebrew slave--escapes certain death when he is set adrift on the Nile. As years pass, he is raised in a royal Egyptian household and, with no memory of his family, rises to the stature of prince. Upon discovery of his true heritage, and inspired by a fiery message from God, Mosesembarks upon a noble and desperate fight to reclaim his destiny as the leader and liberator of the Hebrew people. With a stellar cast that includes Mia Maestro and Golden Globe winner Omar Sharif, The Ten Commandments is unsurpassed in its vision--both intimate and grand. DVD Features include: The Making of "The Ten Commandments", Closed Captioning.

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Spartacus (1960) Review

Spartacus  (1960)
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If you're a fan of the movie "Spartacus", this is the version to get; the Universal DVD is as bare bones as they get with just the movie. The Criterion version looks great. The facelift the film received help return much of its luster. Kubrick later disowned his version of the epic Hollywood Sword & Sandal genre, but Kubrick brings much of his sensibility to bear; the fight sequences and epic vistas bring to mind Kubrick's work on Paths of Glory and 2001. True, this isn't a complete Kubrick picture; Kubrick had nothing to do with the screenplay and Douglas had all but cast the picture in collaboration with director Anthony Mann (dismissed after butting heads with Douglas one too many times).
Is it Kubrick's finest film? Well, frankly no it isn't. It's an interesting mishmash between Kubrick's detached, ironic style and Hollywood glitz. Spartacus is Kubrick for people who don't care for Kubrick's detached style. It doesn't measure up to Lolita, Dr. Strangelove, 2001 or A Clockwork Orange although it does compare favorable to the much darker Paths of Glory.
Kubrick stated that his intent at the time was to subvert the cliches of the genre. As a result, Kubrick manages to reinvent a genre that was in danger of becoming a parody of itself. As a collaborative effort, Spartacus is a great piece of entertainment and far more sophisticated than almost everything else that came out of Hollywood at the time.
The transfer is beautiful with much of Kubrick's bold use of color restored. The strong acting of most of the cast has always been a virtue of Sparatcus. The soundtrack has been meticulously transferred to 5.1 and Alex North's beatiful score has never sounded so sweet, tragic and powerful before. The audio commentary is the same one that was on the laserdisc version. It provides additional understanding about the complexity of making an independently produced project like Spartacus. Kirk Douglas' bold decision to produce the film himself (with Universal-International distributing)was a leap of faith in both the material and the talented director.
The second disc is stuffed with supplements that are found nowhere else.There's two older interviews with Peter Ustinov, Jean Simmons plus one that Ustinov did in 1992 for the laserdisc edition. It's delightful and he shares a number of funny stories about the picture. There's also a text overview of Kubrick's career and his involvement with the picture. Included also are sketches Kubrick made for the motion picture (artistically they're nothing special but they do provide insight into Kubrick's role in the visualization of the film). Included are some vintage newsreels and a promotional film originally made but unfinished for Spartacus that gives us a glimpse behind the scenes. The promotional film is missing it's soundtrack (in fact, it might have been lost if not for the forsight of a private collector) and has much from North's score. We also get to glimpse at Saul Bass' wonderful title design sequence.
Criterion has been both praised and criticized for their DVDs and laserdiscs before. While they tend to be expensive, this is the complete package. Occasionally Criterion will release a package that isn't up to their usual standards. Spartacus isn't one of them. Robert Harris (Harris restored the film along with Vertigo)evidently was also involved in the transfer to DVD. If you want a spectacular transfer of the film, loads of extras about the making and background of the project from those involved, this is the set to pick up.

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Universal Spartacus - HD-DVDThis presentation of the powerful film classic features an additional five minutes of footage cut from the film's original release, plus the original overture and extended soundtrack. Director Stanley Kubrick tells the tale of Spartacus (Kirk Douglas), the bold gladiator slave,and Varinia (Jean Simmons), the woman who believed in his cause. Challenged by the power-hungry General Crassus (Laurence Olivier), Spartacus is forced to face his convictions and the power of the Roman Empire at its glorious height. The inspirational true account of man's eternal struggle for freedom, Spartacus combines history with spectacle to create a moving drama of love and commitment.

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The Outlaw Josey Wales (1976) Review

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

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


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The Essential Steve McQueen Collection (Bullitt Two-Disc Special Edition / The Getaway Deluxe Edition / The Cincinnati Kid / Papillon / Tom Horn / Never So Few) (1965) Review

The Essential Steve McQueen Collection (Bullitt Two-Disc Special Edition / The Getaway Deluxe Edition / The Cincinnati Kid / Papillon / Tom Horn / Never So Few) (1965)
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You could call him the quiet one. McQueen had a talent for portraying quite a lot with minimal dialog and that's the way he liked it. He has maybe 75 lines off dialog in "The Magnificent Seven" yet his presence is equal to that of star Yul Brynner. You'd be forgiven for being confused about which Steve McQueen boxed set to purchase. MGM has recently released "The Steve McQueen Collection" which features four McQueen classics that have previously been available on DVD; "The Thomas Crown Affair", "The Magnificent Seven", "Junior Bonner" and "The Great Escape".
"The Essential Steve McQueen Collection" is a different beast entirely; it does feature 1 title that is no different than the previously issued version -"Papillon". All the rest have either never been issued or, in the case of "Bullitt", are now in two disc deluxe editions that make this set a worthwhile addition to any collection.
The crown jewel of this set is the new deluxe edition of "Bullitt". McQueen plays San Francisco detective Frank Bullitt. He's been assigned to protect a witness for a major trial. The witness, though, is murdered. Before the post-mortem has begun, Bullitt hunts for the killers and plans on nailing them. Featuring an amazing high speed chase through the streets of San Francisco and shot entirely on location, "Bullitt" was Peter Yates' first major US film and it crackles with energy.
"Papillon" tells the story of a thief nick-named Papillon for the large butterfly tattooed on his chest. (McQueen) framed for murder in France and sent to Devil's Island for life. From the moment he steps on the boat headed to the prison he's planning his escape. He agrees to protect a financial thief Louis Dega (Dustin Hoffman). Schaffner's film portrays Papillon's attempt to survive on Devil's Island until he can figure out an escape plan. Although this isn't Schaffner's best film, it has a number of powerful moments that equal his classic films "Patton", "Planet of the Apes" and "The War Lord". McQueen more than holds his own with method actor Hoffman.
"The Cincinnati Kid" features McQueen as Eric Stoner a poke playing ace who challenges the best gambler around "the Man" Lancey Howard (Edward G. Robinson). A terrific performance by Edward G. Robinson allows Robinson to almost steal the picture under McQueen's nose. With a terrific supporting cast, "The Cincinnati Kid" would be one of the most memorable films about gambling until "Rounders" three decades later.
"Never So Few" features McQueen in the third billed role of Bill Ringa a member of the O.S.S. fighting the Japanese during World War II in Burma. Ringa and his Captain Tom Reynolds (Frank Sinatra) are in Burma to train the Kachin natives in how to fight the Japanese. Reynolds fights dirty when Chinese rebels cross over to Burma to kill and loot the American soldiers stationed there. Although it's not one of director John Sturges ("The Magnificent Seven". "Ice Station Zebra") best films, "Never So Few" provides McQueen with a role that continued his breakthrough as a actor. It also inspired Sturges to cast McQueen in "The Magnificent Seven".
"The Getaway" almost got away without being made. Originally Peter Bogdanovich was to direct with his girlfriend actress Cybil Shepherd in the lead. When she dropped out so did Bogdanovich. Luckily director Sam Peckinpah stepped in and the rewritten script by Walter Hill was tooled for McQueen. Scandal broke out on the set when McQueen became involved with his co-star Ali McGraw (who was then married to Paramount head Robert Evans). McQueen plays thief Doc McCoy who has been paroled. The only problem is that Sheriff Beynon (Ben Johnson) expects him to do a big robbery for him. He plans on killing McCoy afterward but things don't quite work out the way that Beynon intended.
"Tom Horn" (McQueen) a tracker and "enforcer" who dispensed justice in the old west takes a job to stop cattle thieves. When things get messy and Horn has to kill some of the rustlers, the ranchers who hired him want Horn stopped. He's put on trial for the murder of a 15 year old boy. The next to last film McQueen made before he died in 1980, is a surprisingly powerful and great western. The screenplay by novelist/screenwriter Thomas McGuane ("The Missouri Breaks", "92 in the Shade", "Rancho Deluxe") and Bub Shrake ("Nightwing", "J.W. Coop", "Songwriter") portrays a character out of time; Horn's style of dispensing justice faces the gray world of corruption and politics. McQueen gives one of his best nuanced performances in a film that didn't do all that well at the box office. It's a pity as it's a great movie that deserves a wider audience. Luckily, for those who buy the boxed set they'll finally get a chance to see this classic western.
The previous DVD edition of "Bullitt" looked quite good but can't compare to the newly digitally remastered transfer here. Image clarity, color and detail for "Bullitt" is superb. The sound is surprisingly spry with a nice 5.1 remix that doesn't quite use the format to its best advantage but that's not a surprise given that the film is nearly 40 years old. "Papillon" comes with the same transfer as it received in 2000. Image quality is good but the negative could use restoration and/or digital filtering to clean up the print/improve it. It does feature a recent 5.1 remix (which wasn't advertised on the box of the previous release and I don't recall if it had it or not on the 1999 release but I suspect not).The colors aren't bright and vibrant but they fit the general atmosphere of the film and are fairly true to the original theatrical exhibition if a bit faded. "The Getaway" looks terrific again considering the age of the movie. The blacks are rock solid and the colors as vivid and bright as they've ever been. There's the occasionally soft image but, on the whole, "The Getaway" looks marvelous. "Never So Few" also looks quite good particularly when you consider the age of the negative. It receives a solid transfer with bright colors and nice image clarity. "The Cincinnati Kid" also looks exceptionally good with nice color reproduction and image quality. It's clear that some digital restoration was done to the most recent releases here and "Kid" does benefit from it. "Tom Horn" looks extremely good with sharp images, bright and vivid colors. Although a tad grainy (like most of the films here) that has more to do with the stock used to shoot the films and the condition of the negative than the transfer. In most cases, the graininess adds to the character of the films. All six films feature 2.0 Dolby Digital Surround soundtracks (in addition to the 5.1 remasters for "Papillon"). All sound crisp with nice clarity to the dialog and music.
"Bullitt" gets the most attention here. Featuring two fine documentaries on the film and McQueen, we also get the original vintage featurette on the film. "The Cutting Edge" examines the the art of movie editing with a glimpse into other films during the editing process as well. "Steve McQueen: The Essence of Cool" is a terrific biography on McQueen that provides a lot of information previously unknown about the actor. There's also the original theatrical trailer included as well. "The Getaway" features the original theatrical trailer only. "Papillon" has the original promotional featurette produced for the film as part of the extras as well as the trailer. "The Cincinnati Kid", "Never So Few" and "Tom Horn" all have only the original theatrical trailer for the respective films. It's a pity that Warner chose not to do a documentary or at the very least a featurette on "Tom Horn". Since it's about a real historical figure and making the film was a passion for McQueen, it would have been appropriate and provided much needed information on the historical figure and the production of this fine overlooked film.
"Bullitt" comes with an excellent commentary by director Peter Yates. "The Getaway" features a "virtual" commentary culled from interviews of McQueen, Peckinpah and McGraw as well as a commentary by Peckinpah biographers/documentarians Nick Redman, Paul Seydor, Garner Simmons and David Weddle. "The Cincinnati Kid" has a marvelous trivia filled commentary track by director Norman Jewison.
Between this release and "The Steve McQueen Collection", McQueen fans will have most of his essential films. Although there are a few gems missing from these collections (due to contractual issues no doubt), most of the films here are among the best McQueen made. "The Getaway" and "Bullitt" receive most of the attention here with terrific commentary tracks and extras. "Papillon" probably could have used a face lift with a new digital transfer and a commentary track by a film historian (or Dustin Hoffman) but it looks like we'll have to wait for this minor classic to get its due another time. The other missed opportunity in this superb set is the lack of extras for "Tom Horn" One of McQueen's finest later films and a terrific western that presaged films like "The Unforgiven", "Open Range" and "Wyatt Earp", it's a perfect period piece about the transition of the old west into civilization and those who were lost along the way.

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6 Steve McQueen classic movies are now available in one giftset -- THE ESSENTIAL STEVE McQUEEN COLLECTION! BULLITT TWO DISC-SPECIAL EDITION: Buckle up for gritty police procedure and a wild, trend-setting chase over Frisco's hills with THE GETAWAY DELUXE EDITION A heist gone wrong is dead-right in the hands of McQueen and director Sam Peckinpah. THE CINCINNATI KID McQueen and Edward G. Robinson ante up. Norman Jewison guides the big-time poker flick. NEVER SO FEW Commando action in World War II Burma! McQueen's first big-budget film. Frank Sinatra stars. PAPILLON Can McQueen and Dustin Hoffman escape Devil's Island? From the director of Patton. TOM HORN True to the cowboy way! McQueen rides tall in a star-packed elegy to a changing West. Titles also available separately.

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The Right Stuff (1983) Review

The Right Stuff (1983)
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'The Right Stuff' is one of the most glorious adventure films ever made, a story of incredible heroism, poignant romance, gripping drama, and broad humor...and amazingly, it has actually happened in our lifetimes!
This is a tale of test pilots, 'pushing the envelope', proving the sound barrier couldn't constrain mankind's reach for space. Leading the way is plain-speaking Chuck Yeager (portrayed by Sam Shepard with Gary Cooper-like charm), a Beeman's gum-chewing cowboy with a passion for his feisty wife (the beautiful Barbara Hershey), and hot planes. Not even a broken rib could hold him back when an opportunity to fly the X-1 was offered. His record-breaking flight could fill a movie by itself...and this is just the BEGINNING of the story!
Jumping ahead a few years, Yeager is joined by a new breed of test pilots, whose total love of flight challenges their relationships, and is the true measure of how they define themselves. Among them are 'Gordo' Cooper (Dennis Quaid), a hot dog jet jockey with an unhappy wife (sensitively played by Pamela Reed); and Gus Grissom (brilliantly portrayed by Fred Ward), coarse and direct, and anxious for his shot at the fastest jets.
The entire world changes when the Russians launch Sputnik, in 1957. As the American space program struggles to 'catch up', the government realizes that American men will have to go into space, and President Eisenhower wants test pilots to fill this role. Yeager is out (he never completed college), but Cooper and Grissom, and many others, compete for spots in the New Frontier.
These pilots, from all services, are weeded down to seven men, dubbed 'Astronauts', and the Mercury Space Program is born! Along with Cooper and Grissom, the story focuses on Navy pilot Alan Sheppard (Scott Glenn), laconic and prone to ethnic humor; and Marine John Glenn (perfectly cast Ed Harris), a 'boy scout' of unimpeachable morals, who loyally supports an impaired wife. Working under the glare of the world press, the seven gradually come to respect one another, and embark on an epic adventure, full of triumph and tragedy!
Meanwhile, Chuck Yeager, snubbed by NASA, continues to test new generations of jets, until, in a climactic scene, he achieves the threshold of space, himself. The flight is a near disaster, resulting in a horrendous crash, but the image of the burned but undefeated pilot, walking proudly away from the wreckage, is an unforgettable image of courage, and truly defines 'The Right Stuff'!
This is a REMARKABLE film in every way, and is director Philip Kaufman's masterpiece. Lushly scored by Tom Conti (who won an Oscar for the Tchaikovsky-inspired music), the film soars, both on earth and in space!
If you believe the Age of Heroes is past, buy 'The Right Stuff', and you might change your mind! This is a film to treasure!

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THE UP CLOSE AND PERSONAL STORY OF AMERICA'S SPACE PROGRAM AT ITS CONCEPTION.

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Dog Day Afternoon (1975) Review

Dog Day Afternoon (1975)
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Al Pacino burns up the screen in Dog Day Afternoon which is based on a true story and confirms that fact that truth is sometimes stranger than fiction. Mr. Pacino plays Sonny who teams up with the dullard Sal (John Cazale) to rob a Brooklyn bank on a sweltering summer afternoon. Sonny was a one-time bank employee, so he knows all the tricks of the trade to thwart bank robbers. Unfortunately for the robbers, the bank virtual has no money do to having made a deposit only hours before the robbery attempt. A shopworker across the street from the bank notices the strange proceedings and calls the cops. Before you know it, the bank is completely surrounded by cops. The cops (led by Charles Durning & James Broderick) start a hostage negotiation with Sonny. Even though Sonny's a crook, he isn't all bad and he, Sal and the hostage bank workers form a strange kinship. The story is shown on TV and a crowd gathers in the streets as well and Sonny becomes something of a cult hero. His scenes on the street outside the bank are scintillating including his famous Attica chant. Sonny is married with kids, but it turns out that he was robbing a bank to pay for a sex change operation for his gay lover, Leon (Chris Sarandon). The movie closes out at night at the airport in dramatic fashion. Sidney Lumet does a fine job translating the heat and humidity of the day and you can feel yourself sweating along with the characters. Mr. Pacino has been more heralded for his Godfather roles, Scarface, Serpico and Scent Of A woman, but in my book, he was never finer than he was in this movie.

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AN ECCENTRIC BANK ROBBER BRINGS NEW YORK CITY TO A STANDSTILL INTHIS TENSE, QUIRKY THRILLER. A MODERN-DAY CLASSIC. INCLUDES NOTES AND SCENE ACCESS.

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The Outlaw Josey Wales (2008) Review

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

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

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The English Patient (1996) Review

The English Patient (1996)
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This rare and beautiful film, based on a book that is felt as much as read, transcends the medium to become art. Painted on a vast desert canvas with deep rich oils, its beauty is felt as much as seen. This film will find your heart and remain there forever. If love had a face, it would look like this.
Director Anthony Minghella's screenplay shifts the center of Michael Ondaatje's story slightly in order to capture on film the essence of his beautiful prose. Ondaatje's novel is one of poetic beauty, a potrait of a rose beneath the water's surface. The film brings that beautiful rose out of the water and into the sunlight. The book and the film are so deeply intertwined you can not watch this film without wanting to read the book, nor can you read the book without wanting to see the film. The story itself centers around three people either in love with, or haunted by ghosts they have loved and lost to war.
Juliette Binoche gives an Oscar winning performance as Hana, a kind nurse with a gentle spirit but a damaged heart. She latches onto the burned and charred body of a man known only as the English patient, and ends up caring for him in a shell ravaged Italian villa in Tuscany where she feeds him plums and reads to him. When a man named Caravaggio with scars of his own arrives, the mystery of who the English patient really is begins to unfold via flashbacks. In the present, Hana begins to let her heart heal when she falls in love with a Sikh who disarms bombs left by the Germans.
It is the memories of the English patient, however, which are at the heart of this film. Ralph Fiennes gives a subtle performance as the introspective Almasy, part of an international expedition mapping an unending desert with both the romance, and the danger of the sea. Kristin Scott Thomas is wonderful as Katherine Clifton, the stunningly beautiful and enigmatic wife of a fellow mapper. An instant but unspoken attraction between she and Almasy finally becomes too unbearable to ignore and the affair that holds the key to the mystery surrounding the English patient begins.
This is one of the most romantic films ever made and is filled with the joy and anguish of love and war. It shows that while war may create logistical lines that can not be crossed, the heart has no boundaries. Anyone who has ever experienced a love of such emotional intensity and physical longing that love and need became one will understand the love affair of Katherine and Almasy.
Cinematographer John Seale has given this film a grace and beauty seldom seen on film. A haunting score full of mystery and romance from Gabriel Yard accompany scenes never to be forgotten, and will not be described here in case you have not yet seen them. Director Anthony Minghella explores the mystery of the desert, and the heart, which according to the "The Histories" by Herodotus, a book the English patient clings to, is an organ of fire.
If there is but one ounce of romance in your soul, you will love "The English Patient." It is a well charted and romantic map of the human heart, as wide and treacherous as the unending desert. This will be one of your favorite films once you see it. I promise.

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Crimson Tide (1995) Review

Crimson Tide (1995)
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The original DVD release of Crimson Tide occurred at a time before the trends of including cut scenes, commentary, and animated menus. While it makes sense to re-release the film with what we now considered the standard features, missing from the original, I found the overall experience somewhat disappointing.
For die-hard fans of Crimson Tide, this DVD is worth getting just to see the 7 minutes or so (Original release was 116 minutes, this version is supposed to be 123) of exra footage. The title menu is much nicer than before, and the addition of the documentary is a great bonus. But under deleted scenes, we're shown only three very short "scenes": an extra line of dialogue onboard the crew bus, a longer version of Radchenko's speech to the reporter, and a half-minute long nearly silent waiting scene before the panel at the end of the movie. All three are shown as raw footage, without any cleaning, or explanation.
All of the content in the deleted scenes is in the primary feature, in a cleaned-up and nearly seamless state. None of the new footage is more than a few seconds in length, but it's clear that all of it consists of short pieces of dialogue removed either for time constraints or clarity. What this means is that throughout the movie we're treated to bursts of extraneous dialogue that the editor had originally removed, usually for a reason. It's interesting from the point of view of a film student, but as a consumer release I think it degrades from the experience ever so slightly. Crimson Tide is all about suspense, and anything that distracts the focus of the audience is consequently lowering the quality of the movie. None of it is very overt, but there's enough of it that it might harm the experience of a first-time viewer of the film.
Overall, the extras contained in this release make it a must-have for previous fans, but for new buyers I would still recommend the original DVD cut.

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Dynamic Denzel Washington (TRAINING DAY) joins Hollywood favorite Gene Hackman (ENEMY OF THE STATE) along with Viggo Mortensen (THE LORD OF THE RINGS trilogy) and James Gandolfini (TV's THE SOPRANOS) in this intense action thriller that's a smash hit with audiences and critics alike! In the midst of a global crisis, the USS Alabama receives an unconfirmed order to launch its nuclear missiles -- signaling the start of Word War III! The tension quickly rises as the sub's respected commander (Hackman) and his brilliant executive officer (Washington) clash over the validity of their orders ... battling each other for control of the sub! As this epic struggle rages under the sea, CRIMSON TIDE brings motion picture excitement to a new level -- and you to the edge of your seat!

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Being There (1979) Review

Being There (1979)
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This is my favorite movie of all time. And I don't particularly like Peter Sellers!
It's a slow starter. First time I saw it, I remember being somewhat puzzled by the opening, where Chance is revealed as a very retarded middle-aged man, trained as a gardener, who apparantly has reached his full--and extremely limited--potential. He loses his livelihood and his sheltered place to live when "the old man"--his mysterious benefactor--dies, and the lawyers in charge of the estate evict him.
My first chuckle came soon after, when he tried using his TV remote on a mugger, trying to change the experience into something more pleasant; it wasn't until this point in the film that things began to make sense to me.
Throughout the rest of the movie, scene after scene shows 'Chauncy Gardener' as a complete misfit--and highlights how we human beings, in all our frailty, create ourselves and our world through what we decide to believe. When Chancy speaks, his words are mysterious because they are short and puzzling--when those around him try to make sense of them, they take what he says as metaphors, and read wildly profound meanings in his words.
(This leads to Jerzy Kosinski's purpose for writing the novel, to highlight the foolish way people blindly swallow whatever tripe the media--and our politicians--serve up. IMO director Hal Ashby caught Jerzy's intention with this movie even better than the book did.)
At the same time that people read wisdom into his simple words, Chauncy is fully present and honest in the moment, and the other characters--to whom this is foreign--treasure that, even while they completely miss that Chance is totally clueless as to what's really going on (with one notable exception).
The irony is that those people closest to Chauncy are led by the meanings they insert to personal growth and transformation--even, in a performance that won Melvyn Douglas a well-deserved Oscar, acceptance of approaching death, as just another season in the eternal cycle of life.
Other reviews I've read on Amazon villify the walking-on-water scene, at the end of the movie; I believe they completely miss the point.
Chance has, by chance, walked out on a stone quay in the lake, and doesn't even know that he should be drowning. He slowly bends over, inserting his umbrella into the water, and looks at it with some puzzlement; he is once again demonstrating that his total innocence is protected--and he gives the audience the experience that the characters in the movie have, namely, to read into this enigma of a film whatever meaning they choose to see.

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Based on Jerzy Kosinski's satirical novel about an illiterate gardener who has lived his entire life behind the walls of a Washington, D.C., house, his only knowledge of the world coming from the TV programs he watches.When his employer and protector dies, he is catapulted into the fast lane of political power.

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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 Wild Bunch - The Original Director's Cut (1969) Review

The Wild Bunch - The Original Director's Cut (1969)
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There's not much that can be noted about Sam Peckinpah's brilliant 1969 western epic "The Wild Bunch" that has not already been written. It was an unanticipated, influential work where all things came together, but for a moment, the end product a huge, sweeping canvas of intimacy between comrades, violence between combatants, desperate anger amidst changing times. Part Kurosawa, part Siegel, part Fuller, part Ford, Peckinpah combined his inspirations with a healthy dose of 1960s rebellion producing the ultimate work of his generation, and one of the greatest westerns in history. It was Peckinpah's great fortune that the right actors were available for this film - William Holden and Robert Ryan in the twilight of their memorable careers, Ernest Borgnine with just enough youth to be a perfect and loyal presence, Edmond O'Brien chewing up the scenery with tobacco-stained teeth, and of course Peckinpah friends Strother Martin, L.Q. Jones and Warren Oates in salty supporting roles. It was also his great fortune cinematographer Lucien Ballard and composer Jerry Fielding were also on hand to participate in his steadfast vision.
Peckinpah also had something to prove at this point in his career, when he was still a hungry director with a vision, before alcoholism, disillusionment and celebrity status took hold. He hid nothing from viewers, and his contradictory heart was laid bare in "The Wild Bunch." The direction and editing during the violent moments of this film - the opening bank robbery and the concluding battle with the Mexican army - are some of the most unforgettable scenes ever put on film. But ironically, and this was usually the case in most Peckinpah films, it is the quiet moments one remembers. Pike (Holden) and Dutch's (Borgnine) melancholy conversation next to a campfire; The Bunch riding out of Angel's village as if in a funeral procession; Deke (Ryan) taking Pike's pistol from it's holster, gently holding it in his hand; and of course Pike standing in the doorway and mouthing two simple words, "Let's go."
And of course you have The Walk, in which Holden, Borgnine, Oates and Ben Johnson quietly begin loading their guns, cocking them, arming themselves, smiling at one another, standing shoulder to shoulder. There's not much left for these forgotten outlaws who have lived past their time. Just a code of honor, just their self respect. And so they Walk into the heart of the Mexican army to retrieve their comrade Angel, a prisoner and personal enemy of General Mapache. These surviving members of The Wild Bunch are free to go, but Angel, youthful, love-struck, rebellious, was one of them. They are not going to leave their comrade.
After viewing the extraordinary documentary "The Wild Bunch: An Album In Montage" and seeing the rare footage of Peckinpah literally improvising The Walk, walking alongside Holden, Borgnine, Oates and Johnson, inventing by instinct, one realizes how fiercely creative this man was as a director. This film was his moment in time, his vision, his idea, Peckinpah's nightmarish and amazing dream.
Peckinpah never really made a film quite like "The Wild Bunch" again. Of course, no director ever really has before or since. His uneven career of 14 films, some good, some not, has been celebrated and honored. Peckinpah the man, adorned in faded jeans and bandanna, certainly perpetuated his myth-like status. But in the end, you will always have "The Wild Bunch," an unforgettable film, raw, gritty, whiskey-soaked, sublime. I cry whenever I watch this film. I cry in awe. All things came together for Peckinpah on "The Wild Bunch," and the moment is everlasting.

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DIRECTOR SAM PECKINPAH'S MASTERPIECE IS A WORLD CLASS WESTERN,NOTABLE FOR ITS DARING CINEMATOGRAPHY AND LANDMARK VIOLENCE.

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