price：$7.99
Lions Gate
Usually ships in 24 hours Core2Duoノートレビュー 's review (Darker in content than previous seasons) 『We've watched the previous three seasons of THE DEAD ZONE in quick succession, and generally enjoyed every episode. The fourth season is darker in content with more standalone episodes. The Stillson and Purdy backstory is only seen now and then. "Heroes and Demons" is probably the best episode from season 4. Still good viewing but we no longer feel compelled to watch without a break, as we did while watching seasons 1 and 2.』
(great series) 『this is a great series, too bad it ended without anyone knowing it was going to end as soon as it did after 6 successful season runs.』
(Awesome!) 『I've become very fond of the series and I watch every episode with delight. I enjoyed this fourth season as much as the others. Right now I'm watching the fifth season and probably I'll end watching the final season in the following weeks. Fully recommended for those who like normal people with not so normal gifts.』
(Great series!) 『Not much more to say. We just really like the series. Wish it would continue.』
(Episodes are good - but DVD has manufacturing flaw...) 『I bought this series soon after it came out, but am just watching it now. It seems whoever manufactured this season's DVD set goofed. When you go to Select Episode (which is what I always do, since I watch one here and there). The list of available episodes is only TWO (although there are FOUR on the DVD). I can see absolutely no way to access the other two episodes unless I go to PLAY ALL and then fast forward (which might not work on all DVD players) to the episode I wish to view. It's really inconvenient. I just thought I'd warn you. But yes - I'd still buy it - I enjoy The Dead Zone episodes, although I like the "threads" to surface in the stories more frequently.』 『Studio: Lions Gate Home Ent. Release Date: 02/05/2008 Run time: 504 minutes Rating: Nr』 『The fourth season may fall a little short of the three that preceded it, butThe Dead Zoneremains one of the smartest, most intriguing series on television. As its adherents well know by now, the show, based on Stephen King's 1979 novel of the same name, was adapted for TV by Michael and Shawn Piller, with actor Anthony Michael Hall (who's also one of the producers) starring as Johnny Smith, who recovered from a horrific car accident and resulting six-year coma to find that his fiancee (Nicole deBoer) is now married to the town sheriff (Chris Bruno), who's helping raise her and Johnny's son. What's more, Johnny is now possessed of some remarkable and unsettling powers: simply by touching another person, or objects touched by others, Smith experiences visions that illuminate events that have happened, will happen, or are simultaneously taking place elsewhere. It must be handy to know which elevator button to push when you're looking for someone who's in trouble, or to realize that it's okay to jump off a hundred-foot bridge because you've seen yourself surviving the fall, but Smith's visions are rarely comforting and not always reliable, leading to moments of genuine suspense and intrigue.
With eleven episodes (plus a "bonus episode" from December, 2005) spread out over three discs,The Dead Zoneis at its best when dealing with the series' one ongoing storyline: i.e., the machinations of Congressman Greg Stillson (Sean Patrick Flanery), the dumb, arrogant puppet of sinister forces who aim to put him in the White House, where, by accident or design, he may preside over Armageddon, according to Smith's visions. Unfortunately, only three Season Four episodes address that story, and they fail to advance it much further; indeed, Episode 11, "Saved," serves mainly as a cliffhanger for subsequent seasons. The remaining stories, in which Johnny helps the cops pursue various psychopaths, perverts, missing persons (including a Lennon-esque rock star presumed dead many years before), and such, are good but considerably more pedestrian. Still, while other shows may have cooler special effects, more action, and larger doses of tension-relieving humor,The Dead Zonestands out for its overall smarts and classy production values. Bonus features include deleted scenes, audio commentary on a few episodes, and a featurette focusing on production design.--Sam Graham』
price：$4.49
Turner Home Ent
Usually ships in 24 hours Core2Duoノートレビュー 's review (Perfect) 『This was exactly what I wanted.It was in perfect condition and was sent here quickly.』
(Horrified me as a child.) 『If you want to watch Scooby Doo with your children, try "Scooby-Doo and the Alien Invaders", "Scooby-Doo and the Monster of Mexico", "Scooby-Doo and the Loch Ness Monster", "Scooby-Doo and the Cyber Chase" or "Scooby-Doo and the Ghoul School".
This is far too dark, and scary, for most young children, or even older children.
I adore this movie now that I am a teenager, though. It's great for older Scooby Doo fans.』
(Not for young kids - too scary and deals with supernatural concepts.) 『Though this is a good movie to watch as an adult or kids over 7...my kids 3, 5 and 8 watched it tonight and my 5 year old does not want to watch any more Scooby-Doo because it was too scary. My youngest looked worried and I wanted to turn it off but, Dad felt differently so we watched it. The youngest two started to hide toward the last 1/4 of the movie.』
(Zombie Island Scooby) 『For a cartoon featurette, this one reallly stands out. Mostly because it's not the usual hijinks of the Mystery Machine crew battling bad guys dressed as goons to commit crime and meyhem. This time the spooks are surprisingly real, even though it takes some convincing from the fab four and the famous pooch. As usual, the haunts and creeps are looked at from the disbelieving view until the forms take shape of real occurrences. Even the songs that set up the scenes refer to past ghost and ghouls found as always have been "fake". Which makes this round of investigation more chilling when the creeps and haunted settings are true blue to the source. Although the place located is refered to Zombie Island, there are alot of fun things on the way, including fiesty pigs, attacking alligators, and a swarm of lively cats. In fact, the reference here to cats and cat people almost steal the storyline away from the fact that the zombies are indeed the good guys, and the catatonic beings the real villains. This leads to frightening confrontations with really violent night creatures that mean business in fulfilling their mission of darkness. Also, if anyone has seen the original Creature From The Black Lagoon, there is a nice little scene of a riverboat driver that is the spitten image of the one in the famous black and white movie. Definitely one for the halloween movie collection, cartoon or not.』
(too scary for smaller kids) 『My kids were watching this movie and I had to fast forward through it....wish I had read the reviews before letting them see it....they are too freaked out by the werewolf creatures and zombies to enjoy this movie. No comedic value whatsoever. This is a scooby movie for parents and maybe eight or nine year olds, NOT kindergarteners. Forget this movie, get the collections of the old episodes instead』 『A dog and his pals encounter creepy characters at a haunted house on a Louisiana bayou.』
price：$8.47
New Line Home Video
Usually ships in 24 hours Core2Duoノートレビュー 's review (BLADE) 『The movie is great and was brand new, bu when i first got it and took the plastic stickers off the dvd the some of the paint was removed from the dvd case, on the whole right side black to white. shipping was fast though』
(A comic book adaption like no other!) 『Blade's creators both director Stephen Norrington and screenwriter David S. Goyer have proved it is possible to adapt comic book characters to the big screen without making them look absurd. Blade comes vividly to life from the moment you first see him, in an outstanding opening sequence that sets the tone for the action-packed film that follows. From that moment onward you are pulled into the world of Blade and his perpetual battle against the vampire race and the man who makes other contemporary slayers (Buffy) look like amateurs. Armed with a samurai sword made of silver and guns that shoot silver bullets, he lives to hunt and kill "Sucker Heads." This still is Snipes' best action performance to date.
Pitted against our hero is a cast of villains led by Deacon Frost (Stephen Dorff), a crafty and charismatic vampire who believes that his people should be ruling the world, and that the human race is merely the food source they prey on. Born half-human and half-vampire after his mother had been attacked by a blood-sucker, Blade is the ultimate nightmare towards the vampires.
Apparent throughout the film is the fluid grace and admirable skill that Snipes brings to the many breathtaking action sequences that lift this movie into a league of its own. The influence of Hong Kong action cinema is clear, and you may even notice vague impressions of Japanese anime sprinkled innovatively throughout.
Like previously mentioned this movie couln't be any greater with Snipes being at the top of his game playing Blade, a comic book adaption also to perfection by the ledgendary Stephen Norrington and David S. Goyer.』
(Blade DVD) 『Love this movie, it definitely stands the test of time. Great action, and pure Snipes!』
(The Best Thing to Happen to Vampire Movies Since "Dracula!") 『Actor&producer Wesley Snipes may have finally found himself an action movie franchise that he can sink his teeth into with British director Stephen Norrington's "Blade," a well-made, imaginative, adrenaline-laced vampire chiller based on the Marvel Comics' super hero. Last seen in "U.S. Marshals," Snipes heads up a first-rate cast that includes Kris Kristofferson, Stephen Dorff, N' Bushe Wright, Udo Kier, and Traci Lords. "Blade" synthesizes the exotic swordplay of the "Highlander" epics, the double-digit body count ballistics of a John Woo thriller, and the martial arts pandemonium of a Jackie Chan opus to spawn a horror movie several cuts above your ordinary vampire fare. If the sight of blood, especially torrents of bogus blood, turns your stomach, avoid "Blade." "Blade" takes its cues from renegade vampire sags like Robert Rodriguez's "From Dusk Till Dawn" (1996) and Kathryn Bigelow's "Near Dark" (1987) rather than those venerable classics like Tod Browning's "Dracula" (1931) with Bela Lugosi and Neil Jordan's "Interview with a Vampire: The Vampire Chronicles" with Tom Cruise (1994). The Snipes hero must have chose the same guy who tailored "Mad Max" and "The Terminator" in what essentially constitutes an apocalyptic version of Fran Rubel Kuzui's "Buffy the Vampire Slayer" (1992). "Blade" qualifies as a tour-de-fang chiller with darker humor than "Buffy," top drawer special effects, and an infectious techno-pop soundtrack. Lowbrow escapism that it ranks as, "Blade" benefits chiefly from scenarist David S. Goyer's solid, seasoned writing skills and atmospheric, innovative helming by sophomore director Stephen Norrington.
Scenarist David S. Goyer provides an invigorating screenplay. "Blade" bristles not only with lively action and adventure, but also an intelligible plot that the characters go to extreme lengths of describe and discuss. When you consider that Goyer has penned scripts for such movies as "Dark City," "The Crow 2: City of Angels," "Robert Heinlein's The Puppet Masters, "Demonic Toys," and "Kickboxer 2," then you know he qualified as the ideal choice to pen the script. Goyer's revenge fantasy script never leaves you in the dark about a bloody new world where its embattled but immortal hero Blade wages a perennial war against vampires. Goyer shows impressive flexibility in co-opting vampire mythology. At one point, a half-blooded vampire smears on sun screen lotion to shield himself from the sun. Jealous vampires put one of their vampire enemies to death by gradually exposing him to sunlight at dawn. Meanwhile, our hero uses an ultra-violet light to singe unruly fangsters. About the only vampire trait left out by Goyer is the ability to shape-shift into a bat.
A vampire infected our protagonist's pregnant mom with its venomous blood while she was carrying Blade in her womb. Delivered by Caesarean section from his dying mother, Blade emerges as neither totally a human nor truly a vampire. He can walk in sunlight without risk, and neither silver nor garlic an faze him. One villainous vampire admires Blade when he observes that Blade has "all of our strengths and none of our weaknesses." The filmmakers milk dramatic tension from Blade's growing tolerance to Whistler's (Kris Kristofferson of "Convoy") anti-venom serum. The chance that Blade may not revert to his vampire origins not only lurks in the background but also contributes to the suspense. This element of uncertainty generates anxiety and it endows the protagonist with an Achilles' heel that make shim more believable and charismatic.
Legendary vampire hunter Abraham Whistler (a grouchy Kris Kristofferson with a gimpy leg) found Blade as a juvenile roaming the streets and living off the blood of derelicts. Transforming Blade into a super hero with injections of a blood substitute, he serves as Blade's stepfather and ordnance maker. Surprisingly, Whistler lasts longer than most sacrificial characters. Loosely modeled on the Roman god Vulcan who forged weapons for the gods, Whistler trains Blade to kill vampires with extreme prejudice. Blade approaches his crusade with the enthusiasm that Charles Bronson mustered for killing muggers in the quintet of "Death Wish" movies. Not surprisingly, more than enough vampires survive from other parts of the world for Blade to combat in the sequels. Wows, does "Blade" ever leave itself wide open in its wrap-up in Russia for a sequel! Anyhow, the vampires in "Blade" are not tooth fairies. Organized into a powerful, global underground syndicate, Dragonetti (Udo Kier) presides over them as a Corleonesque godfather of sorts. The scene in the shadowy conference room with vampires dressed in suits is effectively creepy. Kier's Dragonetti is a pure-blooded fangster in a world of full and half-blooded vampires. In "Blade," the cities of the world have been practically undermined by vampires. Vampires have gained leverage in the business and politician arenas. These vampires own the police so they control the law. As the snotty, upstart Deacon Frost, actor Stephen Dorff plays the half-breed vampire who Dragonetti turned. Frost harbors greater ambitions than Dragonetti. The elder vampire prefers to co-exist with mortals and abide by their treaties. Frost demands that the vampires dominate humanity. Secretly, Frost has been translating an ancient vampire text which will enable him to resurrect a vampire blood god. Frost wants to revive this demon, but he needs the missing link: Blade's blood. Frost calls Blade "day-walker," because the vampire bible has prophesied Blade's unique genetic make-up. If he can revive this blood god, Frost can control the House of Erebus that rules the undead, and vampires can emerge as the dominant force in the world. The splashy finale in a phantasmagoric vampire temple with skeletons bursting out of the mouths of vampires in a storm of jagged lightning bolts owes a little to "The Fifth Element" as well as "The 7th Voyage of Sinbad" (1958), but this scene is fully and logically integrated in Goyer's script.
Sure, "Blade" amounts to nothing more than bloody pulp fiction. Nevertheless, Goyer and Norrington have reinvented vampire thrillers. "Blade" is entertaining, somewhat cheesy, but technically proficient hokum done with considerable technical prowess. Congratulations Stan Lee!
Film lovers will groove on the multitude of special features, particularly the enlightening commentary tracks. For example, the train in the tunnel was NOT there; it was inserted during post-production with digital special effects.』
("The world you live in is a sugar-coated topping. There is another world - beneath it...") 『Up until 1998 comic book movies were a joke. Sometimes they had some campy charm and were marginal successes but aside from the Michael Keaton Batman film in 1989 none of them had been all of that good. Even with that movie's fame, the successive films did their best to kill all of the best parts of that franchise until everyone's memories had been sullied by the horrors of the sequals. Marvel had a particularly hard time releasing its products to film and its two successes up to 1998, The Punisher and Captain America, were so bad that even fans of the characters felt the need to apologize for them.
Into this mix came Blade, a much lesser known character than previous Marvel and DC attempts to make movies about their characters but in a way that helped. Writer David Goyer and Director Stephen Norrington were able to tell the story that they wanted to tell without having to pay homage to 25 years of comic book history or to hordes of angry fans that wanted to make sure that their version of the character was the one presented on-screen. In fact the movie deviates greatly from the Marvel version of Blade's origin and his powers and they borrow the character of Whistler from Fox's Spider-Man The Animated Series to give Blade a mentor and father figure.
This movie was a success for several reasons. First, it took the story seriously. Blade wasn't a campy super-hero who had hilarious misadventures. The movie is serious from the opening moments when a man who thought that he was being picked up by a hot woman and taken to a party finds out that he's really the appetizer at a vampire rave. While certain elements like the character of Quinn lighten specific moments the characters always act as if the danger and the situations are real.
Second, the movie is an action movie rather than a horror movie. Vampires have almost always been placed in the horror mold. The genius of Blade is to depict vampires more as members of a kind of mafia rather than as the creatures that live in solitary mansions and prey on hapless virgins. The horror and fear are there. Norrington does a tremendous job in presenting a world to us in which creatures skulk around in the dark and the script describes a world that most of us are unaware of but influences our lives on a daily basis. However, even with these elements we are in full action mode as Blade takes on this mafia with all of the weapons at his disposal and his knowledge of martial arts. The fighting is done so well that you even let our cheers as Blade dispatches his foes in spectacular style. Many of the things that the Matrix would take credit for, such as bullet time and the idea that the world that we live in is an illusion (although this is a little more literal in Matrix), were developed in Blade first and usually with far more skill and style.
Third, there is an emphasis on character here that shouldn't be taken for granted. Most superhero movies are obsessed with action to the point that characters simply don't have time to grow. That isn't so here. The tragedy of Blade's life is presented to us and then further developed as we see how Blade being a man that fits into neither world can't live with vampires and that the relationships that he establishes with humans can never last. Deacon Frost is also developed well as his relationships with Quinn, Karen, and Dragonetti develop him to show that he is the complete antithesis of Blade: A hedonist that cares only about fomenting chaos and gratifying his own desires.
Finally, there's a wonderful synergy from all involved. The actors give great performances. Wesley Snipes is the gruff hero with just enough sass to deliver some witty lines to break the tension in some dramatic scenes. Kris Kristofferson plays the father figure and elder hero who has to die to give way to the younger generation. His obvious love for Blade comes through the subtleties of the performance rather than any overt dialogue. Stephen Dorff is fantastic as Deacon Frost who wants nothing more than to gratify his own desires and to be restrained by no one. His casual disdain of everyone around him except when he wants something shows the kind of character that he is. Then we have some great direction from Norrington who has the world move around us with time lapse photography when we aren't looking and gives the impression of things hidden all around. Turning up the brightness during the daylight helps to showcase how foreign that world is once you've been steeped in Blade's nighttime world. The script is a top-notch Goyer contribution. As usual with Goyer everything that is introduced has a purpose and all of the elements join together by the end of the movie so that everything from Blade's mom to comments about whether or not Karen will turn, to the biting of Dr Webb all come back when they will have maximum story impact.
If the story has any flaws it is that Deacon's idea to turn everyone into vampires makes no sense unless you assume that he is so interested in fomenting chaos that he would like to see a world full of vampires who feed on each other but this is never stated on screen and it would have been nice if there was some dialogue for it. The other problem is that La Magra is a bit of a disappointment once it appears. After building up to this since the midway point of the movie you expect something more than what you see but this is one of those things that you don't really think about until after your first viewing when you're thinking back on the movie.
Many movies like the Matrix, Daredevil, and the X-Men trilogy probably would have never been made or would have been radically different if it wasn't for the cult success of Blade and the techniques that it pioneered. Give it a try as a must-see movie experience if you are either a fan of comics or any of the aforementioned movies.』 『Wesley Snipes plays a half-mortal, half-immortal charged with ridding the earth of a race of vampires led by Stephen Dorff in this action-packed blockbuster.
DVD Features: Alternate endings Audio Commentary Featurette Music Only Track Production Sketches Theatrical Trailer
』 『The recipe forBladeis quite simple; you take one partBatman, one part horror flick, and two parts kung fu and frost it all over with some truly campy acting. What do you get? An action flick that will reaffirm your belief that the superhero action genre did not die in the fluorescent hands of Joel Schumacher.Bladeis the story of a ruthless and supreme vampire slayer (Wesley Snipes) who makes other contemporary slayers (Buffyet al.) look like amateurs. Armed with a samurai sword made of silver and guns that shoot silver bullets, he lives to hunt and kill "Sucker Heads." Pitted against our hero is a cast of villains led by Deacon Frost (Stephen Dorff), a crafty and charismatic vampire who believes that his people should be ruling the world, and that the human race is merely the food source they prey on. Born half-human and half-vampire after his mother had been attacked by a blood-sucker, Blade is brought to life by a very buff-looking Snipes in his best action performance to date. Apparent throughout the film is the fluid grace and admirable skill that Snipes brings to the many breathtaking action sequences that lift this movie into a league of its own. The influence of Hong Kong action cinema is clear, and you may even notice vague impressions of Japaneseanimesprinkled innovatively throughout. Dorff holds his own against Snipes as the menacing nemesis Frost, and the grizzly Kris Kristofferson brings a tough, cynical edge to his role as Whistler, Blade's mentor and friend. Ample credit should also go to director Stephen Norrington and screenwriter David S. Goyer, who prove it is possible to adapt comic book characters to the big screen without making them look absurd. Indeed, quite the reverse happens here: Blade comes vividly to life from the moment you first see him, in an outstanding opening sequence that sets the tone for the action-packed film that follows. From that moment onward you are pulled into the world of Blade and his perpetual battle against the vampire race.--Jeremy Storey』
price：$10.98
Universal Studios
Usually ships in 24 hours Core2Duoノートレビュー 's review (Touch of Evil with Weaknesses) 『Touch of Evil is a good film, but it is not a masterpiece. Early in the movie, it is very clear that we are watching actors on a created set, which disturbs the viewer's focus. Sets are fine, but they should not be "visible." A distinct plot weakness is putting the "wife" in an out-of-the-way seedy motel. You see that she will be isolated and thus targeted miles before those sceens arrive. And that she or her seemingly unaware husband would allow her to be put in the situation undermines the "intelligence" of the two. Another weakness is the local crime boss following her to the motel. He does it in such a way that he can't help calling attention to himself and thus getting picked up by the polic. Nice film noir and good acting by Welles even though his techniques are clearly dated. This film really could have been great, but it is not.』
(Disappointed) 『I disliked the story. It may be great film noir, but I couldn't find the story of corrupt cop compelling. I wasn't convinced by the ending where a very complicated situation is conveniently solved for Heston, the film's hero. I also found quite disturbing the way the film's story maintains its tension with Janet Leigh, playing the sexual bait in the story. This is a motif that is carried on almost throughout the entire film. I also thought that it was big deal being able to watch the different versions. I don't see any significant changes in interpretation because of the film. Ironically, as in Orson Well's Citizen Cane, the downfall of this corrupt cop resembled in some strange way the demise of the director himself. In this way, Wells shares some autobiographical material with the public.』
(Perhaps the Greatest American Film of All Time) 『In its restored glory, Touch of Evil is without doubt a masterpiece. From the beginning, it drives ahead relentlessly, and the suspense generated by that famous first shot is incredible. This is the kind of film that rewards multiple viewings. Like Fellini, Welles populates his films with grotesques. Unlike Fellini, they actually serve the story -in this case, one of the most hard-bitten, cynical tales around. The ending will leave you feeling like you've been punched in the gut. Marvelous, marvelous storytelling. And the included 58-page memo Welles wrote the studio protesting the changes they made -it's a master class in film, all by itself. This was Welles's final Hollywood film (if I remember correctly) and a mighty blast it is, a towering work of film noir.』
(A stunning portrait of corruption and abuse of power.) 『Touch of Evil was an excellent black and white classic noir film by Orson Welles. I heard about how great this film was and how it had the best cinematography and lighting in any film ever made and yes they weren't kidding. Off course this film from every technical aspect whether it was the acting or the direction or the great script and fantastic storyline was just perfect but the only slight problem I had with this film was probably the casting of Charlton Heston as a Mexican police officer, but this is only a slight problem but I still think he was miscast. Touch of Evil opens with what must be one of the finest sequences ever, a bomb is planted in a car on the Mexican side of the U.S./Mexico border and in one flawlessly conceived shot is followed as it makes its way into the U.S. only to erupt into a ball of flames, taking a rich American developer and his mistress with it. Meanwhile Mexican police officer Mike Vargas (Charlton Heston) and his bride (Janet Leigh) have just ended their honeymoon in the same border town when they become involved in the murder investigation that just took place. Also on the case is a veteran American cop named Hank played by Orson Wells who has a habit of winning convictions by planting evidence. Hank was the despicable, corrupt and racist police captain and Welles does a terrific job portraying this character. As a star, Wells is bloated and repellent police captain and the villain you love to hate; as the director though he's very creative and surprising.
How much you like this movie depends on how much you like the film noir genre. This is a typical hard-bitten crime story filmed mostly at night or in deep shadows in shabby locations with terse dialogue and no-nonsense characters. Although Heston isn't convincing as a Mexican, he was still dynamic and sincere. Janet Leigh who had a broken arm for most of the filming was great as the American wife who's obsessed with solving the crime, it was pretty interesting to see the ways the cast on her arm was hidden. Just like the beginning of the film, the finale once again combines Welles mastery of both sight and sound. After effectively ratcheting up the tension throughout the film it unwinds in a satisfying ending. The final scene is famous and spectacular. This fifty-year anniversary edition includes three editions of the film. The Restored Version (111 minutes) which was released in 2000, is the definitive cut of the film restored to Orson Welles' vision based on his detailed 58-page memo to the Universal studio. This is on disc one and rated PG-13, because of some violence and drug content.
Disc two includes the two other releases which are not rated. The Preview Version (109 min) includes some of Welles' requests and was discovered by Universal in 1976. This actually includes some of Universal's post-production re-shoot footage - Welles' was out of the country at the time and had no idea. It famously includes Henry Mancini's score incorporated into the beginning as well as more emphasis placed on the capture of Susan in the motel room, which suggest gang rape. After a Hollywood screening to the public, a viewer walked up to a studio executive and said the film was one of the dirtiest films she'd ever seen and smacked him with her handbag. After the assault, the studio decided to re-edit it before presenting it to the public!.
The film was eventually snipped down to 96 minutes and is included as the Theatrical Version seen by U.S. audiences in 1958 (off course back in those days everything was more strict and conservative), which still includes Mancini's score at the beginning. This version is also on disc two. brilliant filmmaking at it's best. The film was a stunning portrait of corruption and abuse of power and it really does grab your attention. I highly recommend this to fans of Orson Welles and 50's classic noir films. Each of the three films is presented in 1.85:1 anamorphic video with all displaying consistent quality. The sound is as good as 2.0 mono can get, and is clean and pristine. In Welles' memo, he specifically had ideas on the soundtrack, such as the music that played over the infamous long opening shot. While the studio insisted on some generic Henry Mancini stuff, Welles wanted different music blaring from each individual nightclub Vargas and his wife passed, something that is genuine to the environment. I personally liked this better since I really like Latin music and the soundtrack was fantastic. The Restored Version features two audio commentaries. The first is by restoration producer Rick Schmidlin and actors Janet Leigh and Charlton Heston. There are some good featurettes and these include Bringing Evil To Life (21 minutes), Evil Lost and Found and Welles' famous 58-page memo is included in paper booklet form and finally a trailer. Touch of Evil is brilliant filmmaking at it's best, it was truly a groundbreaking film in terms of technique, style and storytelling. The rich story about political corruption across national boundaries and the interwoven plots certainly warrant re-watching, I highly recommend this and two thumbs up!. 』
(3 stars out of 4) 『The Bottom Line:
One of the last (if not the last) film-noirs, Touch of Evil has a number of masterful scenes and a great performance by Orson Welles; the murder mystery aspect of the plot doesn't work as well but everything else is so interesting that the movie is easily worth watching or owning.』 『Experience director Orson Welles’ masterpiece Touch of Evil like never before in an all-new 50th Anniversary Edition DVD! Starring Charlton Heston, Janet Leigh and Orson Welles himself, this exceptional film noir portrait of corruption and morally compromised obsessions tells the story of a crooked police chief who frames a Mexican youth as part of an intricate criminal plot.
Now for the first time ever, see all three versions of the film– the preview version, the theatrical version and the restored version based on Orson Welles’ vision. The Touch of Evil 50th Anniversary Edition commemorates a true cinematic achievement and is an essential addition to the very movie lover’s library!』
『Considered by many to be the greatest B movie ever made, the original-release version of Orson Welles's film noir masterpieceTouch of Evilwas, ironically, never intended as a B movie at all--it merely suffered that fate after it was taken away from writer-director Welles, then reedited and released in 1958 as the second half of a double feature. Time and critical acclaim would eventually elevate the film to classic status (and Welles's original vision was meticulouslyfollowed for the film's 1998 restoration), but for four decades this original version stood as a testament to Welles's directorial genius. From its astonishing, miraculously choreographed opening shot (lasting over three minutes) to Marlene Dietrich's classic final line of dialogue, this sordid tale of murder and police corruption is like a valentine for the cinematic medium, with Welles as its love-struck suitor. As the corpulent cop who may be involved in a border-town murder, Welles faces opposition from a narcotics officer (Charlton Heston) whose wife (Janet Leigh) is abducted and held as the pawn in a struggle between Heston's quest for truth and Welles's control of carefully hidden secrets. The twisting plot is wildly entertaining (even though it's harder to follow in this original version), but even greater pleasure is found in the pulpy dialogue and the sheer exuberanceof the dazzling directorial style.--Jeff Shannon』
Core2Duoノートレビュー 's review (Embrace of the Vampire) 『This is a very sexy vampire story that Alyssa Milano starred in! I recommend this for anyone who loves Alyssa Milano!』
(Better than I expected) 『Maybe not the film, I never managed to watch it up until now. I've had it elsewhere in another format but maybe this time I might get down to watching it. The lack of special features are made up for having four versions of this film, so you can enjoy either the R rated version, the Unrated version (which is a minute longer - ??) and either in Widescreen of Fullscreen. I actually ordered it thinking it would take another 3 weeks, but it only took a week from the time it was dispatched and yet I went for the Economy Shipping. I'm well impressed with that, but couldn't give it maximum stars just because of that, I mean the movie is..well I'll let you make up your own mind.』
(Toothless...) 『Yes, Alyssa Milano exhibits her usual abilities and nakedness. Yes, she is a hottie. However, she is far better in POISON IVY 2 (the weakest of the Ivy trilogy). Of course, as a story, EMBRACE OF THE VAMPIRE is a swirling toilet-yacht. This is an imbecilic romance novel (w/ extra cheeeeze) disguised as a vampire story. The love-sick vampire is a lame, whimpy dink of a fella. I especially enjoyed his pouty face and Wal-mart manicure! Oh, how I longed for his impalement! Alyssa herself is gorgeous, and does have one decent, semi-exciting scene w/ a wanton photographer of the female persuasion. The rest is pure, languid hell! If you want sizzle in your vampire epics, I recommend HABIT for pure animalistic sensuality... P.S.- Jennifer Tilly (Bound) is in EotV for about 5 minutes, and manages to be more alluring in her fully-clothed role than anything else in the movie! Just the sound of her voice reduces me to her potential slave! Has it suddenly gotten hot in here? Whew...』
(Embrace Of The Vampire) 『DVD was arousing. DVD arrived in a very timely fashion. DVD arrived in excellent condition.』
(Embrace of the boredom.) 『Embrace of the Vampire (Anne Goursaud, 1995)
I think everyone who is aware of this unfortunate-for-everyone-involved's-career flick is aware of it because it was the movie that first, shall we say, exposed Alyssa Milano to a wider audience. And I will give it one thing, it does that very well. Milano spends an amazing amount of time half-clothed, or less, here. If that alone is enough reason for you to watch it, then by all means don't let me stop you. But if you're expecting something, anything, else from this movie, then stay far, far away.
Milano stars as Charlotte, an innocent young thing who is, as we open, three days away from her eighteenth birthday. She was raised in a convent and has very little understanding of the outside world (though she has somehow had a boyfriend for fourteen months; we are never told the story of how he gained access to her in the first place). Now she's off to her freshman year at college. All well and good, except that a local vampire (The Krays' Martin Kemp) has decided that Charlotte is the woman who turned him into a vampire reincarnated.
Or so I think. I couldn't quite follow the overly long and overly boring opening narration where he imparted all this, probably because I was busy clawing at my ears to try and stop the incredible pain. Kemp used to be a fine actor, and for all I know may still be, but in this movie, he's downright awful. That, however, allows him to fit right in with this crowd, which has a surprisingly high number of B-listers in it (Jen Tilly, Jordan Ladd, Harold Pruett, Rachel True, etc.), all of whom, including Milano, give performances that rate subpar at best.
The movie seems to want to be of that particular subgenre known as the erotic thriller. While it does get the erotic part right on occasion (one scene with Milano and Charlotte Lewis is just scorching), the thriller part never gels at all. Cheap (and occasionally sexy) thrills, but a lack of coherent plot, character development, technical competence, etc. make it, ultimately, not worth your time. *½
』 『A sensuous but innocent college freshman is seduced by a most obsessive lover.』
price：$9.93
VIZ VIDEO
Usually ships in 24 hours Core2Duoノートレビュー 's review (Bleach Movie 1 was great!) 『I'm glad that I had watched Seasons 1-3 before I watched Bleach Movie 1. But, the movie was done well enough that you don't have to have seen the series to enjoy it. It's awesome!!』
(Just what you'd expect from Bleach) 『As the title says, just what you would expect from Bleach. Great action and fight scenes. This movie had a great story line, and you got to see more of the series main characters in action. What more could you ask for?』
(Awesome!) 『I love Bleach and this movie was great! A whole new character, maddening and adorable, is introduced named Senna and Ichigo lands back in the real world. This movie is wayyyy better than Diamond Dust Rebellion. We are also itroduced to a side world with new enemies. this movie is great and animation and characters are much more like the show than Diamon Dust Rebellion.』
(Awesome but unoriginal) 『This movie is an awesome two disc set and the bonus disc is backed with awesome Japanese trailers. The movie it self was cool, but after a while you get bored of it. The plot is similar to most anime movies. Though It has that Shojo feel leading up to the Shonen, it could have been kind of mixed together as they did in bleach season one, instead of putting one after the other. Not the best anime movie but not the worst.』
(Bleach: Memories of Nobody) 『Excellent movie. If you love Manga, you'll love this series, this show and this movie. Good voice acting, great animation and great entertainment. Must see.』 『A 2-Disc Set Loaded with Special Features!
After unidentified beings known as "Blanks" start popping up, they are soon followed by a Soul Reaper named Senna who makes them disappear. Puzzled by these unknown beings and the even more mysterious girl, Ichigo and Rukia set out to learn more, but uncover an evil plot when a menacing clan tries to kidnap Senna. Banished from the Soul Society long ago, the clan's leader is sending the World of the Living and the Soul Society on a collision course, and Senna seems to be the key to his diabolical plot for revenge. Can Ichigo and his fellow Soul Reapers save the two worlds from annihilation?
Disc 2 Special Features Include: * Inside Bleach The Movie * Japanese Production Interviews * US Theatrical Trailer * Original Japanese Trailers Also included: Original Japanese Movie Booklet (translated version)
Bilingual (English&Japanese with optional subtitles)』 『As the first of the threeBleachfeature films opens, Ichigo and Rukia are having a typical squabble--with Kon-butting in--when hordes of "Blanks" appear: weird white creatures that look vaguely like snowmen with pink caps. Senna, a Soul Reaper neither of them recognize, bursts into view and destroys the creatures. Although he initially finds her irritating, Ichigo grows fond of this strange girl, who leads him into a deadly conflict with a rebellious clan banished from the Soul Society a century earlier. Ganryu, the leader of the clan, recognizes Senna as aShinenju, an entity composed of the memories of thousands of lost souls. He plans to use her latent power to destroy both the Soul Society and the World of the Living. Ichigo stops him with the assistance of the Soul Reaper Captains and Lieutenants.Memories of Nobody(2006) intensifies the main theme of theBleachseries: Ichigo's desire to protect those he cares about. Although director Noriyuki Abe stages the fight scenes with his usual panache--and more special effects than a television budget allows--Memories of Nobodyhas a more melancholy tone than the more comedic series. As the film reunites most of the creative team from the program, it often plays like an extended TV episode, but a touching one that will pleaseBleachfans. A second disc of extras includes two standard making-of documentaries, trailers in Japanese and English, and copies of the storyboards. (Rated "Teen," suitable for ages 13 and older: violence, grotesque imagery)--Charles Solomon』
price：$3.99
Lions Gate
Usually ships in 24 hours Core2Duoノートレビュー 's review (cool, but not as much as when I was 6) 『I used to wait for this to be broadcast on tv every year with my older sister. We loved it, and it was a staple of the season. One year it never came back and we were bummed. Now I know why. It's not a great movie. Great stop motion only as Rankin Bass could do back in the day, and even has some decent writing for the music, but the story just moves too slowly to be of any interest to today's kids (including me :) ). I fell asleep in the middle of the day watching it and still don't recall how it ends... I am glad I bought it, as it was a childhood memory that I wanted to give my kids, who did watch and enjoy it some. Not their favorite movie, but if we watch it each year, maybe they will have fond memories of it and the other holiday classics that are from the era. It has some additional things I have not yet explored which I am sure are very cool to watch. Maybe soon, when the weather is too cold to be outside, I will revisit. Not a horrible purchase, just a small disappointment. If you have the other Christmas classics, this is a must. I thought it was lost forever.』
(Should have been more) 『I completely agree with Joe brando's review. This is a disappointing release, most especially for the lack of even a mention of Gail Garnett, but also because the featurettes appear as rushed and shoddy things. You have to wonder why they even bothered. If you still own the previous DVD -- keep it. There was a nice booklet with the original release that really makes it overall better than this one. But both versions don't properly offer an anamorphic 16X9 transfer, which they should, and it would be nice if the soundtrack were "stereo-ized."』
(Great Movie - Somewhat Disapointing "Special Edition") 『Please note that this review is for the "Special Edition" DVD of Mad Monster Party, and not the actual movie, which is an easy 5-star animation classic.
The bonus material consists of 3 featurettes - a "Making Of"; a "Music Of"; and a "Secrets Of Animagic". While it was enjoyable to see Arthur Rankin talking about the history of the film, I found it almost unforgivable that the two surviving stars (Phylis Diller and Gale Garnett) were not interviewed for this. Especially when footage of Phylis speaking about MMP already exists and only had to be purchased and tacked on. What's even worse is that Gale Garnett's name was not even mentioned, I kid you not! Every other person involved with the making of this movie was talked about except for the voice behind two songs in the film, and the most memorable character, Francesca. Apparently it was a legal issue, but one that should most definitely have been resolved.
Also included is the theatrical trailer which was present on the previous release but the TV spots and photo stills gallery which were on the original DVD were omitted from this one. This "Special Edition" has a better cover but the first DVD has much more attractive menus. If you are a Rankin/Bass fan, you will probably still want to pick up this new release (even if you already have the other one) but I do feel that more effort could have been put out to make this "Special Edition" more special.』
(3 GREAT SPARKHILL documentaries on this NEW DELUXE EDITION!) 『Just watched the rough cuts and REALLY like what SPARKHILL did! GREAT editing and it makes you want to watch the film all over again! SCREEN NOVELTIES (Seamus and Mark) explain ANIMAGIC perfectly! MAURY LAWS gives some insight to his scoring in a seperate documentary about the soundtrack. Loved seeing ARTHUR RANKIN and DON DUGA talk about their parts and hearing ALLEN SWIFT do the voices again! You will not want to miss this 2009 edition!』 『Baron Von Frankenstein (voice of Boris Karloff) has decided to retire as the head of the Worldwide Organization of Monsters. But first, he must inform the other monsters about his plans. How to deliver the news? How else - through a MAD MONSTER PARTY! Von Frankenstein’s guests include a who’s who of Halloween favorites, including the Werewolf, Dracula, Dr. Jekyll and Mr. Hyde, the Mummy, the Invisible Man and more. But who among them is fit to be the new head of the monsters? Find out in this treasured stop-motion classic from the team who brought you "Rudolph, the Red-Nosed Reindeer,” "Frosty the Snowman” and other beloved holiday specials.』
price：$4.49
20th Century Fox
Usually ships in 24 hours Core2Duoノートレビュー 's review (Complexity explained,,,,,,) 『I think the writer/producer expressed a situation where there could be a world where without meaning the human mind would not wish to live. This is obvious in psychology. If there is no meaning then there is no reason to live, believe me most would kill thenmselves. Love is the only meaning. To have love or need love or to need or be needed by someone is to have purpose. It drives us but subconsiously we do not know it. The reason the couple lived was because the represented units that actually need each other to live. There are people in this world that require such and cannot sustain themselves alone. Yet there are those who go about life without ever getting to have that need fulfilled. Perhaps the producer created a scenerio where only people who really loved or rather relied on each other for survival were immune from the whatever toxin. The tree's rely on eachother yet the humans do not. Although complex, I understand the movie's meaning. As for rating I give it a 5 only because the producer challenges humanity for the answer. Most will not understand because their creativity has not reached that level.』
(Wait...What Happening?) 『There's a lot wrong with The Happening.
At base, The Happening is a nightmarish parable about our crowded society in modern times. We threaten the world, director M. Night Shyamalan seems to say, with our sheer numbers. On the other hand, being completely isolated isn't the solution either, creating a suspicious, isolationist attitude that leads to a self-destructive spiral.
But The Happening is mostly about watching people commit suicide in terrible ways. This ranges from terrible echoes of 9/11, when workmen jump from a building to their death, to the cartoonishly absurd, when a zookeeper taunts a lion and it tears his arm off. Anyone who watches the Discovery Channel or Animal Planet knows that big cats go for the neck first.
Anyway, The Happening's premise is spooky: what if something in the wind made people commit suicide in the most immediate and awful way possible? Where would you go? What would you do?
Night has all the elements of a good horror story: the aforementioned disaster, the strained relationship between Elliott Moore (Mark Wahlberg) and his distant wife Alma (Zooey Deschanel), and even an innocent little girl (Ashlyn Sanchez) thrown in for good measure.
The Happening should be a great horror film. It's spooky. The premise that a gust of wind could bring about a fatal, nightmarish end lends an ominous shadow to the events. We can expect plenty of drama, morally ambiguous choices, and desperate survival tactics as our protagonists flee for their lives from an alien foe.
Actually, I was just describing Spielberg's War of the Worlds, which took the same premise and made a creepy, nuanced film about parents, children, and the distance between them. The two films have a lot in common: the insidious enemy that pops up out of nowhere, the little girl in distress, the long journey against all odds to a haven that might already have been destroyed.
The Happening follows the same script but fails miserably on almost all counts. Oh, Night's got the scary part down. But what carries a film like this is the emotional heft of characters brought to the brink. Wahlberg does a workman-like job of trying to be clever and sarcastic, but the script forces him to spew mouthfuls of pseudo-scientific gobbledygook at a rapid fire pace that he can't keep up. Deschanel, never a strong actress to begin with, is comedically awful. There isn't the slightest romantic tension between her and Wahlberg. And the little girl? She barely says a word.
The list of what's wrong goes on and on: citizens leave New York in an orderly fashion without snarling any mass transit; victims go to inordinate and improbable lengths to kill themselves; a father abandons his only child in a vain quest to find his wife; nobody seems to think traveling with a gas mask might be a good idea except two old ladies sitting at home.
They're the smart ones. 』
(This movie sucks!) 『This movie is really, really bad. The director has fallen a LONG way since sixth sense. I found myself laughing when I was supposed to be scared. If I could have given this movie negative stars, I would have.』
(Another miss by M. Night Shyamalan) 『This movie begins like all his other movies; basically scary at the beginning (the sitting on the end of your seat type scary), with a promise of a truly frightening experience to come over the course of the next 120 minutes. It begins with people frozen in place, walking backwards, or dieing by their own hand. I am a Mark Wahlberg fan, and his performance was good, as were the other characters. Since I don't act, can't sing, and dance poorly, I do not fell qualified to comment on their performances except to say you won't be dissappointed in this area. But as the mystery unfolds as to the cause of the phenomenon (The Happeningg) is finally being understood, by them, because it really wasn't clear to me sitting in the peanut gallery. As Mark and friends live happily ever after, the eastern states mostly dead, no real answer to the WHY the phenomenon started, WHY then and not before, and if it was a one time happening or could happen again tomorrow. You really should watch this turkey; you may see something I have missed. But on a scale of 1 to 10, even a 1 is stretching a point. Pebbles Rubble is more scary.』
(Did that really just happen.) 『Having seen, and really enjoyed Signs and The Village I had high hopes for this movie! However, disappointment set in quick and I mean real quick. The opening shots in New York City are intended to quickly catch the audience's attention and keep it through the film. While my attention was caught for a moment, as people unexpectedly stop moving, it was soon lost by how quickly gore was added to the plot. The needle to the neck thing was not needed, I got the idea something was wrong without the gory image. Then came Mark Whalberg, an A-list Hollywood star who should know not to be a "nice guy" in a movie. This flick follows up The Departed and Shooter, both movies in which Whalberg is a [...] and does a great job playing a [...]. This is almost as bad as Gerard Butler following up 300 with P.S. I Love You and Nim's Island. Anyway, I am degressing, back to The Happening. The movie progresses with a nice Mark Whalberg and the occasional person jumping under a running lawn mower or getting eaten by a lion. Naturally, everyone seems to be dying in a gruesome Saw like fashion except for Mark and his on-screen family. This movie ends kind of like a Disney flick, happily ever after, well at least for Whalberg and company. That is except for whatever reason, the closing shot of the movie is a recreation of the New York City scene this time it just happens to be in Paris, why, I really don't know. The only reason this film gets two stars is because the scenery is very nice and enjoyable to look at, however it seems pretty much like all we get to see with M. Night movies is Pennsylvania. Again, at least it's pretty. If you want to see a good horror flick save your money on this. If you want gore, go see Saw, or if you want scary see The Blair Witch Project, or Paranormal Activity. Just leave the nice Mark Whalberg on the self at the rental store.』 『A paranoid thriller about a family on the run from a natural crisis that presents a large-scale threat to humanity. Studio: Tcfhe Release Date: 10/07/2008 Starring: Mark Wahlberg John Leguizamo Run time: 91 minutes Rating: R』 『You'd expect the end of the world to be no day in the park, but in M. Night Shyamalan'sThe Happening, a day in the park is where the end begins. One otherwise peaceful summer morning, New Yorkers strolling in Central Park come to a halt in unison, then begin killing themselves by any means at hand. At a high-rise construction site a few blocks over, it's raining bodies as workers step off girders into space. And all the while, the city is so quiet you can hear the gentle breeze in the trees. That breeze carries a neurotoxin, and what or who put it there (terrorists?) is a question raised periodically as the film unfolds. But the question that really matters is how and whether anybody in the Middle Atlantic states is going to stay alive.The Happeningis Shyamalan's best film sinceThe Sixth Sense, partly because he avoids the kind of egregious misjudgment that derailedThe VillageandLady in the Water, but mostly because the whole thing has been structured and imagined to keep faith with the point of view of regular, unheroic folks confronted with a mammoth crisis. Focal characters are a Philadelphia high-school science teacher (Mark Wahlberg, excellent), his wife (Zooey Deschanel) and math-teacher colleague (John Leguizamo), and the latter’s little girl (Ashlyn Sanchez). Instinct says get out of the cities and move west; most of the film takes place in the delicately picturesque Pennsylvania countryside, with menace hovering somewhere in the haze. There are no special effects (apart from a wind machine and some breakaway glass), but the movie manages to be deeply unsettling in the matter-of-factness of its storytelling. Especially effective is its feel for what we might call the surrealism of banality. One warning sign that someone has been infected by the neurotoxin is irrational or erratic speech and behavior, yet Shyamalanhas a genius for dialogue that sounds normal and everyday as it's spoken, yet flies apart grenade-like a second later as its logic (or illogic) sinks in. Then there's Deschanel's eye-rolling dodginess about the messages some guy has been leaving on her cellphone. Or the fellow (Frank Collis) who addresses his greenhouse plants as though they were his children--has a stray toxic zephyr wafted his way, or is this just his idea of normal?--Richard T. Jameson
price：$7.46
Criterion Collection
Usually ships in 24 hours Core2Duoノートレビュー 's review (You'll remember it forever--despite yourself.) 『I've never had more wildly mixed feelings about any film than Pasolini's "Salo." The reviewers who note that it is a serious work of art, and not an exploitation film, are absolutely correct. Yet "Salo" goes beyond disturbing, and in many ways I feel it is dangerously unsound.
While I've never read De Sade's "120 Days of Sodom," Pasolini seems to remain true to the Sadean "ideal" (if you can call it that). He also does a brilliant job of making the Sadean story of sexual torture and dehumanization a bold allegory of Fascist Italy, and indeed of any totalitarian state. Why must these young people be sexually humiliated and murdered? Because four old men say they must. It should also be stated that the violence in "Salo" seems almost tame after 35 years of ever-increasing cinematic mayhem. (The scenes of coprophagia, however, remain pristinely nauseating.)
So why do I turn thumbs down on "Salo?" Because I cannot shake the feeling that Pasolini--not politically, but literally--sided more with the torturers than the tortured in this film. The very coldness of the sexual images seems to argue that Pssolini was a Sadist in the classic sense--someone who, like his Fascist dignitaries and their courtesan accomplices, got an enormous kick out of the pain and humiliation of others.
"Salo" remains a fascinating intellectual exercise, but one you will want to expel from your mind as quickly as possible. Here's the kicker: you won't be able to, and trying only makes it more vivid in the memory.』
(schindler's list evil twin hope none at all) 『This movie shows that men and women in high places can do with absolute no oversite anything. People can drift in to the deapest levels baste on the marques de sade. Pier Paolo Pasolini drew on the darkest aspect of man kind it proves with total power what man is capable of and what perversions are able to proseed when you have no empethy for fellow people i think it is perhaps the most inprtant movie in modern history it shows what even the nazis would not do morality is a nessery good for the world we need are barings the sadom and gomora movie mabey or mabey not watch the movie on your risk with a open mind weird for the age it was filmed in』
(The John Hughes remake was much better!) 『I loved "The Breakfast Club" and heard this was the film that inspired it. Both have essentially the same plotline: a group of youths are forced to be detained for some bogus list of offenses and they spend the entire film relating to each other while avoiding the thumb of their captors. The differences (aside from the fact that "Salo" is not in English) is that the "Breakfast Club" gang are not nude, aren't repeatedly raped, aren't forced to eat doo-doo, and aren't slaughtered at the end. I can see how Hollywood wanted to give it a lighter touch to appeal to a broader audience and I would have to agree. And you know what? Hollywood was right. "The Breakfast Club" made a lot more money than "Salo" and launched the careers of Judd Nelson, Julio Estevez, and Molly Ringwald. Bravo Hollywood! You showed the pretentious European film community a thing or two about successful filmmaking. Here's to your continued success in dominating world culture.』
(Don't buy this film) 『This film should Not be in the Criterion Collection. It seemed to me that is was made just for shock value. it is a waste of money and whomever thinks this is a good movie is crazy. The movie if about a group of facist men and women who take multiple children for a type of sexual experiment. throughout the movie the adults constantly refer to themselves as facists. I can not stress enough that this movie is a complete waste of money.』
(Over Rated!) 『I could have lived without seeing this movie. The acting isn't fantastic, the plot is weak, The sub plots are weaker still.』 『Pier Paolo Pasolini s notorious final film, Salò, or the 120 Days of Sodom, has been called nauseating, shocking, depraved, pornographic . . . it s also a masterpiece. The controversial poet, novelist, and filmmaker s transposition of the Marquis de Sade s 18th-century opus of torture and degradation to 1944 Fascist Italy remains one of the most passionately debated films of all time, a thought-provoking inquiry into the political, social, and sexual dynamics that define the world we live in.
SPECIAL EDITION DOUBLE-DISC SET FEATURES: New, restored high-definition digital transfer The End of Salò, a 40-minute documentary about the film s final scene Salò: Yesterday and Today, a 35-minute documentary featuring interviews with Pier Paolo Pasolini, actor-filmmaker Jean-Claude Biette, and Pasolini s friend Nineto Davoli Fade to Black, a new short documentary about Salò, featuring interviews with filmmakers Bernardo Bertolucci, Catherine Breillat, and John Maybury New interviews with set designer Dante Ferretti and filmmaker/film scholar Jean-Pierre Gorin Optional English-dubbed soundtrack Theatrical trailer Optional English subtitles PLUS: A booklet featuring new essays by Neil Bartlett, Roberto Chiesi, Naomi Greene, Gary Indiana, and Sam Rohdie, and excerpts from Gideon Bachman s on-set diary』
price：$3.95
Columbia TriStar
Usually ships in 24 hours Core2Duoノートレビュー 's review (Make me No. 340!) 『Here is a film--the term "movie" is not good enough for this product--"Identity," which will have 340 reviews after I hit the "Publish" button and I had not heard of it until I picked it up from the Sale bin at a local wholesale giant. This is film making at its best.
Oh, 2003, the year the film came out--also, the year of my retirement, my divorce, new house, trip to Ireland, seminary--no wonder I am not familiar with this film. I was too busy with my own identity. "Identity" is such an apt title, too, for this film. Initially, I wondered what its meaning might be, but the story is so taut and full of action and never-let-go-roller-coaster-ride into the psyche that one forgets the title. Too much else to consider.
First, the story opens somewhat in the middle with important information provided. The viewer may not have any idea what this information means until much later, when it's too late (not that the viewer can do anything to help). Director James Mangold proves his title along with great editors in organizing the various plot elements into a sophisticated, cubist fashion. What seems chop, chop is not at all, but becomes a careful rendering of truth and reality, fantasy and the unreal world of horror where the characters walk and breathe. Identity. What is it? Whohas it?
Mangold takes the viewer to a brink, but a brink to what? You cannot guess this one. Part of what makes the center hold is the casting. John Cusack creates one of his better roles and convinces us he is this character. Each character and the actor who plays him/her are well-drawn and made flesh by other talented actors-- Amanda Peet, Ray Liotta, Rebecca DeMornay, Alfred Molino.
The setting is a motel. The time is night. All the circumstances are morbid and sinister. Who is this man who runs the motel? What's wrong with him? The movie star, tired and aging, continues her demands for more and better. Her chauffeur who is more than he seems has hit, I should say his vehicle hits the wife of a man changing his tire in a relentless storm that has encircled this group of disgruntled, sad people. After the grotesque murders begin, Peet's character likens their story to "And Then There Were None." I would suggest that these people have found themselves in a twisted Lovecraft horror tale.
For twisted and horror describe the hidden part of the story. There, I've said enough. Identity. What is it? Who has it? When and why?』
(thriller with some good twists, but misses the bull's eye) 『This is a good psycho-thriller, in a wonderful atmosphere of drenching rain. It is fun because the viewer is kept wondering what is going on - there is surprise after surprise, and the mystery keeps this from sinking into a normal slasher film. There are many layers. I was entertained right up to the end and did not guess what was going on, in spite of all the clues and abrupt shifts in point of view. In addition, the cast of actors is very very good, from Cusack to DeMornay and the phenomenal Amanda Peet - they each metamorphose wonderfully as the viewer tries to figure out what is going on.
Unfortunately, this is one of those films based on a single deceptive idea. Once you get it, that's that. It is not one that you can watch over and over for additional detail, much like Mamet's House of Games. Moreover, that idea is not at all subtly used, when I think it could have been, but comes off as a caricature of a far more complex phenomenon. As such, it cannot enter the pantheon of great films I own.
Nonetheless, I would recommend this film. But rent it.』
(Looking for something different) 『This is a good movie. I forgot about it. It's definately worth watching. Lots of surprises.』
(And then there were none) 『If you liked the old movie "And then there were none" you should enjoy this. I loved it. It's scary and somewhat violent but not gratuitously so. Great psychological thriller with great actors all around!』
(Great) 『I received a great movie, in great shape, in a short period of time. Very satisfied with service.』 『A whodunit revolving around a group of 10 strangers who find themselves running from a desert storm. They hole up in a roadside motel that proves as hospitable as the Bates Motel. The patrons are killed, one by one, and the survivors must try to figure out who the killer is before they, too, check out... permanently! Stars John Cusack (upcoming The Runaway Jury, America’s Sweethearts), Ray Liotta (Narc, Hannibal, Unlawful Entry), Rebecca DeMornay (The Hand that Rocks the Cradle, Never Talk to Strangers), Jake Busey (Tomcats, Starship Troopers), Amanda Peet (upcoming The Whole Ten Yards, High Crimes), Alfred Molina (Frida, Chocolat), John C. McGinley (Stealing Harvard, The Animal, TV’s Scrubs), Directed by James Mangold (Kate&Leopold, Girl, Interrupted, Cop Land).』 『With an ace up its sleeve,Identitydoes for schizophrenia whatThe Silence of the Lambsdid for fava beans and a nice chianti. On the proverbial dark and stormy night, this anxiety-laced thriller offers a tasty blend ofAnd Then There Were NoneandPsycho, with a dash ofSybilfor extra spice and psychosis. Things go from bad to worse when 10 unrelated travelers converge at an isolated motel and proceed to die, one by one, with no apparent connection... until they discover the common detail that's drawn them into this nightmare of relentless trauma. Even as it flunks Abnormal Psychology 101, Michael Cooney's screenplay offers meaty material for a superior ensemble cast including John Cusack and Rebecca DeMornay (who wins the Janet Leigh prize in a bitchy comeback role). Director James Mangold pivots the action around one character (played by hisHeavystar, Pruitt Taylor Vince, in eye-twitching cuckoo mode), and half the fun ofIdentitycomes from deciphering who's who, what's what, and who'll be the next to die.--Jeff Shannon』
The scallop of large satisfactory ! northern countries and - [ of how much ] botan shrimp are ! tightly.
getting to know the technique of motorbike expensive sale -- Ta -- if -- -
>,Anthony Michael Hall,Nicole de Boer,John L. Adams,Sean Patrick Flanery,Danny Masterson
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