price：$3.50
Tartan Video
Usually ships in 24 hours Core2Duoノートレビュー 's review (A gun, a sin, and the things that were untold that get told again.) 『While sometimes called the weakest of the three revenge tales, Lady v. is a great stand-alone film and the comparions here is an unfair one. Trying to take Old Boy and Sympathy for Mr. V. and group the three does make the tale weaker in ways, but the tale also has its strong points and is a different tale altogether. It deals with threats and missing children, and with a woman that networked while behind bars in order to become the thing she needed to be. While behind bars she was a model of transformation, becoming everything that was asked of her. She also made friends by taking up for the weak and the needy, doing some fairly terrible things in order to seutre friendships. and, when she found herself released, she called upon these people because she needed something. She needed something she designed in jail, and way to make herself untouchable after her plan went into effect, and other things that were unexpected from such a great person. The mask must have been heavy, I kept thinking, and the years must have been long. In some ways that made me pity the person that she was thinking about taking her frustrations out on.
As far as the movie goes, the script was great, the twists were superb, and the end was one that I really didn't see coming. The counterpart to our Lady was equally well-acted, as were the people that we ran across during our tale. Considering the reviews i saw in the newspapaer this surprised me, but more surprising was the way the story was touching and made you side with Lady V. The staging of all the horrible things that the movie provies are equally as good, and - taken by itself - it is a great watch. In fact, it could be argued that this movie spoke in a different tone than the other movies spoke in, and this was why some people different understand that it was a different taste altogether.
If you liked the two other movies, check this out and make sure not to copmpare these. See it as stand-alone and compare it to itself, and you'll see something that it transfixing and beautifully done. I say this because i started out doing exactly what I am saying not to do, and I think I missed out on the stand-alone portion of the movie because of that. Even if you did not like the other movies for some reason, you might find this to your liking. It has violence and it has blood, but the horrors seen here are not as gruesome as some of the things I saw before. Instead of being a machine, our lead was a widow waiting in the web, and all the little fibers are beautiful to see as they are spun. I really recommend the movie - it isn't a third movie but is instead a thing unto itself. Well worth seeing.』
(Justice Served Cold...) 『After spending 13 years in prison for a murder she did not commit, Ghuem-Ja (Yeong-Ae Lee) is released. Thus begins her story of transformation from lovely young girl into avenging angel of justice long overdue. Along the way, we are given bits and pieces of Ghuem-Ja's life, both in and out of prison. She is a complex woman of remarkable patience and skill. Her plan is flawless. Her aim is true. The grand finalé of LADY VENGEANCE is another visceral jaw-popper of vicarious bloodletting. I found myself both horrified and satisfied w/ this mighty twist. LV delivers the revenge, along w/ the agonizing sorrow / rage that fires it. A violent, sometimes hilarious, often heartbreaking classic of payback in spades...』
(Haiku review: stylistically brilliant, elliptical, powerful, moody and dark film about vengeance, atonement, and redemption) 『Young boy, sad mistake Thirteen years, long time to wait Snow falls on white cake』
(One of my favs) 『This is by far one of my favourite films. The production style alone puts it up with the likes of films like "kill bill", and "requiem for a dream".
The story line is however unique in the sense of how the revenge is achieved. It does not focus soley on vengeance, but also on the development of the main character (Geum-ja) through out her teen-age years up to her 30's.
Revenge is sweet, and I think you will enjoy this film, especially if you liked "Old Boy"』
(Taking Law in Own Hands) 『A next psychotically-blood-thirsty movie of a female Korean killer taking law in her hands after serving 13 years for being wrongly accused in a child murdering.』 『After being blackmailed and wrongly imprisoned for 13 years a beautiful woman is finally set free. Now her brutally elaborate plan for vengeance against the true criminal can begin to unfold. Studio: Genius Products Inc Release Date: 05/13/2008 Run time: 112 minutes Rating: R』 『The third stop in Chan-wook Park's breathless revenge trilogy,Lady Vengeancecomes down slightly--just slightly--from the astonishing highs of middle segmentOldboy. Elegant and ultraviolent in equal measures,Lady Vengeancerequires rapt attention from the opening moments, as Park unloads his set-up in a jumble of characters and flashbacks. At the center is a doll-faced ex-con named Geum-ja (Yeong-ae Lee), who just spent 13 years in the slammer for killing a little boy. There's much more to her case than the public knows, and Geum-ja has been carefully, quietly preparing for revenge against the man who put her in this situation. We watch those gears turning throughout the movie, but asLady Vengeancenears its completion it broadens into an even bigger event than Geum-ja expected. Funny and horrifying,Lady Vengeanceis as measured as Geum-ja's own preparations, and has a gorgeous sort of logic about it. As impressive as those machinations are to watch, the movie doesn't make as forceful an argument asOldboyon just how revenge might be as punishing to the revenge-taker as for his target. Lee is a cool heroine, and Min-sik Choi, who did such heroically exhausting service inOldboy, is here employed as the monster. (The film's title in the U.S.,Lady Vengeance, is different from international titleSympathy for Lady Vengeance, a closer tie to the first part of the trilogy,Sympathy for Mr. Vengeance.)--Robert Horton』
price：$5.46
Sony Pictures
Usually ships in 24 hours Core2Duoノートレビュー 's review (Great for Fans) 『Three movies, one box. Very enjoyable. My only real complaint is the box in itself is a bit lacking (just three disks, no insert or additional literature) and that the disks are arranged a bit awkwardly (Extinction is on one side, first two movies are overlapped on the other). If you are a RE fan, I highly recommend it.』
(Best Movies!) 『The Resident Evil Trilogy is an amazing trilogy. All the movies are good. The acting is good, the story is good. If you are a fan of action movies, then you need to see these movies. Also, alot of people are mad about how the 3rd movie left it as such a cliffhanger. Well, there is going to be a 4th movie, and it is being shot right now. And should be coming out next summer or fall. So if you like action/horror movies, then you should check out Resident Evil.』
(Resident Evil Trilogy) 『Movie is great and came in the exact condition that the seller said it would come. The service was prompt. I really appreciated that.』
(Tech Review) 『Even though the Amazon listing says there are 4 discs mine only had 3 and the packaging is designed to hold only 3 discs. The box even says 3 disc set on the side. Which is fine it has what you want the 3 movies. I did submit to Amazon that they change the listing.
I almost didn't buy this set because of an other review saying that one of the movies was full screen, which I hate, having all widescreen TV's, but the Apocalypse DVD has both wide and full screen on it, so I was a happy camper. All 3 are anamorphic widescreen. The first movie is 1.85:1 so it will fill a widescreen TV. Apocalypse and Extinction are both 2.40:1 so you will still get black bars on the top and bottom even on a widescreen TV.
If you're like me and own a Sony 400 disc or Pioneer 301 disc DVD changer you'll like that it does have title text and a jacket picture on all 3 discs, so you won't have to type in the name or make a backup just so you can add the name to the disc. (come on disc makers take the extra 3 minutes to add title text to your discs when you master them!) 』
(Great movies) 『I love horror and sci-fi. Don't know why I never watched these. So I purchased the trilogy-box set and watched them all 3. Really good movies.』 『 Genre:Action/Adventure Rating:UN Release Date:9-DEC-2008 Media Type:DVD』
price：$3.49
Paramount
Usually ships in 24 hours Core2Duoノートレビュー 's review (creepy deja vu) 『While watching the newly released "Genova" with Colin Firth, a bereaved father who takes his two pre-adoloescent daughters to that far away city as a way of starting a new life without their mother, I had a nagging sensation of having experienced this movie before. The uneasy disquiet and imminent doom that pervades the film "Genova", as it drags us along labyrthinine alleys in a strange and atmospheric old-world city evoked a "familiar-unfamiliar" sensation that unsettled me on the short walk home through my quiet but now slightly menacing neighbourhood. In a sudden flash it came to me that I was being niggled by distant memories of "Don't Look Now", which I saw only once, about forty years ago.Julie Christie, gorgeous and intense, and Donald Sutherland,younger then than Keifer now,are haunted by glimpses and hyper-real apparitions of their 10yo drowned daughter, as they negotiate the steamy canals and mysterious byways of Venice.. Even forty years after first release Dont Look Now retains that powerful sense that something is happening but you dont know what it is do you?...until the very last moment...and then it's too late. Directed by Nicholas Roeg from a story by Dapne du Maurier, "Dont Look Now" is a suspense classic, and like in "Genova", the city itself becomes a character to baffle and torment it's inhbitants to the end.』
(Hauntingly beautiful....) 『I consider this film, "The Man Who Fell to Earth", and "Walkabout", Roeg's best films. I wish he were still making this type of beautiful movie. I saw this when it first came out and still remembered it, but it didn't ruin my pleasure in another viewing. As other reviewers have stated, it "haunts" you. As for those that complained about the nude scene, I think that it was the most tender depiction of loving marital sex to this date. Sutherland didn't have 6-pack abs, but he did look like an attractive man in his unique way; and bless Christie for her natural breasts. It's nice to see actors in movies today with their unreal great bodies, but it's hard to relate to them in a serious film.』
(Nicholas Roeg's "Don't Look Now") 『Based on a short story by Daphne du Maurier, "Don't Look Now" is a truly creepy and totally engrossing dark thriller set in Venice. Shades of "Exorcist" and "Fallen," but with several psychic twists that will stay with you for days. Also has a nicely realized love scene with Christie and Sutherland. The first time I saw the movie I walked home from the theater in a blizzard, almost in a trance... One of my favorites.』
(Moody, atmospheric thriller) 『The Bottom Line:
Don't Look Now is a horror movie that draws much of its suspense from its starkly threatening cinematography and a director who manages to consistently convince the audience that something very wrong is about to happen; though the final reveal of who the red-caped figure is seems completely arbitrary and the narrative has its slow moments, this is on the whole a very interesting and novel horror film.
3/4』
(So close to perfect...) 『After the tragic death of their young daughter, an architect (Donald Sutherland) and his wife (Julie Christie) move to Venice, where he attends to the arduous restoration of a church. There, the couple meet an elderly pair of English sisters (Hilary Mason, Clelia Matania), one of whom is a psychic who claims to be aware of their daughter's presence. Eventually, Sutherland's character experiences premonitions that seem to coincide with a series of murders...
This movie has been recommended to me by at least a few people of excellent taste, and its enduring popularity speaks for itself. Nonetheless, "Don't Look Now" was an enormous disappointment for me, a film that very nearly achieves greatness by exploring the nature and consequence of loss and fate, and then abandons its potential in lieu of cheap and typical antics.
Sutherland and Christie are perfectly cast and perform their parts with exceptional sensitivity. They're invariably credible, both as a loving married pair and grieving, haunted parents. In particular, Nicolas Roeg's direction of Sutherland is exceptional - he conveys even more with a grunt, a questioning glance or yearning stare than he ever does when speaking. Simultaneously creepy and affable, Hilary Mason shines as the psychic whose talents permit her to predict the story's most ruinous occurrences. Massimo Serato and Renato Scarpa are also quite fine as a comforting bishop and a sly police detective. Serato was a terrific character actor, accomplished in roles of authority figures, and especially those of ecclesiastical positions. Though his screen time here is limited, his quiet charisma is as compelling as that of the leads.
By and large, Roeg's direction is as deft as in anything else he's helmed. He shoots and tracks his actors with an obsessive focus here, and his macabre proceedings are interspersed with no small amount of clever, artful symbolism. While his composition is hardly fastidious - the persistent utilization of zooming hand-held shots results in a variety of intentionally disorienting scenes - it's always effective. Shot during the winter in some especially deteriorated locations, La Dominante has never looked quite so dreary on-screen. These surroundings facilitate a suitably gloomy milieu, and Roeg surely felt at home in such a gray and chilly environment!
As evidenced here, Roeg knows quite well how to guide characterization, pace a story with measured deliberation and make the best of an impressive location. His failure, as well as the film's, rests in his inability to effectively exhibit this story's two most potent scenes. The powerfully ominous opening and penultimate sequences that lead to these crucial moments are meticulously edited and flawlessly shot...after which the climaxes seem just that much more underwhelming. In the first of these, the effect of what could have been a chilling scene is negated by its ludicrous slow motion presentation, replete with a silly, low-pitched cry of despair; that Sutherland's performance during the entirety of this scene is so tremendous only indicates how much better it could have been if Roeg hadn't opted for inappropriate gimmickry. However, nothing else is as disappointing, as utterly insulting as this movie's ridiculous ending. While the ultimate course of events is telegraphed in one of the protagonist's visions nearly forty minutes prior, how it actually occurs is a slap in the face, a sudden, unexpected turn into schlock territory that degrades the entire story. If this was silly, insubstantial B-fare on a double bill, the ending would have been great, goofy, hilarious fun, but it isn't. This is an impeccably acted, ingeniously shot, brilliantly cut feature film of considerable depth, a meditation on the classic failure of prophecy to prevent tragedy, and of the emptiness and hopeless longing that accompanies the loss of a loved one.
Maybe the ending of this story comes off well in the Daphne Du Maurier novel from which this movie was adapted, but on-screen, it's entirely risible. Either Roeg lacks the essential Kubrickian understanding of what does and doesn't work in an adaptation, or he has a wretched sense of humor.
In spite of its brief and insurmountable flaws, "Don't Look Now" is still a unique and substantial movie that deserves a quality DVD edition. This isn't such a product. Most of the Paramount discs that I've viewed have been exceptional, so I was surprised that this was so shoddy. The famously unlistenable fidelity of the Warner Home Video editions that were released in the U.K. and Australia is reportedly worse than that of this one, which is interesting because the sound of it is awful. Much of the dialogue is barely audible and horribly mixed. The print transfer is quite bad - peculiarly grainy, and rather dim besides.
If you really want to understand what everyone is saying, you'll probably need to enable the English subtitles as I did on a second viewing. Unfortunately, quite a lot of what's spoken in English isn't afforded accompanying text, nor is any of the movie's ample Italian dialogue. As a result, those who can't speak Italian (like ME ME ME) will find it slightly difficult to understand what's going on now and again. I'm not exaggerating when I type that the dubbed French-language audio track is the single worst-produced dub that I've ever heard in my entire life. It's voiced competently, but it sounds as though it was recorded in a bathroom.
If you're looking for a specific scene then you'll have quite a task on your hands, as the movie is split into only fifteen parts. In the scene selection menu, these are presented two per screen in order to make the number seem larger and inconvenience the browsing audience. The noisy, sloppily edited theatrical trailer is also included, and it seems like the antithesis of a special feature.
For fans of this feature or of Roeg's work in general, I wish that I could recommend any edition of this movie as an alternative to this one, but the British Optimum Home Entertainment edition is said to have the same awful sound quality as the Warner DVD. All I can suggest, is this: rent, don't buy. At any price, it's just not worth paying for.』 『
Working with elements of the traditional horror genre - second sight, ESP, warnings from the dead, a mad killer - and a cinematography of disquieting beauty and dreamlike sense of dislocation, director Nicolas Roeg weaves a fabric of anxiety that questions all reality. The evocative use of the back streets of Venice is a sinister participant in the action based on the novel by Daphne du Maurier. This intensely erotic and macabre film boasts outstanding performances by Julie Christie and Donald Sutherland.』
『Nicolas Roeg'sDon't Look Nowonce seemed radically new with its kaleidoscopic imagery, dreamlike editing, and willingness to let mystery be mysterious on several levels of reality/illusion--plus art-house darling Julie Christie in a long, nude love scene! Nowadays, this 1974 adaptation of a Daphne du Maurier ghost story looks almost classical. Following the drowning of their child in England, Laura (Christie) and John Baxter (Donald Sutherland) have come to dank, eternally dying Venice, where he is supervising the restoration of a moldering church and she is either slipping into or climbing out of madness with the help of a pair of creepy spinster sisters, one of whom can "see" even though blind. John may share this psychic power, though he resists accepting it as the canals fill with murder victims, surface realities turn shimmery as water, and a red-coated figure--the daughter's ghost?--keeps flickering in the corner of our vision. Though surreal and perplexing, the film does eventually add up, and the ending remains a real throat-grabber.--Richard T. Jameson』
price：$2.99
20th Century Fox
Usually ships in 24 hours Core2Duoノートレビュー 's review (Better than the original) 『Fairly simple premise executed impeccably. Edge of seat excitement/suspense. I actually liked this version better than the original. Forget about THHE 2 and stick with this classic.』
(Well, it depends on your taste..) 『If you enjoy slasher flicks, this remake is a five-star horror movie, in my opinion. The death scenes are brutal, the pacing is relentless, the sense of doom and carnage is overwhelming, the gore is palpable.
If you enjoy a movie that tells a compelling story, however, this is a 0 stars movie.
Since my rating of three stars.
』
(from California Dreamin' . . . to New Mexico nightmare!) 『The remake of Wes Craven's classic, The Hills Have Eyes (2006), follows a familiar formula, where a family is attacked by a group of cannibalistic genetic freaks, while travelling through the rocky, arid, landscapes of New Mexico. Heading the production is the team responsible for High Tension (2003), and Mirrors (2008), French director/writer Alexandre Aja (Mirrors), and writer Gregory Levasseur. Wes Craven, serves as a co-producer for the project.
In an SUV towing a mobile home, the Carter family is California bound, when they stop to refuel at a rundown gas station. Taking a tip from the station owner, the group takes a short cut, and end up crashing their vehicle in the middle of nowhere. Head of the family Big Bob (Ted Levine), an ex-cop (and bad driver), heads off to the service station for help, while prissy son-in-law Doug (Aaron Staford), heads up the road to look for help. Doug finds a crater, with abandoned cars scattered around, but no way out. As darkness falls, bad things begin to happen.
The Carter family's reactions seem pretty normal, and they are extremely inept throughout. Panic can prevent the mind from thinking clearly, and that seems to be the case here, as almost everything they do is a disaster. Big Bob, the experienced cop, shoots wildly at nothing, and ends up attending a barbecue. Big Bob leaves teenage son Bobby (Dan Byrd), with a gun, but the situation is too much for him to deal with, he can't shoot straight, and just makes blunder after blunder. Unfortunately the women (Kathleen Quinlan, Vinessa Shaw, and Emilie de Ravin) do not fare well at all, at the hands of the freaks. Doug is resolved to take action, when his baby daughter Catherine is kidnapped. The family dogs, Beauty and Beast, are always breaking loose, but fortunately Beast is the first one in the Carter clan prepared to kill, to defend the family.
The genetic mutants, products of exposure to radioactivity, are quite grotesque, and unique looking monsters (Big Brain, Lizard, Papa Jupiter and Goggle). Fortunately, they are not very bright. The buildup takes a while, but Hills delivers some powerful shocks and gore, with some memorable axe wielding violence, bird blood sipping, human torch action, and threatening of an infant at gunpoint.
The DVD has some nice extras including 'Surviving the Hills', a 50 minute making of documentary, production diaries, and two commentary tracks. One by Aja, Levasseur, and producer Marianne Maddalena, mainly focuses on the production of the film, while the second commentary by producers Wes Craven and Peter Locke, is humorously all over the place, between the original 1977 film, and the remake.
Filmed in various locations including Morocco, the finished version of film fits together pretty well, and features some cool cinematography. The complete ineptness of the Carter family makes it makes it hard to get on their side at first, but things do turn around, as Doug and Beast take the fight to the mutants. The hard hitting remake of The Hills Have Eyes, is recommended to fans of the original, as well as to gorehounds in general.』
(Shockingly better than expected) 『To all you reviewers who didn't like this movie because it was "shocking and disturbing": BOO!
You're the reason why we have all this predictable, the good character always lives, the antagonist has an alterior motive besides plain evil, we must kill off one person of the group at a time, the protagonist has to uncover the "mystery", horror movie garbage that floods theaters every year. Don't you ever get tired of that crap? Don't you understand? You were disturbed because it was THAT good! Horror movies are SUPPOSED to be disturbing remember? The stuff you've been watching lately are gory action flicks.』
(A feast for horror/gore fans) 『This movie is not as bad as people make it out to be.Horror fans and people who enjoy seeing LOTS of blood/gore in horror will enjoy this movie ALOT.the plot was interesting,acting wasnt bad at all and the effects on the "mutant" were very good.There was one scene almost in the begining involving a girl and a "mutant" in a trailer raping her that some people will have a hard time watching but i think it adds to the horrific nature of the hills and the desparete struggle for the people to survive.Horror/gore fans give this one a try you will NOT be disapointed,i have myself seen this movie several times and always find it a good watch on a dark,stormy night.』 『Based on the original film by fright master Wes Craven, The Hills Have Eyes is the story of a family road trip that goes terrifyingly awry when the travelers become stranded in a government atomic zone. Miles from nowhere, the Carter family soon realizes the seemingly uninhabited wasteland is actually the breeding ground of a blood-thirsty mutant family...and they are the prey.』 『Boasting an upgrade in production values,The Hills Have Eyesshould please new-generation horror fans without offending devotees of Wes Craven's original version from 1977. There's still something to be said for the gritty shock value of Craven's low-budget original, made at a time when horror had been relegated to the pop-cultural ghetto, mostly below the radar of major Hollywood studios. With the box-office resurgence of horror in the new millennium--and the genre's lucrative popularity among the all-important teen demographic--it's only fitting that French director Alexandre Aja should follow up his international hitHigh Tensionwith a similarly brutal American debut to boost his Hollywood street-cred. Working with cowriter Gregory Levasseur, Aja remains surprisingly faithful to Craven's original, beginning with a bickering family that crashes their truck and trailer in the remote desert of New Mexico (actually filmed in Morocco), where they are subsequently terrorized, brutalized, and murdered by a freakish family of psychopaths, mutated by the lingering radiation from 331 nuclear bomb tests that were carried out during the 1950s and '60s. After several killings are carried out in memorably grisly fashion, it's left to the survivors to outsmart their disfigured tormentors, who are blessed with horrendous make-up (especially Robert Joy as freak leader "Lizard") but never quite as unsettling as the original film's horror icon, Michael Berryman. In Aja's hands, this newfangledHillsis all about savagery and de-evolution, reducing its characters to a state of pure, retaliatory terror. It's hardly satisfying in terms of storytelling (since there's hardly any story to tell), but as an exercise in sheer malevolence, it's undeniably effective.--Jeff Shannon』
price：$10.49
Sony Pictures
Usually ships in 24 hours Core2Duoノートレビュー 's review (A movie that follows the book) 『I read Frankenstein for class and really loved the book. I decided to give the movie a try and love it. It does have some differences, however it stays fairly true to the book.』
(Mary Shelley's Frankenstein) 『Awesome movie. I don't like horror movies that just play up the blood and guts and cheap thrills. This story is still a classic for a reason and this movie portrayed some of the more complex aspects of the monster sometimes making it hard to decide who to cheer for. I really enjoyed it.』
(Not at all like the book) 『After reading the original book, this movie doesn't do justice to the deep, twisting literary elements in Mary Shelly's "Frankenstein". I was extremely surprised how bad the acting was even though many famous, good actors were in it. In this movie, the monster was portrayed as being an illiterate oaf who can only express himself in diminutive sentences. In the original book, Shelly develops the character of the monster into a poetic being, who has learned how to speak with a silver tongue. He speaks of people that at first glance run away from him, which makes him very sad and lonesome for other things of his kind, or even a human to talk to. The movie portrays him as always violent, when in fact these things are all because Frankenstein created this creature without thinking of his power and violent habits. The movie was indeed too gory, too overacted, and did not seem anything like the book. I wouldn't have known the plot was sometimes wrong during the movie if I hadn't read the book, and if you haven't read the book you should because it is a literary art and a timepiece.』
(Tragic.) 『The movie is a close adaptation of the novel.It has good special effects.It is really tragic because the body count is big and made tragical it is made sad when someone dies not like in F13TH you feel sad for each victim.You see The Bride of Frankenstein not like in the original UNIVERSAL film.You see Frankenstein's brother in this version and it is tragic that he dies.The movie overall is sad.The monster is ugly.Proffesor Waldman appears.The movie has a dark tone of revenge and the monster has his revenge not by killing Frankenstein it is by killing his loved people.Frankenstein has a reason he is angry with dead...who isn't.Helena Boham Carter strangely has contact she plays Elizabeth who later turns The Bride of Frankenstein.Henry Clerval gives some kind of comedy tone to the movie...not darkness like Robert De Niro our monster.The bride looks groase she is uglier than The Monster.Finally the monster is ashamed.』
(The BEST Frankenstein ever made....) 『Kenneth Branagh directs this amazing telling of Mary Shelly's original book. The visuals are amazing, De Niro plays the monster to Oscar calibur quality, and Branagh directs himself as Victor Frankenstein. Helena Bonham Carter does a great job as his love interest. The best part of this movie is the fact that it doesn't shy away from the subject matter. It takes a head on approach, showing in gruesome detail what happens when man decides to play God. This is one that should be in your collection!』 『Robert De Niro, Kenneth Branagh, Tom Hulce, Helena Bonham Carter, Aidan Quinn, Ian Holm and John Cleese star in Branagh's acclaimed adaptation ofMary Shelley's Frankenstein. True to the original, here is the story of a young doctor whose obsession with death leads him to create a life. But his "creature" crafted from the bodies of convicts and the brain of a brilliant scientist, is a hideous mockery of humanity. And when the creature realizes he will never be accepted by men, he seeks revenge on Dr. Frankenstein and his family. An inspired adaptation that's emotionally complex and truly terrifying.』 『Let's be honest: this should be titledWretched Excess' Frankenstein. Swooping, wild, bloody, and energetic, this is bad moviemaking from the best, which makes it all the more lovable. Kenneth Branagh plays Victor Frankenstein, a man so obsessed with conquering death that he decides to create life. What he gets, after a protoplasmic mud wrestle, is a Mean Streets monster (Robert De Niro) that isn't particularly happy to be back from the dead or thrilled about all the stitches. Helena Bonham Carter may, at several points in this film, actually be channeling Ramtha. The supporting cast couldn't be peopled with better performers (Tom Hulce, John Cleese, Ian Holm) but they all look like they're ringside at some Ultimate Fighting competition. A must for any midnight movie collector for the shock factor alone. A hoot.--Keith Simanton』
price：$5.49
Starz / Anchor Bay
Usually ships in 24 hours Core2Duoノートレビュー 's review (Clint Howard's stunt double is back for another dose of Tall Man) 『In addition to 1994 being the year Sid the Elf began, it also brought the world a third installment of the super b Phantasm series. This is something that couldn't be more appreciated due to the fact it falls into Sid's favorite time period of 90's horror. Any film that can take us back to that great time in life is always welcomed, especially if it's starring the Tall Man. Who mind you has been climbing his way up the list of unstoppable horror icons sitting very close to Myers himself. You just can't help but love this series. The plot is so bizarre and really cater to a certain audience in which we sit front row. C'mon, Joe Bob did this one back on Monstervision during the 90's so what's not to love?
This time we start with a nice flashback breaking down the first two films finer moments. So once up to speed we are brought to current day Mike and Reggie who happen to be a hilarious looking duo. The now adult Mike looks like the adult version of Troy Mcgregor and Reggie still looks like Clint Howard just nearly bald except for a thriving ponytail. Both are still on their mission to bring down the Tall Man, whose still well equipped with an army of zombie elves and skull drilling orbs. Along the way they befriend a young boy (who couldn't be more then 12 and takes down a clan of the most hilarious 90's looking thugs)and a super tough black chick who join the fight. Besides watching Reggie try to get some brown sugar and fail numerous times the rest of the film is the usual fantastic Tall Man action. This one keeps the series alive and leaves you ready for a fourth session.
After watching Phantasm III Sid realized something very interesting. See we make all these jokes about Reggie being a mirror image of Clint Howard, but then realized that his job before hunting the Tall Man was being an ice cream man. Clint Howard was also an ice cream man, only more deranged, so you can't tell us we're not on to something here. Besides that revelation the movie was a fantastic 90's horror that will remain a new favorite of the list. It's really more of the same old stuff but that's all that it should be. They created such an awesomely B concept that keeps working so there is no need to switch it up. It has everything; Tall Man, killer orbs, zombie elves, Clint Howard stunt double, terrible special effects, explosions, and laughable acting. It's everything we look for. We really enjoyed this one and should have back in the glory days when it was a new release.』
(Another spectacular Phantasm movie!) 『
Continuing off "Phantasm II", Reggie (Reggie Bannister) has just lost Mike (Michael Baldwin) to that sinister Tall-Man (Angus Scrimm). That evil mortician from another dimension still creates more silver ball sentinels to kill people and of course uses more dead bodies to make dwarf creatures and zombies alike so he can take over as much as the small towns in America as possible then probably the world. It seems Jody (Bill Thornbury) is still alive but wants to be free from becoming a slave of the Tall-Man, now it's up to Reggie with two new pals such as 11 year old Tim (Kevin Conners) and feisty militant woman Rocky (Gloria Lynee Henry) to ward off Tall-Man's minion and discover what his next move is.
Another exciting continuation in the unique Sci-fi horror fantasy saga "Phantasm" from writer-director-creator Don Coscrallei. This one gives out some decent performances with more surrealism and creative suprises in store, the gore is aplenty in this installment including the brain-drilling that the evil ball usually does and of course some off-the-wall humor. Some fans are turned off by the humor in this movie but personally i thought it worked quite well and the kid here is probably the coolest young boy in a horror movie for defending himself, i also love how they now added zombies in this besides those evil dwarfs as undead critters. This is another solid winner that is a must see for fans of the horror genre and Phantasm saga.
This DVD contains for the first time on DVD is the unrated Director's Cut with never before seen footage in the US R-rated cut with great remastered picture and nice sound including audio commentary, Behind the Scenes featurette, deleted scene, trailer and Trailer to the original Phantasm.』
(Great DVD edition from Anchor Bay) 『This awesome DVD edition of PHANTASM III has an amazing looking anamorphic transfer, incredible new Dolby 5.1 soundtrack and a healthy does of fascinating bonus material. The picture quality is a huge improvment over the VHS and LaserDisc versions and the new sound mix is truly a monster. Included is a very fun commentary track from Michael Baldwin and Angus Scrimm. There is also some fascinating behind the scenes footage where we get to see the making of the film. There is a short deleted scene included as well as trailers for the first and third films. Anchor Bay choose to use the gorgeous European poster art for the cover of this release and they include a copy of it inside the case with the chapter titles printed on the reverse. This artwork is a huge improvement over the official domestic release art. My only complaint about this release is that the opening title has somehow been tampered with. On previous versions after the words PHANTASM III appear, the subtitle of the film, LORD OF THE DEAD emerges on screen under the main title. This never happens on this release. It's a very minor complaint but I do wonder what happened there. This isn't my favorite film of the series but it is still an excellent movie and this DVD release does it justice. It took a long time to get released but it was worth the wait. Thanks to Anchor Bay.』
(The return of the original Mikey!) 『I am a huge fan of these movies and the first Phantasm was one of only a few movies that ever scared me back in the day. First off the four stars instead of five is due to a slight confusion I had following the story. Of course, all loose ends are tied up in Phantasm IV. Where I would love to give this at least four and a half stars is the return of A. Michael Baldwin to the cast!!! This is another great Don Coscarelli film with plenty of gore, the Hemi Cuda (which deserves a film credit to itself), and plenty of flying spheres to shake a stick at. If you like the Phantasm series and haven't seen this one or haven't seen it in a long time I suggest giving it a gander.』
(Stupid movie, but I love it. :-)) 『Tall man. Little silver balls with brains. LOL
The whole concept of this series is so stupid it is laughable. I saw my first Phantazm movie around 21 years ago. I thought it was stupid then too. But I loved it then and I still enjoy them today!
I wish the other two were available in the U.S. I need those two in order to complete my set of brain wasting, little silver ball flying, stupid Phantazm collection.
Another good movie is Dead Alive. You need to catch it when you can. ;-)』 『If You Don’t Get It This Time, He’ll Have To Drill It Into Your Head! The mutant dwarf creatures are attacking, the silver spheres are flying, and The Tall Man is back with a vengeance! Fifteen years after the original horror classic, writer/producer/director Don Coscarelli reunites brothers Mike (A. Michael Baldwin) and Jody (Bill Thornbury) to help their friend Reggie (Reggie Bannister) destroy The Tall Man (Angus Scrimm) once and for all. Is the ultimate force of evil any match for a bald, former ice cream vendor with a ‘70 Hemicuda and a four-barrel shotgun? Cindy Ambuehl (JAG) co-stars in this insane sequel packed with sex, violence and gore galore that takes the PHANTASM series to a whole new dimension! Features: Widescreen Presentation Audio Commentary with Stars Michael Baldwin and Angus Scrim Deleted Scenes, Also On DVD PHANTASM and PHANTASM III trailers PHANTASM III: Behind The Scenes Screenplay (DVD-ROM)』 『In the originalPhantasm, The Tall Man (Angus Scrimm), a villainous mortuary employee, breeds dwarves inside tombs to be "workers" in another realm. Don Coscarelli's film was enticingly cryptic, butPhantasm IIIis a confused mess. Mike (A. Michael Baldwin) and his big brother, Jody (Bill Thornbury), are recently orphaned and become grossly entangled in the supernatural crime scene occurring at the cemetery, as The Tall Man seeks to kill everyone in town. The boys recruit Jody's buddy, Reggie (Reggie Bannister), an ice cream man, to help squelch The Tall Man, to no avail. InPhantasm III, the same boys, all grown up, are still battling The Tall Man, though his dwarves have multiplied and have wiped out entire cities across Idaho. Zombies prevail, and the viewer never really finds out The Tall Man's purpose, or why he wants to claim Mike.Phantasm'sinimitable mystery and style, with the chrome orb that flies towards victim's heads with rotating blades, the finger in a box that bleeds yellow goo, or the tuning fork gate to the dwarf netherworld, is replaced inPhantasm IIIby schlock gore, in which dwarves are shot with machine guns and felled like trees. Mystery is spoiled by too much dialogue spoken by the before nearly-mute Tall Man, and by the dwarves who've acquired silly monster faces under hoods that previously hid their identity. The film's greatest asset is its wondrously eerie title theme song by Fred Myrow and Malcolm Seagrave, reiterated from the original horror masterpiece.--Trinie Dalton』
price：$2.44
Classic Media
Usually ships in 24 hours Core2Duoノートレビュー 's review ('Exploitation Madness' - GODZILLA) 『Welcome again to another informative review for 'Exploitation Madness' by yours truly, Christopher William Koenig. Speaking as a movie fan, I have to honest in that Godzilla is one of my all-time favorite movie monsters. While many can complain the later films leaned close to the kiddie matinee fare, the original film that started it all is indeed the better feature. Don't get me wrong for I love the Godzilla sequels, at least the ones from the 1960s and 1970s, but the 1954 film is the best one.
GODZILLA (1954; Japanese Title: "Gojira"/U.S. Title: "Godzilla, King of the Monsters!")
A mysterious radioactive fire appears in the ocean and destroys various Japanese fishing ships. Reports reveal that the citizens of Odo Island also noticed these occurrences and the Japanese Cost Guard are sent to investigate. One night, an unknown force suddenly destroys the village during a storm. Dr. Yamane (Takashi Shimura) is sent to the island to investigate and notices the entire village has giant footprints surrounding the area and suddenly a huge monster briefly appears from behind a mountain! Yamane reveals the village was destroyed by this creature, which is really a fire-breathing dinosaur - which has been dubbed by the citizens of Odo Island as 'Godzilla' - that was hibernating under the deep patches of the sea, only to have its food supply destroyed by H-bomb tests. The Japanese government plans to put up high-tension wires to protect the country from this mysterious creature, but it's not enough to stop Godzilla from destroying Tokyo and leaving the city ablaze at night. In the meantime, Yamane's daughter Emiko (Momoko Kochi) is involved in a relationship with Ogata (Akira Takarada), despite her being engaged to the eye patch-wearing eccentric Professor Serizawa (Akihiko Hirata) who has invented 'The Oxygen Destroyer': a device that can eliminate the oxygen in the water and kill any marine life in the area. Could this be the perfect weapon to kill Godzilla once and for all before the monster makes its move anywhere else?
In 1954, Tomoyuki Tanaka was a young producer who was getting his big start at Toho. The studio was producing a film titled "Behind the Glory", which would be a co-production between Japan and Indonesia, and Tanaka was placed in charge of production. But, at the last minute, the project had to be canceled due to the Indonesian government refusing to grant any work visas to the Japanese crew. With disaster already in hand, Tanaka had to return to Toho for an alternate proposal for the studio despite not having any ideas for a different project. During his flight back to Japan, Tanaka looked out the window and stared down at the ocean and wondered to himself this question: What if there was a giant monster lurking the depths of the sea? Tanaka was smart enough to remember the international re-release of "King Kong" (1933) provided to be a box-office success in Japan, prompting Warner Bros. to distribute "The Beast From 20,000 Fathoms" (1953) in that country with even bigger box-office results. Tanaka also remembered the incident involving the fishing vessel Lucky Dragon No. 5 wandering towards the U.S. atomic testing zone near Bikini Atoll, exposing the crew and the fish to high levels of radiation. With these two elements in mind, Tanaka told the executives at Toho their next project should be a monster film. However, because no other Japanese film company had ever produced a sci-fi monster flick, this would provide to be a difficult task for Tanaka, yet he persisted.
To conceive the story, Tanaka hired novelist Shigeru Kayama to conceive the story treatment for "Godzilla". The original treatment involved a dinosaur attacking Tokyo due to suffering from hunger caused by the H-bomb killing off its fish supply that existed at the depths of the sea. One aspect of the original story that was much different than that of the finished product was the characters; for example, Dr. Yamane was actually a sinister scientist who lived in a pseudo-Gothic mansion, wandering about the streets at night, making claims about the existence of Godzilla on public television (?!), and sabotaging the electronic fence to let the monster from attack Tokyo. The story, coming off as a bizarre variation of 50s science fiction and 40s Universal Pictures-themed horror, was a nice start for Tanaka to use as a template, passing the treatment off to scriptwriter Takeo Murata to work on a first draft. Gone were the dark pseudo-horror elements and the characters were re-arranged to make them more believable, as well as slightly changing Godzilla's reasons for its existence, to be formed in a more structured storyline. Hired to direct the picture was Ishiro Honda, who was trained at Toho as 'assistant director' in the late 40s and then moved up to director status in the early 50s. Honda, who was good friends with Akira Kurosawa and served as 'assistant director' for Kurosawa's "Stray Dog" (1949; Japanese Title: "Nora Inu"), received good praise for his directorial debut of the Toho short film "The Blue Pearl" (1952; Japanese Title: "Aoi Shinju") and Tanaka felt his documentary-style would serve well for "Godzilla". Having seen the destruction caused by the Atomic bombs dropped on Hiroshima and Nagasaki to end World War 2, Honda was quite aware of the underlying message of the script and added some additional themes as co-writer. For the special effects, Tanaka utilized Toho's top effects artist Eiji Tsuburaya to conceive the effects scenes of Godzilla's destruction. At first, Tsuburaya wanted to utilize stop-motion animation, for he was also influenced by "King Kong", but this idea was quickly nixed by the effects genius for he estimated the animation would provide too costly and take up to 2 years to complete! Considering it took 1-year for "King Kong" to be completed, Tsuburaya's claim was not too far off and thus settled on using a man in a rubber suit and detailed miniature effects instead.
After the film's completion, "Godzilla" was released to the Japanese public and it would be a huge box-office success next to Toho's release of Akira Kurosawa's "The Seven Samurai" (1954; "Shichinin No Samurai"). Later in 1955, "Godzilla" would have one theatrical release in the United States in its original version, playing at the Toho La Brea Theatre in Los Angeles for Japanese-American viewing. There, producer/distributor Joseph E. Levene saw the film and purchased the American distribution rights for $10,000 from Toho. Levene took the film to Paul Schreibman and his independent company Jewell Enterprises; Schreibman agreed to put up some production money to shoot new American footage to be inter-cut with the existing Japanese sequences. The reason for this plan was while some Japanese features were being released in the United States, the country's post-war attitude towards Japan was not too positive and the idea of a Japanese-made sci-fi picture seemed unbelievable to the American public, let alone in either dubbed or subtitled form. Levene felt he could get away with releasing the film if it looked as if it were a co-production with Japan and the U.S. Script doctor/film editor Terry Morse was hired to direct the new sequences featuring Raymond Burr as reporter 'Steve Martin' visiting Japan only to report the story of Godzilla's rampage, as well as sitting thru press conferences with actor Frank Iwanaga serving as interpreter. Some of the original Japanese footage would be badly dubbed in English while the rest of the scenes were left in its native language as an act of "authenticity". Removing 40 minutes of the film's original 98 minute material and adding in the new footage bringing the running time to 81 minutes, the picture was released in America as "Godzilla, King of the Monsters!" in 1956 by Transworld Releasing and Godzilla Distribution Company (great name!), both formed by Levene and Schreibman. While the American edit would be the most commonly seen version of the film, it's unfortunate that much of the subtext and character development apparent in the Japanese original was removed for standard monster action. However, Raymond Burr does such an excellent job reacting to everything on display that it all becomes forgivable.
For years the original Japanese version of "Godzilla" was rarely seen in the United States; the American re-cut would have continuous plays on television and home video. Then, in 2005, Rialto Pictures re-issued the original version of small revival theatres much to the acclaim of fans and critics, both young and old. Having read about the various differences between the original Japanese and the American re-cut, for myself watching the Japanese original was like seeing the film all over again: there were scenes that I've never seen before and a few surprises here and there. With that, is "Godzilla" a well-deserved classic of both Japanese cinema and the sci-fi genre, or is it a bloated over-hyped relic of its time? Well, speaking not only as a fan but a film admirer, I have to say that "Godzilla" really is an excellent example of making a good sci-fi flick with an effective story (which was sometimes hard to come by in the 50s American sci-fi B-movies, I might add), great performances, an excellent musical score and impressive effects work. Director Ishiro Honda really captures the somber mood with his documentary-style direction, keeping the performances simple and effective. While the film does have a few slow spots, it works this way for once we get to how the characters feel about the situations they are in, it's all the more compelling and we fully realize it's not just about Godzilla but it's really about the human characters. The performances by all are extremely good, most especially Takashi Shimura, a regular in Akira Kurosawa films such as "Drunken Angel" (1948; Japanese Title: "Yoidore Tenshi") and "Ikiru" (1952), as the soul-tortured scientist Dr. Yamane who can't seem to decide if he's on the right side or not. Special props go to Akihiko Hirata as he shines in his role of the doomed Professor Serizawa and playing the character as a desperate individual on the run from society. Akira Takarada and Momoko Kochi do well as the young lovers whose lives are interrupted by these terrible events that occur and come off as quite believable in their own right.
But once Godzilla enters the frame, from then on it's a sight for sore eyes. With the heavy-set body of a Tyrannosaurus Rex, spiky dorsal fins and dragon like head, spewing its fire on the city, Godzilla is defined as the prime example of a creature representing the themes of earth, wind, fire and water: an unstoppable force of nature. The monster is certainly threatening with its slow movement and oblivious reactions to what building it'll crush, but at the same time Godzilla is a different character than any of the monsters that would spawn in 50s American sci-fi productions: while monsters in those features attacked due to science gone wrong or alien invasions, Godzilla is a fish-out-of-water character that really has no specific rhyme or reason to attack Tokyo, but is going by its own instincts. Accidentally interrupted by its hibernation and forced to move on land, Godzilla comes off as more of a victim than the citizens of Japan! The social commentaries and theories of what Godzilla truly represents are abundant: one is that the monster represents the souls of the American and Japanese soldiers who've died in World War 2 exacting their revenge on the world, or that Godzilla is a literal product of what Atomic weapons could do to the world, while others ascertain Godzilla serves as the ghosts of the victims of Hiroshima and Nagasaki as the creatures skin has the look and feel of a radiation burned victim. Either way, Godzilla is really more than a giant monster on the loose feature, but is a thought-provoking picture that goes way beyond the sci-fi genre. Credit to Eiji Tsuburaya must be given for providing the excellent special effects work; with the abundance of extremely well detailed miniatures, suit-mation, optical effects and puppet-work Godzilla's rampage in Tokyo is a supreme tour-de-force as the monster breaks its way thru high tension wires, setting fire to the streets and tearing down the modern buildings. Adding to the effect is the effectively lit black-and-white cinematography, bringing the harsh destruction to life with dark backgrounds and bright lights. Another huge plus to the film is Akira Ifukube's music score: there has never been any other score like it as Ifukube delivers a tone that could barely be heard in any 50s American sci-fi flick. From the beginning title sequence of its fast-paced score complete with Godzilla's roar in the background to the end with a chorus of young singers mourning the loss of lives, Ifukube helps re-enforce the feeling of dread and despair towards the visuals on display. Ifukube's score was so good that he would re-use some of the cues for Kon Ichikawa's "The Burmese Harp" (1956; Japanese Title: "Biruma no Tategoto"), which also work very well in that film as well.
Classic Media's 2 disc DVD of the film is both a joy and disappointment to both fans and newcomers of this classic. The original Japanese version is presented on Disc 1 with optional English subtitles. While the 35mm materials were remastered on HD, there are some significant scratches and minor print damage on display. But then, the film always looked like that: during the postwar years, most films would suffer this fate due to studios not having the money, which was put into the war effort, to clean up the editing facilities. In other words, it not only affected "Godzilla", but these problems are also still apparent in excellent restorations of Kurosawa's "Seven Samurai". But "Godzilla" still looks good and it was restored the best it could be, and I feel this is the same print used for the Rilato Pictures release and doesn't look too different. The subtitles are another story: in the Rilato release, the subs were nicely printed in white lettering, formatted well and error-free. Sadly, Classic Media ditched those and used ugly yellow subtitles with a spelling error or two, and not spaced apart resulting in some letters to be too close together. The subtitles are definitely readable, but the problems do stand out. After the feature, an audio commentary featuring two Godzilla experts Steve Ryfle and Ed Godziszewski is included and these two know their stuff. The original Japanese trailer is presented, but it is not subtitled and comes off as a useless extra. Two featurettes 'Godzilla: Story Development' and 'Making of the Godzilla Suit' are also included with narration by Ed Godziszewski and are very informative, if somewhat dry due to Godziszewski's delivery. Recently, Classic Media released the Japanese version of "Godzilla" on Blu-Ray with a claim it was fully restored in HD, but most of the reviews claim that the transfer looks exactly like the standard DVD release with marginal restoration present. And that's a shame because Toho recently restored the film for their Blu-Ray release in Japan and reports say it looks much better; it only proves that Japan seems to get the better versions than we do.
Disc 2 includes the American edit "Godzilla, King of the Monsters!" and it looks like the same transfer used for all the previous home video incarnations we've seen before, but it still looks good. One major surprise is the American end credits have been restored; they were present on the original theatrical release, but on later television and home video presentations the credits were cut out. Reportedly taken from an existing 16mm print, it's great to have these credits added back in, however there is a slight problem: on the original theatrical releases, the credits came on after the film faded out and then the 'The End' title card appeared. Sadly, Classic Media has placed the credits at the end of the 'The End' title card and the difference is quite obvious when you listen to the music cues. But, for what it's worth, at least the credits are there. Steve Ryfle and Ed Godziszewski provide an audio commentary for the American version and, once again, these two know their Godzilla info. A short TV spot of the American trailer is presented; shame the longer American trailer wasn't offered but the TV spot will do. Rounding out the disc is a 16-page booklet that gives us more insight to the film and its American incarnation.
Highly recommended just for the original film itself! And please, while I do have some respect for the guy, avoid the one-star review from Roger Ebert: when you have a Pulitzer Prize winning film critic who hates the movie because he claims a room in the Japanese Diet building looks like a classroom set (even though that's what the room looked like in 1954!) and complains about out-of-date effects work, you know this guy won't like a movie unless it's French and it's made with some claim of high art! Bah! Whatever, Roger!』
(The Original + The American Version = Must Buy!!) 『Most of us grew up watching Godzilla flicks and remember his various adversaries from Mothra to Mecha-Godzilla. If you are only familiar with Toho's Godzilla flicks where the King of The Monsters battles other large monsters with Japan getting destroyed in the process, do yourself a favor and pick up this double disk of Gojira's/Godzilla's debut. There is nothing campy about the original film. Filmed in a greyish-film noir type black and white, the original film is a pretty dark tale conerning the atomic age.
For the first time both the original Japanese film and the American version are packaged together. It's fun to watch them back to back as there are so many edits and changes to Japan's "Gojira" that the American "Godzilla" plays like a completely different film. Unlike some of the reveiwers here, I really do like the American verison with Raymond Burr. If nothing else, it really shows how clever the studio was in inserting Burr into the film, editing dialog and scenes pretty flawlessly into the original film.
The special effects are actually pretty impressive, the acting in both is well above later entries in the series. The sound and picture on this two disk set is the best transfer I've seen. If you are a fan of Godzilla, you should be sure to add this set to your collection.』
(If you haven't seen the Japanese version, you haven't seen it) 『Classic Media's Gojira release is one of the best DVDs out there because it restores a timeless classic to what it was meant to be: a dark, almost noirish horror movie about an indestructible creature raining destruction down on helpless humanity. Everything about the film is masterful, from Eiji Tsuburaya's visual effects to Akira Ifukube's brilliant musical score to the subdued acting by its talented cast (many of whom would return for later Godzilla films). Gojira isn't just a great sci-fi/horror movie, it's a great movie in general that eclipses most- if not, all- Hollywood films from the same era.』
(Godzilla as it was meant to be.....) 『Very rare do I leave a 5 start rating, this is one of those exceptions. The director did an excellent job weaving the painful memories of WWII and creating a monster that would symbolize them. Godzilla is grey like the smoke plume from a bomb, his growl eerily similar to the sound the bombers made who dropped them. His stomping sounds like the sounds the bombs make when they smash their target. The most powerful image was the atomic breath. Godzilla, like war, isn't prejudiced when claiming its victims. From the soldiers to the innocent girl and her mother who are crushed in his wake. The scientist Serizawa, looks like many who returned from war. In his case, he was missing an eye. Honda beautifully wove these images giving us a stark reminder of war. There is also love and sacrifice in this movie. Serizawa is in love with a woman, who is in love with a man in the navy. He must make the decision to put this all aside, to save his country and people and stop Godzilla's wrath. Destroying any evidence of the oxygen destroyer, he sets out on his journey of sacrifice and delivers the weapon. The film ends with the stark reminder, that it might happen again. Like war, there is never the certainty it will remain asleep. The message of this movie resonates today, the fear of nuclear war. The dvd is excellent, clear picture optional 1956 version and subtitled 1954 version. The 1956 version I enjoyed because I liked the idea of an American reporter trapped in another country experiencing a disaster., but instead of an earthquake or volcano, its a giant lizard!! Gojira/Godzilla started a franchise that sparked devoted fans the world over. I strongly recommend this to giant monster fans. This is a gem.』
(Dark, serious, moody, a surprisingly good film....) 『I have never seen the original Godzilla/Gojira film, and I've only seen clips from other Godzilla movies (including the big budget remake with Matthew Broderick back in the 1990's), so I only knew Godzilla from the campy, badly dubbed, and badly cut films shown on TV indiscriminately. So when the original film with subtitles and uncut was on DVD, I decided to try it. I'm glad I did.
Like many have already said here, this is a surprisingly somber film, dark, ruminative, and melancholy, and it's also pretty terrifying, especially for its time. This is a serious film. There is no campy theatrics whatsoever in this film, and I found much of it scary, surprisingly sad and moving, and at times, thought provoking. There are some cringe inducing moments with the special effects, which are quite dated and make the mistake of using minatures, which is really obvious in many of the scenes. The performances are very good, especially the quietly powerful Takashi Shimura, who is famous for his appearances in Akira Kurosawa's films. The dilemmas of the scientists and the government officials are handled in a complex, intelligent fashion, and the turmoil the scientist (who invented the "oxygen destroyer") goes through is very powerful indeed. There is also a lot of pro-environment, anti-atomic bomb subtext going on here as well. The main rampage of Godzilla is intense, along with the aftermath, which is reminiscent of a war zone. The film has great, moody black and white photography, reminiscent of Mario Bava's black and white films, like Black Sunday.
On this DVD set, you get both the original film and the recut, redub Godzilla: King of the Monsters. I haven't seen the recut/redub all the way through, but I honestly don't want to. I already know they've butchered it, and I like the original very much, so I don't have an overriding need to see it. So check out Gojira, and most of you who have a low opinion of Godzilla movies will be surprised at it. 』 『This package contains:
* Godzilla (1954 Japanese Edition-english subtitles) * King of the Monsters (1956 U.S. Release Edtion-english v/o dub)
Featuring: * Audio commentaries * Original trailers *"Making of the Suite" Featurette *"Godzilla: Story Development" featurette 』
『The first of the Godzilla movies, and the most somber and serious in tone,Gojirowas originally a 98-minute Japanese horror film, until a U.S. company bought the rights and reissued the film at 79 minutes, replacing sequences involving a Japanese reporter with new inserts of a dour, pipe-smoking Raymond Burr. Both versions appear together for the first time in this release from Sony Wonder.
price：$6.99
Echo Bridge Home Entertainment
Usually ships in 24 hours Core2Duoノートレビュー 's review (Lame) 『Ok from reading the other reviews I had low expectations but this movie was even worse than I anticipated, there are many other movies I would have been better off wasting the few dollars on.』
(Bad even for a B-grade post-apocalyptic timewaster) 『Being a seasoned B-movie veteran I decided to give She-Wolves of the Wasteland a shot when I found it for ultra cheap on sale. I love ultra bad post-apocalyptic films like Hell Comes to Frogtown, The New Barbarians, 2019: After the Fall of New York, etc so I should like a film like She-Wolves as well...right? Sadly...not so much.
What hurts she-wolves is it seemingly made by novices that have not directed anything but adult films. No style, no good action, nothing. The film is just boring to look at. People looking for nudity aren't even going to find much of that. The acting is a atrocious (as expected) and there isn't even any campy comical effect to keep one interested.
To top off the film not being entertaining is that the DVD transfer isn't that great either. Echo Bridge is usually a pretty good company when it comes to budget DVDs but sadly they obviously used a VHS transfer here. There are quit a few VHS glitches throughout the film and they seemed to have added the title "She-Wolves of the Wasteland" with a cheesy computer effect (this makes sense as the film was originially released as Phoenix the Warrior on VHS).
In final words remember that just because you're a fan of cheesy B-grade movies doesn't mean your going to like this. This comes nowhere near the entertaining factor of other B-grade films in the post-apocalyptic genre.』
(Brain Jello) 『Every movie collector should have a few bad and I mean real bad attempts to make a movie movie in their collection. It reminds us of what can go wrong and how good it is when done right. This is one of the worst movies I've ever seen. Not the worst but worthy of being included in a collection for being bad story, bad acting, bad sets, and of course all around bad ideal in the first place! No story line here that two horny teens drunk on dad's beer could not have written on a dateless Friday night! If you are looking for a movie to exploit women...this won't do it...they lack even that! But if you want an example of bad...this is a good pick.』
(She-Wolves of the Waste of Time) 『Even for what it is--stupid, schlocky B-movie fare--this is a bad movie.
Cover girls look great, but you won't find any of them on screen...nor anyone who even comes close to resembling them, for that matter.
I mean you know that this is going to have a stupid, almost-unwatchable plot--I'm not even going to try to describe it, totally pointless--so you've got to balance that out with massive amounts of healthy T and A. Right?
But if T and A were currency (which--wait a minute--they basically are), then this movie would be below poverty level:
ONE nude scene. Just one, or two if you are being generous in how you count. And not a good one at that: toplessness but nothing below the waist...not even from behind!
And NO sex scences. Oh yeah, allegedly one in a sleeping bag. Lasts four seconds and mainly involves talking. And the talking is by Peggy Sands, who ironically can't act her way out of the bag that she's in. If acting was currency, Sands would be jailed for counterfeiting.
You could see steamier stuff on an after-school special.
Don't buy it, don't rent it, don't watch it. Find something else to do because if you waste an hour and 15 minutes on this, you'll actually begin to hate fur bikinis.』
(Disappointing) 『I haven't seen the whole thing, yet.
I did start it once, let it run out about half-way in the background while I was doing some other things and never got back to it, though I had left it in the pile for another try.
I never did connect with the story line. It is way out there, good for science fiction, but more like that strange dream you wake up from once or twice a year wondering "how did I get there ?" and "what was that all about ?" or "What did I have for dinner ?". Upon rolling over once or twice, checking out the familiar surroundings and catching your breath, you go back to sleep determined not to let that theme continue.
It is just a bunch of tough-ass women belonging to competing thug-gangs running around in the desert killing each other and occasionally taking most of their clothes off for little or no practical or erotic reason at all. There is some way-out end-of-days on some other world religious overtones, but nothing that anyone on earth needs to worry about.
The used price may be about right but there are much better skin-flicks out there. The very little drama is quite thin but the edge is intense as the girls, barely surviving, are under a lot of pressure to get on with their mission to save their world, such as it is.
Are they successful ?
Maybe one day I will be bored enough to find out ! 』 『What do you get when you combine big hair, big guns, big, um...personalities!and a serious lack of wardrobe? She-Wolves of the Wasteland, a post-apocalyptic classic that features women--lots and lots of women--who leave little to the imagination as they battle each other in various junkyards and gravel pits to determine the fate of the entire world. Leave your brain behind for this shamelessly sinful sexploitation romp with a plot you won't remember...but plenty of eye candy you won't forget!』
price：$3.99
20th Century Fox
Usually ships in 24 hours Core2Duoノートレビュー 's review (Still good after all these years) 『Often we judge horror films by the generous load of effects that can be produced but this 60's black and white classic is a great yarn. It is derived from a very good chiller "The Turn of the Screw" and the film does the book justice. Deborah Kerr does tend to over act at times and often we expect her eyes to pop out of her head, but she does give a good performance and the film is quite creepy.
』
("Big Rooms Get Bigger At Night."...) 『Well, THE INNOCENTS just knocked off my all-time favorite ghost story! My top 11 are (were)- THE HAUNTING, THE CHANGELING, RINGU, THE RING, JU-ON, THE GRUDGE, THE OTHER, THE DEVIL'S BACKBONE, THE ORPHANAGE, THE OTHERS, and GHOST STORY. THE INNOCENTS rockets to the top of the list because it is THE perfect tale of supernatural visitations / haunts, or (perhaps) insanity. Deborah Kerr carries the film almost single-handedly, playing the governess w/ increasing levels of paranoia, fear, and dread. The children, Miles and Flora (played by VILLAGE OF THE DAMNED's Martin Stephens and Pamela Franklin from THE LEGEND OF HELL HOUSE), are excellently realized, being both adorable and terrifying in turns. The mansion and grounds are characters in themselves, along w/ the many pidgeons, insects, and other fauna. The entire production is masterful from start to finish, w/ creepy visuals and bizarre sound-effects throughout. Pure bloody genius!...』
(One of the best horror movies ever) 『I first saw this movie about 6 years ago and wondered why I'd never heard of it before. This is one of the creepiest movies I've ever seen. Based on "the turn of the screw" it's a story about a woman who becomes a governess to two children in an estate out in the country. She begins to believe that these children are possessed by the former governess and a man who both died on the estate, and were lovers. Questions remain as to whether or not they are really possessed or if it's just her overactive imagination. Either way, this movie is genuinely scary and all the actors, including the children, do a fine job of conveying a terrible sense of unease. Some truly shocking moments in this film, and quite a bit of underlying symbolism.』
(AN OH-SO-YUMMY THRILLER) 『Deborah Kerr was wonderful in this sumptuous creepfest, and the not-so-cuddly children as played by Pamela Franklin and Martin Stephens are far more frightening in their pseudo-precociousness than any of the ghouls, or slashers I've seen in the cinema in at least a few decades. Jack Clayton's direction was perfection, bringing James's delectible nightmare to tantalizing fruition on the big screen ( aided by the superb screenplay of William Archibald, and Truman Capote ). Truly the stuff of dreams ( very dark dreams... ).
』
(One of the best horror movies ever made.) 『"The Innocents" is one of the most atmospheric and creepy psychological horror movies ever made. The plot of the movie leads the viewer to believe that either the spinster nanny heroine of the movie, Miss Geddens, is having a nervous breakdown or the behavior of the two children she cares for is being psychically influenced by the murdered, low life, sadistic servant Quint and the masochistic, pathetically suicidal former nanny Miss Jessel. Apparently the deceased servant and the former nanny had a sado-masochistic relationship that was whispered about among the staff of the mansion. Quint and Miss Jessel "kindly" took the two children of the house, Miles and Flora, under their wings and acted as surrogate parents to the orphans, but it is rumored that Quint and Miss Jessel also had sex in the mansion with the doors wide open and possibly exposed the children to their kinky sexual encounters. The movie also implies that the one or both of the children may have been sexually molested by one or both of the deceased. Miss Geddens sees menacing apparitions of Quint and Miss Jessel in the presence of the children, but the children say that they don't see anything....or do they?? Were they so traumatized by the memory that can't see the apparitions, or, are the ghosts manipulating the children's behavior, or, is the Miss Geddens losing her mind?? This film doesn't reveal the answer, it's up to the viewer to figure it all out. Which is one of the reasons why the movie is so great. My personal opinion (SPOILER): the house is haunted by Quint and Miss Jessel, Miles is being controlled like a sock puppet by Quint, Miles and/or Miss Jessel killed Quint, and Miss Gedden is a freaking kook! And the kid that plays Miles deserves an Academy Award.』 『Deborah Kerr stars in this "horrifying Gothic ghost tale" (Newsweek) based on Henry James' "The Turn Of The Screw,' a powerful psychological drama about innocence possessed by evil. Shortly after coming to live with orphans Flora and Miles in their dark, eerie mansion, the new governess (Kerr) mistakes their strange behavior for preciousness. But she soon comes to believe that the charming, beautiful children are possessed by evil, malicious spirits - the souls of their previous governess and estate manager who are now dead. With its shocking conclusion and sinister cinematic effects. The Innocents "catches an eerie, spine-chilling mood right from the start" (Variety) that never lets up.』 『The definitive screen adaptation of Henry James'sThe Turn of the Screw, the 1961 production ofThe Innocentsremains one of the most effective ghost stories ever filmed. Originally promoted as the first truly "adult" chiller of the big screen (a marginally valid claim considering the release ofPsychoa year earlier), the film arrived at a time when the thematic depth of James's story could finally be addressed without the compromise of reductive discretion. And while the Freudian anxiety that fuels the story may seem tame by today's standards, the psychological horrors that comprise the story's "dark secret" are given full expression in a film that brilliantly clouds the boundary between tragic reality and frightful imagination.
In one of her finest performances, Deborah Kerr stars as Miss Giddons, a devout and somewhat repressed spinster who happily accepts the position of governess for two orphaned children whose uncle (Michael Redgrave) readily admits to having no interest in being tied down by two "brats." So Miss Giddons is dispatched to Bly House, the lavish, shadowy estate where young Flora (Pamela Franklin) and her brother Miles (Martin Stephens, so memorable in 1960'sVillage of the Damned) live with a good-natured housekeeper (Megs Jenkins). At first, life at Bly House seems splendidly idyllic, but as Miss Giddons learns the horrible truth about the estate's now-deceased groundskeeper and previous governess, she begins to suspect that her young charges are ensnared in a devious plot from beyond the grave.
Ghostly images are revealed in only the most fleeting glimpses, and the outstanding Cinemascope photography by Freddie Francis (who used special filters to subtly darken the edges of the screen) turns Bly House into a welcoming mansion by day, a maze of mystery and terror by night. Sound effects and music are used to bone-chilling effect, and director Jack Clayton, blessed with a script by William Archibald and Truman Capote, maintains a deliberate pace to emphasize the ambiguity of James's timeless novella. The result is a masterful film--comparable to the 1963 classicThe Haunting--that uses subtlety and suggestion to reach the pinnacle of fear.--Jeff Shannon』
price：$2.49
20th Century Fox
Usually ships in 24 hours Core2Duoノートレビュー 's review (Long winded, boring&rather strange...) 『**MINOR SPOILERS**
I immediately bought "Day Watch" the moment I learned that Timur Bekmambetov, of "Wanted" fame, directed it. Having enjoyed "Wanted" immensely, I had tremendously high hopes for "Day Watch", especially after I saw the action packed trailer, which featured some incredibly exciting imagery (you've no doubt seen it). Anyway, the movie begins with an explosive ancient battle scene that shows warriors on horseback bursting through stone fortress walls, and black hawks shape shifting into ninjas that drop from the sky...Awe inspiring stuff to be sure, but as the amazing opening sequence draws to an end, the movie takes on a completely new setting: Modern Moscow. We are introduced to a pair of characters; a man who is a veteran agent of a supernatural agency, and a blond rookie girl assigned to him. As they drive through the night, they receive a disturbance call involving a vampire. We next see that the vampire is an adolescent boy, who by pricking his victims with a needle, is then able to drink their blood from afar through a juice box (yes, you read that correctly). The trio somehow run into another dimension where physically transparent images of our own progress rapidly...The point I want to make here is that this stuff is not entertaining, only strange and often irritatingly ridiculous.
The handful of action scenes (besides the first) are boring and unorthodox (so much so, in fact, that I am hesitant to call them such), and the Russian made beats that accompany them are so overwhelmingly monotonous that I actually wished they would end prematurely! No Rob Zombie tunes, as played in the trailer!
It took considerable effort on my part to finish all 2hrs 10mins of "Day Watch", and I only appreciated a total of two scenes (one was a lesbian kiss).
Bottom line: If you are looking for s slow moving fantasy/romance plot without much in the way of excitement (visual or mental), then you have found your fun, but if you're yearning for another kick ass action extravaganza along the lines of "Wanted" (as I was), then heed my advice, and steer clear of 'Bore Watch'.
』
(Good Old School SciFi) 『Daywatch is totally original yet completely familiar. Good vs evil, special powers, alternate dimensions, it has it all. Definitely recomend it to fans of old school scifi like the Thing or Aliens.』
(Killed by Plot Holes) 『When I saw Day Watch available on Netflix streaming I eagerly hit the play button on the Xbox 360 and sat down for what I hoped would be a couple hours of fantasy action movie enjoyment. What I found, unfortunately, was a movie that seemed to lose its way about a third of the way in and never did make enough sense to justify recommending it.
Something that Netflix failed to mention was that this is a sequel so it took me a while to catch up on the mythos of the fantasy world being portrayed. Even so, fans of fantasy will quickly catch up with and grasp the basics of the world of Day Watch. What I was never able to figure out were the amazing gaps in the story.
Why did Anton switch bodies if it would be so obvious to the Day Watch that he had done so? Where does Svetlana go for chunks of the movie? Why was Anton able to figure out the mystery of the chalk so easily - something that had been hidden for centuries? How could Svetlana's accidental bump of Yegor count as conflict, let alone cause him to bleed?
The story's gaps killed this movie for me. There are better foreign action films, like District B13. Go watch that instead if you are interested in good sci-fi fantasy action.』
(Russian Magic Fiction) 『I bought this movie because he had just bought an HD LCD TV (and got a free bluray player from Amazon). I was looking for some sci-fi/zombie/killer robot movies and stumbled across this.
It is, apparently, a translation of a russian novel (actually, it's a series, but you know what I'm saying). The backstory and plotlines are WONDERFUL! I can see that this setting has a fantastic potential.
Unfortunately, I don't think it was pulled off. I don't mind dubbing. I'd rather have dubbed than subtitled. The special effects were rather cheesey and a number of the characters were strictly two-dimensional (and some even almost one dimensional). I inferred a lot of the plot and had to explain it to the spouse as things progressed.
I want to like this movie. I REALLY want to like it, but I just can't.
I gave it two stars because of the potential of the setting. I'll probably trade this one off or put it up on eBay.』
(No animated subtitles!) 『Please note that I am rating the disk alone and not the film which I give 4 stars. Why Fox decided to release this great Russian epic without the original animated subtitles is beyond me! It really does take a lot out of the movie and unless Fox realizes that both Night Watch and Day Watch suffer for this and re-releases them with the original subtitles, I will refuse to buy!』 『Like The Matrix, Day Watch combines cutting-edge digital effects and mind-blowing action to create a stunningly original world. This Unrated Edition takes you on an even wilder ride with more intense thrills and incredible effects.
Only one thing stands between peace and Armageddon: the supernatural agents of Day Watch, who fight to control the armies of light and darkness. When the son of a senior Day Watch officer turns to the darkness, forces beyond the imagination are unleashed and the fate of the world hangs in the balance!』
『The dizzying supernatural Russian epic started inNight Watchcontinues withDay Watch, in which once again the battle between the forces of Light (the Night Watch) and Dark (the Day Watch) threatens to crack open the world as we know it. The plot centers around Anton (Russian superstar Konstantin Khabensky), an Other (one of many beings with varied supernatural powers) whose son, Yegor, has joined the Day Watch, who are grooming him to be their superpowerful savior. Anton's protoge, Svetlana, also has high-capacity power, and if Yegor and Svetlana come into conflict, the resulting devastation could shatter everything. The key to success seems to lie with the Chalk of Fate, a simple piece of chalk that can rewrite reality.Day Watchis full of plotholes and underdeveloped story points (at one point, to keep him safe, Anton's consciousness is switched into the body of his Night Watch colleague Olga--but mere moments later the Day Watch knows what's happened, before any suspense could be mined from it; as a result, this promising plot twist seems only to exist to allow for some girl-on-girl action), but it's forgivable. As with the first film,Day Watchbubbles over with its wildly imaginative world, its ravishing style, and its fantastic visual effects. If a Hollywood blockbuster had half as much creativity, it would be praised to the skies and be the hit of the year. Don't let the subtitles put you off (particularly since even the subtitles reflect the movie's wit and imagination)--Day Watchis a cinematic feast that any movie fan should devour. --Bret Fetzer』
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 -- -
>,Yeong-ae Lee,Min-sik Choi,Tony Barry,Anne Cordiner,Su-hee Go
>,Kathleen Kinmont,Persis Khambatta,Peggy Sands,James H. Emery,Sheila Howard
>,Deborah Kerr,Peter Wyngarde,Megs Jenkins,Michael Redgrave,Martin Stephens
>,Konstantin Khabenskiy,Mariya Poroshina,Vladimir Menshov,Galina Tyunina,Viktor Verzhbitskiy