Description

For nearly five years, acclaimed German filmmaker Werner Herzog desperately tried to complete the most ambitious and difficult film of his career—Fitzcarraldo, the story of one man’s attempt to build an opera house deep in the Amazon jungle. Documentary filmmaker Les Blank captured the unfolding of this production, made all the more perilous by Herzog’s determination to shoot the most daunting scenes without models or special effects, including a sequence requiring hundreds of natives to pull a full-sized, 320-ton steamship over a small mountain. The result is an extraordinary document of the filmmaking process and a unique look into the single-minded passion of one of cinema’s most fearless directors. ... Read more

Reviews (8)

Quotes from Vincent Canby (NYTimes), M. Blowen (Bost. Globe)
Canby: "Remarkable...one of the most candid, most fascinating portraits ever made of a motion picture director at work...There's never been anything like it.

Blowen: "One of the most exquisitely detailed, dramatically compelling films ever made about the creative process."

Mesmerizing Account of the Filmmaking Process
Prior to viewing "Burden of Dreams" I had this preconceived notion that this film was akin to "Hearts of Darkness", the documentary about the making of "Apocalypse Now" where the megalomaniacal director slowly goes mad after countless delays and on-set disasters.To the contrary, director Werner Herzog comes off as a rational artist who, despite the setbacks he encountered during the making of "Fitzcarraldo", soldiers on to see his vision come to fruition.Documentarian Les Blank gives a full-bodied account of the elements that Herzog had to contend with from the volatile nature of the film's setting in the Amazon to dealing with the indiginous tribes who were crucial to the film.Blank meticulously documents the production from it's shaky beginnings to it's end.You get the feeling that Herzog had probably entered this project with great enthusiasm but was relieved some five years later to be done with it.I haven't seen "Fitzcarraldo" in a number of years and it had slight resonance to me.You be the judge as to whether all the energy and resources expended in this endeavor was worth it.Not to be missed, Criterion includes a short subject from Blank, "Werner Herzog Eats His Shoe" which demonstrates Herzog's integrity in keeping a bet with budding filmmaker Errol Morris.There is also a recent interview included with Herzog where he gives his account of events during the making of "Fitzcarraldo" but is at pains not to denigrate Blank's document.

Herzog fans REJOICE!
First, Anchor Bay gave rain to our parched Herzog-loving throats with the release of many of the eccentric German maestro's greatest feature films.And now, Criterion offers Les Blank's astonishingly beautiful and gloriously weird documentary on the desperate creation of one of those classic titles, Fitzcarraldo.A production that started off starring Jason Robards and Mick Jagger wound up with the director threatening to murder star Klaus Kinski if he walked off set!See Herzog obsessively orchestrating the movement of an entire steamboat over a treacherous mountain in Peru!No special effects for this master.

"Without dreams we would be cows in a field, and I don't want to live like that. I live my life or I end my life with this project."If every filmmaker thought this way, do you think we'd have to sit thru Son of the Mask?

As a five-star added bonus, we get "Werner Herzog Eats His Shoe," a brilliant short doc by Blank which chronicles Herzog actually cooking and devouring his boot after promising Errol Morris to do so if Gates of Heaven was ever completed!Herzog also uses the opportunity to declare war on American television!

God bless Criterion - here's hoping they follow up this exciting release with some unavailable Herzog docs like La Souffiere, Dark Glow of the Mountain, or Wings of Hope, and some other Les Blank rarities like Garlic is as Good as Ten Mothers and In Heaven There is No Beer...

A vision you can sink your teeth into
Or maybe it will sink its teeth into you. The most compelling dreams are not neat and tidy and are not easy to understand,not even by the person who has and fulfills the dream. That's the case with Werner Herzog's dream of filming the story of Fitzcarraldo. If you liked that movie, this documentary is a must-see, a fascinating look at all the problems Herzog had during the making of the movie. The film is not just about the obvious difficulty of moving the steamship over a mountain in the middle of a jungle. First, there are problems with local Indians that cannot be resolved and so the first location must be abandoned. At the new location, with 40% of filming complete, the star of the movie Jason Robarbs becomes sick and goes home to recover. His doctor forbids him to return. Then Mick Jagger drops out because he can't stay the extra months needed to reshoot the film. (I was disappointed that there was only a minute or two of footage showing Robarbs and Jagger).

Back in Germany, Herzog's investors ask him, Do you have the strength or the will or the enthusiasm to continue? He replies, "How can you ask this question? If I abandon this project, I would be a man without dreams. And I don't want to live like that."Filming continues and there is one more delay and problem after another. Herzog has three ships so he can shoot at different locations and two of them run aground, due to low river levels and the driest season in years. The film does a good job of showing both Herzog's reactions to these problems and his determination to continue in spite of huge financial and personal costs.

Most of my criticisms have to do with the limitation of films generally, namely that I wanted to know alot more about this story. I wanted to understand more of Herzog's complex relationship to the jungle, I wanted to understand why he continued to try moving the ship after his engineer walked away and predicted that people might be killed. I wanted to seemore of Herzog in action and have a more intimate glimpse of his creative process. But for a ninety minute documentary, I basically can't complain, it did the job of telling the story of the making of Fitzcarraldo.

In which we see the end of 'method' filmmaking...
One of Les Blank's best documentaries, requiring almost as much from him as from Herzog and old Fitzgerald.A fascinating reflection on art, artifice and reality.The most mesmerizing scene to me is a monologueHerzog stages about the obscenity of the jungle.

Not 5 stars becauseBlank and his crew had a moment of sanity and left before Werner called inthe bulldozer to finally haul the boat over the hill. we're left withoutthe dramatic sense of completion we'd been aiming for. We get it only byproxy and narration, without the satisfaction we want.This isanti-climactic, and maybe thematically correct, but you still sort of wishLes had hung in there the whole way.

In a lot of ways, Fitzcaraldo wasthe end of Herzog's maddening career, and also the end of a certain kind ofexpansive cinema.Brat Pack movies were soon to follow. ... Read more

Amazon.com

Many lesbian movies are long on charm and short on production values; Better Than Chocolate has a solid dose of both and steamy sex scenes to boot. Our heroine Maggie (Karyn Dwyer), a clerk at a lesbian bookstore, meets footloose butch Kim (Christina Cox) and, after Kim's van is towed away, they move in together. Unfortunately for their romantic bliss, Maggie's mother, Lila (Wendy Crewson), and teenage brother move in that very evening thanks to Lila's impending divorce. But what really complicates matters is that Maggie can't bring herself to come out to her mother; even when she tries, Lila steamrolls through the conversation, like she knows what's coming and doesn't want to hear it. Interwoven with this is the struggle of Judy (Peter Outerbridge), a male-to-female transsexual who's in love with the bookstore's owner, Frances (Ann-Marie MacDonald), who's freaking out because customs officers are holding a list ofbooks at the border that they claim are obscene. The overlapping plots are deftly juggled, the personal and political are compellingly interwoven, and, most satisfying of all, the characters have problems that aren't going to be easily resolved. A handful of candy-colored lip-synching musical numbers give the movie some flash and the sex scenes give the movie some heat, but it's the elements of sorrow and ambiguity that really make the joy in Better Than Chocolate something to savor.--Bret Fetzer ... Read more

Reviews (131)

8 out of 5 stars!
Better Than Chocolate describes itself in the title... a feel good, laugh a lot movie, BTC will hook you into the plot right from the first scene. With an incredible array of characters, including a transgendered(male to female) woman named Judy, the movie is funny and heartfelt. The low budget filming makes it seem that much more real and the storyline is excellent, though the acting may be slightly amateur and the dialogue a little cheesy. The main couple, Maggie and Kim are lesbians, but they represent any other couple going through real-life problems. Wendy Crewson is wonderful as the lonely, unknowing mother, and she steals at least one of the hilarious scenes. Anne-Marie MacDonald plays Frances, the boyish owner of Ten Percent books, where only ten percent of the merchandise is books. Overall, it is a warm, feel good movie, predictable at times but for some reason, I keep watching it, and I find myself crying right along with the characters every time. Definitely see this movie if it's the last thing you do...

Better Than Chocolate between...
I give this movie five out of five stars. Although it moves rather quickly you can't help being hook. Twenty minutes of the movie has past and Maggie, 19, not-quite-out, college dropout, and working at Ten Percent bookstore (no it's not a discount store) meets Kim, a nomadic artist, butch but sweet and romance starts. There's a scene that will leave many people exploring the arts.

Within the first twenty minutes, Maggie meets and falls in love with vivacious Kim, helps her conservative lesbian boss fight customs who seem to be trying to put her out of business. Oh, don't forget Maggie has to find a place to live, because her newly divorce mother, Lila is moving in with her along with sibling, Paul, neither who know that Maggie's been living in a bookstore since she quite law school, and she's gay!

Couple this with her omisexual co-worker, and transgender friend, Judy, who has love and parent issues of her/his own, and you've got a great story.

I almost cracked up when Lila goes..."Kim do you have a boyfriend?" and Kim replies, "No...Funny that!" Everyone seems to be in on the joke, but Lila who replies, "What's wrong with boys?" Maggie's fighting off an uncontrollable need for laughter and the audience does too. Wendy Crewson as Lila is an added addition to this romantic comedy.

All said in done, I wonder what it's like to live in that world. Definitely never a dull experience. This is a must see regardless of your lifestyle.

Wonderful and fun filled
We have watched this over and over again and it is still a wonderful movie.

WOW!
This is one of the all-time best movies. The chemistry between Karyn Dwyer (Maggie) and Christina Cox (Kim) is amazing. (I was shocked when the director seemed to say in her commentary that both are staight.) Maggie's interaction with her mother reminded me so much of how hard it was for me to come out to my mother. The soundtrack is wonderful.

Probably just as good as chocolate...
Better Than Chocolate is a great movie.. with one or two big flaws. The story is great - it deals with the pain and frustration of coming out (or just figuring out your sexuality), falling in love, losing the one you love, and standing up for what you believe in juxtaposed nicely with commentary on the role of family in ones' life, what constitutes a family, and how we can all become happy with our lives. Quite a lot of themes for just one film. And Better than Chocolate handles each of them fairly well, if only briefly. The actresses portraying Kim, Lila, Judy and Frances are just wonderful. Each of them brings dimension to characters that could easliy have been played in a very one-sided way. They become human rather than just symbols or stock players to fill up Maggie's world. The friendship that develops between Lila and Judy is one of the best parts of the film. Maybe this is just me, but I find that Maggie is a totally unsympathetic character. She's whiny and immature and even snotty at times. I care the least about her of all the characters in the film.. which is unfortunate because this is really a film revolving around her and the way her relationships (and those of her friends and family) work. I just wish that the role had been cast differently or spun a bit differently.. it would have brought a lot more to the film. Ultimately, I enjoy the film. The relationships and issues dealt with in the film are difficult to deal with, but the film does a reasonably good job. ... Read more

Description

Bourgeois convention is demolished in Luis Buñuel’s surrealist gem The Phantom of Liberty. Featuring an elegant soirée with guests seated at the toilet bowls, poker playing monks using religious medals as chips, and police officers looking for a missing girl who is right under their noses, this perverse, playfully absurd comedy of non sequiturs deftly compiles many of the themes that preoccupied Buñuel throughout his career—from the hypocrisy of conventional morality to the arbitrariness of social arrangements. ... Read more

Reviews (6)

Bunuel's next-to-last film is one of his best
Made two years after 'The Discreet Charm of the Bourgeoisie', this film is both similar to and different from its predecessor: it is episodic and bourgeoisie is one of its main targets, but it contains more shots and scenes (it feels more dynamic), its tone is somewhat cruder and it is mostly geared towards individual quests, whereas 'Charm' usually dealt with almost all of the main characters at the same time; the 'Charm' elements 'Phantom' tends to recall are the stories that were told by supporting characters, and the bishop character himself (the man who played him, Julien Bertheau, has another very good role here). As strange as it may seem, the narrative is fairly linear throughout since the apparent breaks always flow from what has just gone on, although Bunuel characteristically chooses the most unpredictable transitions; it reminds me of a painting by the surrealist Yves Tanguy, 'Le Ruban des Exces', in which abstract forms mingle audaciously from the left side of the picture to the right without any interruption. Authority figures - policemen, judges, doctors, teachers, clergymen, parents - are first established in their customary roles only to lose their power and dignity soon after, often in surprising ways. The film's vignettes have been deemed 'existential' - I'd argue that the absurdity Bunuel considers here is not a source of anguish, but of art, absurdity being a means for the artist; it also hides a meticulous structure. This work's reputation is not quite as high as that of 'The Discreet Charm...', but it might be even better.

Bunuel at the top of his form
Another great work by Luis Bunuel, The Phantom of Liberty has more outright humor in it than probably any of his other films.When the private and public functions of eating and evacuating are reversed, and monks congregate in a room to watch a man get spanked by a dominatrix, and a soldier passionately kisses a statue, and a haughty professor's butt gets tagged with a full-of-pins paper cutout by some immature cadets, you know you're having fun.

Here it really seems as though Bunuel was essentially making fun of his own intense desire to engage in biting satire, because the feeling is much more of letting loose with some laugh-out-loud antics rather than the need to mercilessly slash and burn social conventions.This is a much lighter film than one would typically expect from Bunuel, and yet that is not at all related to its significance.It's a sharp piece of cinema, full of irreverence that, as many have already indicated, is closer to Monty Python than anything else.

Bunuel's sense of fun here does not require a plot, just as many of his other films don't.But in this film the lack of formal narrative actually seems to work better than in several of his other works; we keep waiting for the next scene to see if it will top what we've just seen--regardless whether there's logic in the seguing or not (there almost always isn't).

A lot of fun and very highly recommended.

A minor Bunuel masterpiece, but still a masterpiece
The Phantom of Liberty is made up of a series of surrealist vignettes held together by the loosest of narrative structures - Think of a Monty Python episode without the laughter-track. The opening scene has prisoners facing a firing squad, defiantly clenching their raised fists, and shouting, "Down with freedom" and "Long live chains." This pretty much sets the tone for the rest of the film. In another memorable scene, guests sit down at the dining table, but instead of chairs, they sit on toilets. To talk about food at the table is the height of vulgarity. There are other scenes just as good. This film may sound arty-farty, but it works and works brilliantly, and in no small part due to Luis Bunuel, who directs with the minimum of fuss and the maximum of effect. Don't let the surrealist tag put you off. This film is fun and was meant to be so. This may not be quite up there with the rest of Bunuel's classics : Belle De Jour, Simon of the Desert, or The Discreet Charm of the Bourgeoisie, with which The Phantom of Liberty has something in common; but it is still a minor masterpiece and will delight and baffle in equal measure.

The first half...
...is the most beautiful and stirring sequence ever produced by Bunuel.The second half drags a little, but the ending is stunning.You are left with a sense of having peered into a dream.

Surrealism at it's funniest!
How does one describe a Luis Bunuel film? Moreso, how does one describe this particular Bunuel film? Take for example a scene where a man is taken to court found guilty, but, in this film guilty means you are set free and turned into a celebrity lol. Take for example a scene where a mother and father are called to school due to the fact they say their daughter is missing. At first we are shocked to hear this, then we find out that the girl is actually still IN the classroom, but, no one pays attention to her. Her mother and father are speaking to her, and continue to talk about trying to find their daughter lol! It's because of truly inventive and funny moments like this I'm able to say this is one of Bunuel's best films.
"The Phantom of Liberty" was a sequel to "The Discreet Charm of the Bourgeoisie", while, this film has not aged as well as "Bourgeoisie" I feel "Phantom" is a better film. Bunuel's cynical humor seems to gel better here. He's was able to express his ideas better in this film. And entertains us moreso here.
Despite the fact that this film is out-of-print in the US, my local library had a copy of it, if anyone ever gets a chance to rent this film or buy it, do so! Even if it's only for the fact that it's rare. If your a Bunuel fan, this film should entertain you. If your not a Bunuel fan yet, this would be just as good a place as any to start with to get a feel of Bunuel's style. ... Read more

Reviews (264)

Absolutely Brilliant, Yet Creepy Satire
Splendidly acted and brilliantly directed, Dr. Strangelove is Kubrick's satiric masterpiece about the insanity of the Cold War Era and the silliness of the infamous military-industrial complex--i.e., militaristic war machine-- that seems hell-bent on destroying the world with its overblown paranoia and jingoism. After rumors of a supposed Doomsday Machine that the "Commie Rats" are developing, a general, Jack D. Ripper (Sterling Hayden), tricks 34 U.S. Air Force bombers into nuking the U.S.S.R. without asking the President's permission (played by Peter Sellers in one of three roles). Not surprisingly, he's a little touched in the head, as he decides to bomb Russia not only because of this device, but because he's obsessed with the idea of preserving America's "precious bodily fluids." (It's a long story, folks.) Adding to the mess is Joint Chief of Staff, Turgidson (George C.Scott, in a brilliant performance), who's as paranoid as they come and wouldn't mind helping Ripper take out half of civilization to save America from the evil Russians. (One hilarious scene has Turgidson confronted with the possiblity of killing millions of people because of Ripper's stunt. "So what if we get our hair a little mussed?" he says.) Also mired in the madness is another military man, the veddy British Mandrake (Sellers) who works under Ripper and tries desperately to get the insane man to give him the code needed to turn the planes back, but alas to no avail. The star of the movie, however, is the weapons scientist, Dr. Strangelove (Sellers again), a very bizarre wheelchair-bound ex-Nazi with a "trick arm" that can't stop doing the Seig Heil salute. (For trivia buffs out there, this character may have been an allusion to the very real Wernher von Braun, the rocket scientist for Nazi Germany who was recruited by the U.S. after the war.) Also doing a wonderful turn is Slim Pickens, the tough-talking cowboy and man in charge of the only bomber that fails to get the recall from Washington; the scene in which he rides a falling nuke to its destination is a cinematic classic.

What makes Dr. Strangelove so brilliant is that is able to straddle that line between reality and absurdity without having each side cancel the other out. On one hand, the performances are so over the top that you not only laugh, you sigh with the relief that this is, after all, *just* a movie. (A weird cat like Dr. Strangelove could never exist in real life.) On the other hand, there's something about the way the film is directed where there's an eery and creepy feeling that something like this *could* happen-- not with these zany characters, of course, but with saner people in similar circumstances. In the end, no matter how crazy people like Turgidson and Ripper may act, the bottom line is that their underlying beliefs are shockingly similar to what a lot of U.S. military personnel in a position of power to push the button feel like. But then again, that was the point of the film-- on one hand to make people laugh, but on the other hand, to wake them up to the dangers of the Cold War and an entity like the military-industrial complex, that-- if not kept in check-- could one day feel itself powerful enough to perform certain reckless acts without consulting Congress or even the President himself. All in all, a terrific film, and a complete thumbs up from me.

A Kubrick Classic.
U.S. Air Force General Jack D. Ripper (Sterling Heyden) goes entire and Utterly Crazy and Sends his Bomber Wing to Destory the U.S.S.R. He distrust that the Communists are Noted to Contaminate the Expensive Carnal Liquids of the American People. The U.S. President (Peter Sellers) meets with his Advisors, where the Soviet Ambassador tells him if the U.S.S.R. is hit by Nuclear Weapons, it will trigger a Doomsday Decive. Which will Annihilate all Plant and Animal Life on Earth. British Captain Lionel Mandrake (Also Sellers), the only person with access to the Demented General Ripper. U.S. President Merkin Muffley, whose Best Effort to Avert Disaster depend on Placating a High Soviet Permier and the former Nazi genious Dr. Strangelove (Also Sellers), who concludes that such a decive would not be a Cognizant Deterrent for Reasons which at this moment must be all too obvious. Will the Bombers be Stopped in Time or will General Jack D. Ripper succeed in destroying the world?

Directed by Stanley Kubrick (Lolita, 2001:A Space Odyssey, A Clockwork Orange) filmed a well made Black Comedy, feature an Impressive Cast including-George C. Scott, Slim Pickens and James Earl Jones. This film is Unique and It's gets better, every year. Oscar Nominated for Best Actor:Peter Sellers, Best Picture and Best Director:Stanley Kubrick and Best Adapted Screenplay by Peter George, Stanley Kubrick and Terry Southern. DVD has an clear Pan & Scan format and an Dolby Digital 1.0 Mono Sound. A well made that become a Classic. The Newest Edition from Columbia Home Video DVD has Many Extras. Grade:B+.

Oh for the days of the Cold War!
Every ideology that seems terribly important to one generation usually ends up seeming idiotic and even disturbingly naive to the following generation.

Think about it. The ideologies of the 18th century - dying for one's prince, duke or loot - seemed insane during the Napoleonic Wars, when nationalism became THE primary motivating factor.

"Pure" nationalism - like the extreme gung-ho attitudes at the beginning of World War I - seemed rather distasteful to the Allied forces in World War II, who fought to liberate peoples from Fascism.

The idea that Fascism would always endure, and was seriously in danger of taking over the world, seemed laughable during the Cold War.

How does the Cold War look to us today? The McCarthy era; Americans truly believing the USSR and the Communists were veritable Antichrists; truly believing that DESTROYING ALL LIFE ON THE PLANET was a feasible prediction about life in the near future; that the world was, always had been, and always would be, characterised by a fight between Communists and Capitalists.

*Sigh*

Dr Strangelove (or: how I learned to stop worrying and love the bomb) is actually MORE funny - and disturbing - in some ways now than it was before. Admittedly I can sort of understand the immense impact of this film - could ANY politial satire have been more timely - but the fact that the "better red than dead" ideology nowadays seems as ridiculous as fighting for your Duke, means that this film can be seen in a new light.

People actually believed that is was better to be dead than Red? (Yes they did). People actually believed fluoridation of water was a communist conspiracy??? (Yes, they did). The Russians actually contemplated building a Doomsday device? (Yes they did!!! Josef Stalin actually started research on such a device, which would have EXTERMINATED ALL LIFE ON THE PLANET for the sake of a politial dispute between Communist and capitalist that today seems absolutely laughable!)

The passing of the Cold War era means that this movie is seriously disturbing. To a new generation, the all-annihilating power of the superpowers of the 1960s appears to have been based on disputes that appear petty in the extreme. Truly this movie makes us wonder what future generations will think of our fixation on modern ideologies; in an era that began three years ago with the late unpleasantness - and which is already making Francis Fukuyama's ideas, from the happy days of the 1990s, seem obsolete. He claimed that history was over; that free market ideology was the ULTIMATE ideology that would finally bring about an end to all future historical events by making us all live in peace.
That is SO 1995...

History is not over. Each generation seriously believes its own era is the ultimate era - that their own era is THE era whose disputes TRULY matter.

Well, history changes, as Strangelove shows us. I seriously hope that this movie makes us moderns think a little further before considering annihilating the world again! At least over something like fluoridation of water...

Satire at its best!
There are excellent reviews here about this movie, most of them rate it highly, and rightly so. It is no accident that this DVD is on average (at the time of writing) around 4.5 stars.
I must confess I did not know about Peter Sellers before watching this movie. I was recommended the movie by an 'artsy' friend - you know, the type of guy that thinks Citizen Kane is the greatest movie ever made - so I wasn't expecting too much, knowing how these types prefer style over substance.

I was pleasantly surprised. This is the type of film anybody can enjoy, it's seriously funny. It will probably have more meaning if you are familiar with the Cold War and the arms race, but if you don't know too much about that, the extras are a great help. There is one extra that deals with the making of the film, and how at the time of its production there was some subtle opposition to its release. Subtle in that the Air force was unwilling to lend it's expertise in the design of the B-52 bomber used in the film, and there was fear that its release at the time of J.F.K's death might have been seen as unpatriotic.

Well that's all behind us now, and we don't have to worry about the bomb so we can enjoy it more as a comedy than as a political message presented as satire. I must say that Peter Sellers is a genius; I couldn't tell when I first watched it that he was playing three roles! There are so many funny parts in the film and I don't want to spoil it for you by mentioning any. George C. Scott is also excellent and has some very memorable lines.

A bonus for me was that there was a language soundtrack in five languages; German, Italian, French, Spanish and English (off course) plus there were subtitles in more languages which is great for anyone trying to learn a new language.

I would highly recommend this film to anyone who loves satire and who appreciates jokes that aren't always below the belt.

"I think you're some kind of deviated pre-vert."
Some films have a timeless quality intrinsically inherent with the story, allowing for them to maintain a certain amount of relevance, despite the subject matter, or when they were made. This aspect holds true for many of Stanley Kubrick's films, in my opinion, and is true with this film, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.

Directed by Kubrick, written by Kubrick and Terry Southern (Easy Rider), based on the serious novel Red Alert aka Two Hours to Doom by Peter George, and starring Peter Sellers, George C. Scott, and Sterling Hayden, Dr. Strangelove deals in a highly farcical and satirical manner the subject of nuclear proliferation, and proposed responses devised by men of power to perceived threats, whether they be based on reality, or founded from paranoia.

The film starts off with Brigadier General Jack D. Ripper (Hayden), commander of Burpelson Air Force Base, initiating Attack Plan R to his group, a plan created to allow someone other than the president to launch a nuclear counterattack in the event the enemy has managed to disrupt the normal chain of command, thereby preserving our response abilities despite significant loss of leadership. Only problem is, there has been no offensive put forth by enemies of America, and it turns out this issuance was completely unprovoked and the result of one who has basically lost his mind. Group Captain Lionel Mandrake (Seller, in one of three roles), a British officer participating in a officer exchange program, and, subsequently Rippers 2nd in command, realizes this, and must act before the B-52 bombers reach their destinations within the Soviet Union and deliver their atomic payloads, in turn setting off a new doomsday device conceived by the Soviets due to the fact that they were unable to keep up the United States in terms of arms proliferation, which, if activated, would cover the planet in a radioactive cloud for 100 years, destroying all life on Earth. Pretty heavy stuff, huh? One wouldn't think there'd be much humor to be found in a situation like this, but then one would be wrong...

The humor comes in the form of the absolute ludicrosity (it's not a word, as I just made it up) of the situation grown from the intense level of paranoia developed between democratic and communist powers after WWII and how, once things are set into motion, how safeguards meant to protect us basically work against that goal. It's really pretty funny to see what a mutated beast has been born of these fears, both perceived and real. Hayden Sterling is wonderful as the psychotic general with visions of communists infiltrating the very core of our democratic being, with his thoughts on 'precious bodily fluids', and conspiracies by the red menace to undermine and sap our strength. Peter Sellers is perhaps the standout in the film, playing three separate parts with such ability that I often unable to distinguish the actor from the characters within the film, seeing not an actor playing three separate parts, but only seeing three distinct characters in the British officer Mandrake, President Merkin Muffley "Gentlemen, you can't fight in here! This is the War Room", and finally ex-German scientist Dr. Strangelove "Of course, the whole point of a Doomsday Machine is lost if you keep it a secret! Why didn't you tell the world?", advisor to the President. One thing each of the characters does have in common is the Seller's comedic genius. His most memorable roles were those involving the bumbling Inspector Clouseau in the Pink Panther movies, but his skills shine through in his portrayal of three completely separate personalities, one straight-laced (Mandrake), another sort of bewildered but trying to maintain a sense of control (President Muffley), and a third hilariously over the top (Dr. Strangelove). Finally, there's George C. Scott's performance as the scheming, opportunistic, plotting and conniving, but all in the name of patriotism, General 'Buck' Turdigson "Mr. President, I'm not saying we wouldn't get our hair mussed. But I do say no more than ten to twenty million killed, tops. Uh, depending on the breaks". He completely reminds me of his lead role from the film Patton (1970), but in a very perverted, devolved manner. Great support roles include Slim Pickens Major T.J. 'King' Kong as the pilot of one of the B-52's, James Earl Jones as one of his crewmembers, and Colonel 'Bat' Guano as the leader of the force assigned to take control of Burpelson Air Force Base, and recover the recall codes from base commander General Ripper.

All in all, Kubrick has just an amazing style for relating a story to the audience. From his use of different formats of film to evoke a particular mood or convey a sense of feeling, i.e. the documentary style use for the actual fighting footage at the air force base, to the choice of music to enhance the tone set in the various scenes. It all works perfectly to create mock realism in spite of the comedic nature, presenting the essence of a black comedy.

The picture looks wonderful in this full screen format, and you will see that change from time to time as Kubrick used various aspect ratios in the film. As far as special features, there are quite a few of them, including a theatrical trailer, a featurette titled 'The Art of Stanley Kubrick: From Short Films to Strangelove', a documentary titled 'The Making of Dr. Strangelove', original split screen interviews with actors Scott and Sellers (this was done by having the actors answer pre-determined questions, and then local interviewers could be added in later asking said questions, making it look like they were interviewing the actors), promotional advertising gallery, and talent files. Some have called this 'The Greatest Black Comedy of All Time', and I would have little difficulty in arguing that...

(...) ... Read more

Reviews (193)

Always Look On The Bright Side Of Life
From birth to death, this is a hilarious view at the time we spend inbetween. The established cast of actors, in and out of drag, poke fun at everything from religion to vital organ transplants.

My favorite scene is where "the fattest man in the world" pigs out at a fancy restaurant and eventually explodes to the disgust of the other guests. Another good one is where 3 couples at a house party get a visit from the grim reaper and give him several clever arguments before finally following him to heaven.

This is The Monty Python Gang at their very best. The little ditty at the end of the movie is priceless! You will also enjoy the "introduction" by a groups of gold fish and the "opener" saluting the great profession of accountancy. This film is an absolute must for fans (but then again, if you're a fan, you've already seen it anyway). Five stars for this one!

The Pythons in top form!
Here we have THE best Monty Python movie ever! I know I said that about Life Of Brian...but I mean it this time (no, really). Meaning of Life is a stroll through the world according to Monty Python. Many aspects of the human condition are twisted by our favorite Brit-comedians into a series of hilarous sketches. Although there are a few standouts-Birth the Third World, intercourse instruction, live organ transplants and *my favorite* the entire Death section-everything is funny. Additionally, all of Eric Idle's songs are so good you'll never forget them-and find yourself singing them in the shower. Show this to your uninitiated friends and see what happens! Beware: there are those who may find some of this offensive. I personally find MEANING an exhilarating ride! One thing does trouble me. Monty Python says it'll be Christmas in Heaven every single day! Don't you think this'll get annoying after the first 4 or 5 months?

This is on my favorite all-time movies list; which explains why I own both the DVD and the VHS version. Don't expect a Life Of Brian DVD type Criterion treatment-you get the movie, scene selection and that's it. But that's all you need. The VHS isn't bad either if you don't want the widescreen or higher price of the DVD. I was worried about wearing out the VHS...not a problem now!

More hilarious twenty years later...
...a Python fan since about twelve, I vividly remember this film coming out when I was thirteen or so. I loved it. It's great that it has not only held up but, like fine wine, it has gotten better with age. Maybe Terry Gilliam's right when he says, in one of the commentaries, that, today, comedy's standard is so low that "our crap seems good no." But it reveals their genius in so many ways. It reveals a confidence they clearly didn't feel--as tho' they'd gotten their sea legs--in the first two efforts. Though "Brian" is their supreme achievement, I have to say that this film must be placed ahead of "Holy Grail"--which given its budget looks distincly like badly shot TV. Hysterically funny, but the budget limits are are even more glaring in a high res medium like DVD.

In "Meaning of Life" the entire cast are masters of the medium (something Cleese proved independently in "A Fish Called Wanda") and they use their skills, rising even to lyrical heights (Eric Idle's paen to the universe in "Live Organ Transplants"). And the effects are more hysterical twenty years later.

This movie is also remarkable for the rather bitter satire of American pop culture. Heretofore, the Python's had stayed within the classic tradition of British comedy--filled with whimsy and just plain silliness and the class structure. American humor is generally either observational or political--and these days it almost entirely the latter. Even the masters of observation, Goldberg and Carlin, have abandoned it for bitter political diatribes attacking former fans like myself in the basest terms because out political beliefs differ.

And it follows, as it should, that the movie's best skits are the ones true to their tradition. George Harrison once called Python the continuation of the Beatles (to the point of chipping in $8M for distribution and advertising for "Brian"!). And, especially in the all too brief Gilliam animations, this is completely accurate. Without being at all derivative, they capture the whimisical sensibility the Beatles had updated and transformed and ran with it.

One draw back is the rather low-rent 5.1 remix. I've other films--e.g. the Godfather films--which are older than have far better jobs. So don't expect much. In fact, you might even consider using the 2CH option as the remixing engineer makes little use of the rear speakers.

That gentle bitch aside, the deleted scenes are mixed (why on Earth Jones thought anyone would want to see more of Mr. Creosote is beyond me?) and clearly wisely hit the cutting room floor (especially the horrendously unfunny Martin Luther skit), but some the commentary by Jones and Gilliam--clearly done at different times and mixed--is interesting most especially for the bitterness of Gilliam's attitude. It has been so on the two preceding films, but it's much more intense on this one.

The brief interview segments shows the group rivalry is still a hot issue in the guys' psyches, nearly twenty years after Graham Chapman's tragic death ended the group; they are still bickering. Gilliam's comments about Cleese are particularly acid; Cleese does he usual job of insulting nearly everyone. He is returned the favor by the rest of the group, tho' Jones slyly does it with the most class and thus does it the best. Cleese, after all, easily slips into insufferable. Hence his brilliance as Basil Fawlty.

A reluctant four star due only to the ****-poor 5.1 remix. The studio, surprise, surprise, didn't want to spend any extra money getting a good one.

The movie itself: 5 stars.

This disc should have been recalled
If you purchased this disc, and it does not have "V2" on disc one, contact Universal for a replacmeent, even if it plays fine on your current DVD player.

Here is why - the problem is with progressive scan DVD players and progressive scan monitors. Very few people have both, so the problem will not rear its ugly head until you upgrade.

The movie is completely unwatchable in this configuration.

Do yourself a favor, and get disc one replaced now, before it is too late.

Not up to par
I have seen both The Holy Grail, and The Life of Brian and this one did not meet my expectations after seeing those. I laughed thrice, maybe. I almost skipped the entire second section, as younger persons were present and we were utterly disgusted with it. If you have a taste for sexual humor, you'll most definitely enjoy this film more than I. The second disk is not even worth slipping into your player, and if, like me, you have a compatibilty issue with Disk 1 and you live in another country, it's going to be a hassle to get a replacement.
The fish were comical, and the entire segment on fighting was brilliant, but that was all of the humor I seemed to find up until a few minutes near the end. If you've never watched Monty Python, I suggest you start with one of the other movies, as this one could turn you off of a truly great source of hilarity. ... Read more

Amazon.com

La Belle Noiseuse is a thrilling and unconventional drama about the responsibility of an artist to his vision and the conflicts that arise when such responsibility is perceived as a threat to others. Michel Piccoli (Le Doulos) delivers one of his finest, most lived-in performances as Edouard Frenhofer, a famous painter living with his artist wife Liz (Jane Birkin) on a spacious estate in the French countryside. Frenhofer has lacked inspiration for a decade and has given up on painting. The idea behind his unfinished masterpiece, La Belle Noiseuse ("The Beautiful Troublemaker"), has been seemingly unattainable for a decade; Liz was the original model for it, and Frenhofer's exhaustion with the project has an emotional parallel to his dispassionate relationship with her.

Along comes a rising artist, Nicolas (David Bursztein), who suggests that his girlfriend, Marianne (Emmanuelle Béart), a writer, could help Frenhofer jumpstart the painting's completion. From this point, most of La Belle Noiseuse becomes a remarkable, seemingly unedited and privileged look at the development of a bond between artist and muse. Béart, fiercely brilliant, spends the majority of the film nude and continually molded into sometimes-painful positions as Frenhofer struggles--sketch after sketch, paint upon paint--to find something beyond the obviousness of Marianne's body. As the two struggle to meet each other halfway, Liz and Nicolas feel marginalized and jealous, putting pressure on Frenhofer to disregard such personal concerns or give in to them. Adapted by French New Wave master Jacques Rivette from a story by Honore de Balzac, the lengthy La Belle Noiseuse is fascinated by the artistic process; it is itself a patient process of watching ideas and aesthetic courage reveal themselves in the face of extraneous aversion. --Tom Keogh ... Read more

Reviews (4)

Superb
I am not sure what the person before me knows about French cinema and the history of this film in particular but before posting comments that border sheer ignorance PLEASE do some research. This true masterpiece of a film was shot in 1.33 and that is how La Belle Noiseuse it was shown during the Cannes film festival. This is the prefered original aspect ratio (perhaps some have forgotten that not all films are supposed to be seen in widescreen, many were shot in an academy ratio of 1.33). Though La Belle Noiseuse is a modern film, just like Godard often does, Rivette has chosen a ratio that fits best his vision.

With this said the length of the film has nothing to do with the artistic merits it conveys. This is a strong, utterly sophisticated, yet bold and original film that reaches the very core of the creative process artists go through. Exceptional work!!

A word before it's released
This is a 4-hour French film, and I have seen the VHS version. Although the film is generally criticized for being way too long and boring, I personally found the film very appealing. I enjoyed the slow pacing. The film definitely involves the viewer, and 4 hours later, you feel like you really know these characters, who now have a life of their own. There is a substantial amount of nudity in the film, but it's more about posing for an artist than about sex. This is, in fact, an art film, not a mainstream film. As such, it delves into human emotion as much as it paints the beauty of the female form. I'm giving this film, in advance of its DVD release, 3 stars because it is being released in standard format, which is an insult to any film, and because it may not appeal to the average mainstream viewer, who may be too impatient to watch all 4 hours of it. But for me, it will be a welcome addition to my limited collection of French films.

I absolutely agree with everything said by the 5-star reviewer (except for the statement about this being released in its orginal format, which is apparently erroneous). But having read contemporary French language critiques of this film, and having dicussed it with a few of my French friends (who mostly complained about its length), I still believe that the average mainstream non-French viewer will probably find the film a bit too long and boring. Fans of art film in general, and French films in particular, will definitely treasure it, though. Include me in.

See it any way you can...
La Belle Noiseuse is now available on DVD through Amazon.co.uk. Unfortunately it is transferred in 1.33:1 aspect ratio, which is falsely stated to be the original ratio, whereas in fact the film was shot and screened in 1.66:1 - while for some films this might be tolerable, here the cropped picture detracts woefully from the cinematic experience - profiles are severed, actors inexplicably move half off screen, the beauty of many tableaus is compromised. One can only hope that Criterion decide to provide an American edition. That said, the actually picture quality is good and the subtitles legible.
*
There is an interesting interview, however, with Rivette, in which he tells of Divertimento being edited together entirely from out-takes. To illustrate the point a dinner table scene is shown, first from La Belle Noiseuse, and then from Divertimento -in the first there are many cuts and changes of point of view, in the second a slow zoom in onto one couple and only a single cut. In a way, then, Divertimento is an entirely different film. Rivette explained the changes as in part stemming from a certain boredom attending the traditional editing process - he and his editor did their best to entertain themselves, and to create a significant variation on the original work of art.
*
As an exploration of the artistic process, and of the psychological danger involved in exploring the depths of another human, the film is wonderful. Of course, in terms of aesthetic beauty it is also hard to fault. Michel Piccoli is sensitive and somehow manages to vie for command of the screen against the charms of Emmanuelle Beart (who really is stunning).
*
This, I think, is by far Rivette's best work, and definitely worth viewing in whatever available format.

Only for hardcore "La Belle Noiseuse" fans (like me)
After receiving extraordinary acclaim for his 4-hour masterwork "La Belle Noiseuse", seminal French New Wave director Jacques Rivette edited it down to 2 hours (by jettisoning its long real-time takes of an artist at work), substituting alternate takes of certain scenes and making subtle but important changes in the scene order. The result is "Divertimento", a slightly darker and, in my opinion, substantially lesser work.

If you admire "La Belle Noiseuse" as much as I do, "Divertimento" will give you a thought-provoking but not revelatory new angle on a great film. If you haven't seen "La Belle Noiseuse" yet, don't cheat yourself by watching this one first. ... Read more

Reviews (317)

Kubrick Addresses The Complexities Of War
The dual nature of man, wherein he is able to embrace both war and peace simultaneously, is addressed by director Stanley Kubrick in the decidedly anti-war film, "Full Metal Jacket," starring Matthew Modine. Divided essentially into two parts, the first half follows raw recruits through basic training at Parris Island, where the effects of what it takes to turn a man into a Marine / killing machine is explored, predominately through the characters of Private "Joker," played by Matthew Modine, and Private Leonard Lawrence (Vincent D'Onofrio), dubbed "Gomer Pyle" by the D.I, Sergeant Hartman (Lee Ermey). It's a hard, stoic study of techniques and motivation that inherently questions the system itself, and is deftly and succinctly illustrated by the results achieved, which are not entirely those desired. It's hard stuff to swallow at times, but engrossing, and Kubrick manages to gradually build the emotional intensity that gives such impact to the climax of this first part, which is without question the strength of the entire film. The second half switches suddenly to Vietnam, where Kubrick takes up his pallet and canvass, and while attempting to paint a realistic portrait of war, instead takes more of a turn away from reality, and the film takes on a sense of the surreal; the result is more reminiscent of the visual artistry of "The Thin Red Line" than of the truly gritty realism of "Saving Private Ryan," and rather than make his statement directly through the use of the story, he uses the movie to stage sequences of events to demonstrate the contradictory nature of war and it's consequences, and man's involvement therein. And while he compares the moral and emotional conflicts with the physical, it is an acknowledgement of an inner struggle devoid of any proffered solution, though delivered quite subjectively. The pace of the film is very deliberate and much of the dialogue has a "staged" sense about it that, rather than underscore the issues being addressed, has more of an alienating effect which serves to neutralize the emotional aspects of what is being presented. The story is told from the point of view of Modine's "Joker" , but though Modine does a passable job, his is a rather unsympathetic character whose purpose it would seem is merely to act as narrator and to serve as the "eyes" of the camera. And, again, it only manages to distance the audience further, as Joker becomes a kind of buffer between the viewer and any sustained level of emotional involvement with the story or any of the characters. Instead of a stirring fulmination against the lunacy of war and man's enablement of it, Kubrick's approach creates more of a sense of rather cold ambiguity. Had Joker (as the lead) been a stronger character, and had the second half of the film been more like the first, instead of nothing more than a series of vignettes, this could have been a dynamic movie; as it is, because of Kubrick's choices, he made a good movie, but not a great one. There are two memorable performances here, one by Vincent D'Onofrio, who did an exemplary job of creating the hapless Leonard; the other by Lee Ermey, as the Gunnery Sergeant who could be the poster-boy for an anti-enlistment campaign. Also worthy of note is the work of Arliss Howard, who brought "Cowboy" so credibly to life. Rounding out the supporting cast are Adam Baldwin (Animal Mother); Dorian Harewood (Eightball); Kevyn Major Howard (Rafterman); Ed O'Ross (Lieutenant Tinoshky); and John Terry (Lieutenant Lockhart). With "Full Metal Jacket," Stanley Kubrick raises issues that are important, and makes some valid points about the causes and complexities of war, and the moral and ethical challenges of those presented with it. Obviously, this was a passionate endeavor; if only he would have allowed more of that passion to make it's way onto the screen. What a movie this could have been.

Great movie,but not my favorite on Vietnam
Stanley Kubrick's Full Metal Jacket is a very good movie,but I like others on the subject of Vietnam better.It follows a group of Marine Corps recruits from boot camp to the war in Vietnam.I thought the boot camp sequence was outstanding.Gunnery Sageant Hartman is an unforgettable character,(every time I see R.Lee Ermey in a movie I'm reminded of him)probably the best drill instructor ever in a movie.The rest of the cast was very good,as well,especially Vincent D'Onofrio as Gomer Pyle,and Matthew Modine as Joker.After boot camp the movie shifts to Vietnam,where the action is seen mostly through Joker's eyes.The movie show's some of the horrors of war,but not as well as other Vietnam films such as Platoon and Hamburger Hill.(of course that's just my opinion,you may disagree)I've read that the movie was shot entirely on soundstages in England,rather than on location,and it looks incredible.Overall,while not my favorite movie about Vietnam,it is a very good film.

Fantastic
First of all....many Marines say that the first 30 minutes of the movie about boot camp is THE most accurate depiction of Parris Island in cinematic history. And of course Lee Ermey himself being a former Marine drill instructor tops it all....his profanity laced tirades are totally outrageous.

Second of all, the latter half of the movie deals with a subject not covered in Vietnam movies, a squad getting lost and having to face a lone sniper. Its a radical departure to be sure, but Kubrick in his usual cinematic mastery makes it very gripping.

So if you like Vietnam movies that are a bit different but still as strong as Hamburger Hill and Platoon, check this one out....its fantastic.

full....metal...jacket.
one of my favorite movies kubrick and matthew modaine how better can it get.lol. i suggest this omvie to anyone who likes kubrick, war movies or both for that matter. i also read the book that its based off of "the short timers" by gustav hasford it was really good but i still liked the movie better becasue it had vincent d' onfario and and the segarent(its like blasphemy that i cant remeber his name at this moment) but this movie is great, kind of boring at parts but still its deffinalty worth a watch.

An Near Masterpiece.
When Ordinary People are all Plunged into a Boot Camp Hell Pitbulled by a Leatherlung D.I. (R.Lee Emery) to Prepare for the Vietnam War and the Dehumanizing Process that turns People into Trained Killers.

Produced and Directed by Stanley Kubrick (2001:A Space Odyssey, A Clockwork Orange, Eyes Wide Shut) made a Savage Vietnam drama with a dark sense of humour. There's terrific performances by Matthew Modine, Adam Baldwin, Vincent D'Onofrio, R.Lee Ermey, Dorian Harewood, Arliss Howard, Kevyn Major Howard and Ed O'Ross. The first 45 minutes is a Masterpiece and then the last 71 Minutes, the movie turns into familiar territory with dark humour. The film's conculsion is Strong and Satifysing. This newly restored DVD is better than the previous DVD transfer. DVD has an sharp Pan & Scan (1.33:1) transfer and an strong newly remastered in Dolby Digital 5.1 Surround Sound. This is a Well Made film, which it might be far from some of Kubrick's best films but his elements are here. It's worth viewing. Based on the Novel "The Short-Times" by Gustav Hasford. Screenplay by Kubrick, Hasford and Micheal Herr. Grade:A-. ... Read more

Amazon.com essential video

Unanimously hailed as one of the greatest masterpieces in the history of the motion picture, Seven Samurai has inspired countless films modeled after its basic premise. But Akira Kurosawa's classic 1954 action drama has never been surpassed in terms of sheer power of emotion, kinetic energy, and dynamic character development. The story is set in the 1600s, when the residents of a small Japanese village are seeking protection against repeated attacks by a band of marauding thieves. Offering mere handfuls of rice as payment, they hire seven unemployed "ronin" (masterless samurai), including a boastful swordsman (Toshiro Mifune) who is actually a farmer's son desperately seeking glory and acceptance. The samurai get acquainted with but remain distant from the villagers, knowing that their assignment may prove to be fatal. The climactic battle with the raiding thieves remains one of the most breathtaking sequences ever filmed. It's poetry in hyperactive motion and one of Kurosawa's crowning cinematic achievements.This is not a film that can be well served by any synopsis; it must be seen to be appreciated (accept nothing less than its complete 203-minute version) and belongs on the short list of any definitive home-video library. --Jeff Shannon ... Read more

Reviews (294)

Epic tale even though it's decades old.
I was simply amazed watching this film at how simple the tale was but at how masterfully crafted and told the story was written. This movie will seriously play upon your emotions and only a cold hearted person, without emotion wouldn't be able to connect to this plot. Compassion, sadness, desperation, love and triumph are all prominent in this film. And the balance between these elemenys is impeccable.

The cinemetography is masterful. There is an intense to detail. Every shot is masterfully done. The atmosphere will pull you right in. The acting is top notch and there absolutely no room for improvement in the script. It's just hard to say something bad about it. Even being a foreign film, Japanese too -[and you know Japanese and Chinese movies have a lot of mythology involved that is hard for us Americans to understand.]- but the plot is truly one that is worth high praise. Seven Samurai is a roller coaster of emotions and it gives an indepth view into the mind and soul of the warrior spirit. Seven Samuari is the best movie I've seen in a long time and definately one of the greatest movies of all time. I'd gladly recommend this movie to anyone. 5 glowing stars. 10 if they were possible.

Few better than this, anywhere
Quite possibly one of the five or six best movies ever made, anywhere. Simple tale of a peasant village forced to hire samurai to defend them from mountain bandits gains incredible gravity and power as it moves along. Film encapsulates so much of the human condition it's hard to tabulate it all: politics, warfare, violence, the human need to persevere in the face of terrible odds, and on and on. All performances are superb: the everyman-ish Takashi Shimura as the eldest samurai bespeaks great heart and intelligence; Toshiro Mifune as wild-eyed Kikujiro is unforgettable and scene-stealing. Final 45 minutes are unbelievably violent and fast-moving even by today's standards, and never let the viewer out of their grip. Has spawned a host of remakes (most notably "The Magnificent Seven"), as has Kurosawa's "Rashomon", but few if any measure up to the power of the original. Original 208m edition is showcased here on DVD in the correct 1.33:1 aspect ratio; beware shorter prints with much of the drama butchered out. Hard to go wrong with this one in your collection.

a classic that inspired many tributes
A reviewer once wrote that the most amazing thing about Seven Samurai is that one-and-a-half hours into the movie, we're still in the character development part, and nobody's even noticed the movie has been running that long already. sure, it's not for everybody, especially for those who grew up with mostly Hollywood commercial fare that last 70-90 minutes. but for even the borderline film enthusiast, the Seven Samurai is a treat. Here, some of Japanese cinema's greats (Kurosawa, Mifune, Takashi Shimura) come together at the perfect time, to do the perfect job. Here, possibly, is the greatest movie of all time, and you are watching it.

the best special feature, the commentary track, is very detailed, in fact at some point, it is annoyingly too detailed! but if you want to know why toshiro mifune's acting was over the top, or where he was born (Manchuria), or why millet seems so low compared to rice, or why the light seems to change during the scene where we first see Kanbei Ishima (the bald, dignified leader of the samurai, here portrayed by Takashi Shimura), then the commentary track is indispensable. I've seen this DVD twice, with commentary on, and with commentary off. It's quite easy for me since I don't understand Japanese anyway, so the dialogue comes to me strictly through subtitles. needless to say, I highly recommend watching it in the manner I described.

there have been many "tributes" to this movie, from the obvious (The Magnificent Seven, The 13th Warrior), to the not so obvious (Disney/Pixar's "Bug's Life"). In all of them, the idea that a band of warriors would come to the rescue of an obscure village for nothing more than a bowl of rice (what, not even meat to go with that?), or in the case of "Bug's Life" nothing more than the chance to finally give a good show, seems ridiculous and unbelievable. As many reviewers have posted, the wretched farmers don't even deserve sympathy. Until you realize (the commentary helps a lot on this) that these samurai agreed to take the job because it gives them a chance to do what they do. They went there because once again, they can prove themselves worthy.

Must be understood to be watched...?
Watching the 'direction' in this movie, and others by this director, is like seeing the first ever 'lace-up' shoe or the first ever internal-combustion engine. You may happen to appreciate that the 'overused' ideas, employed in the film, were used there for the first time; the originality pervading the movie from beginning to end alongside gritty and convincing acting. However, it is still subject to a style of story-delivery that was original 50 years ago - that modern film watchers are jaded with.
To avoid a long spiel: if you hate black and white; if long silent scenes with no music overplay; if obscured scenes and dramatic angles are not your thing, you just won't enjoy this film. No matter how much of a masterpiece it is. Know your limits, people. And stick to Titanic. This film isn't for you. Now go. Leave.

PS: (...)

Seven Samurai
Akira Kurosawa's heroic tale of honor and duty begins with master samurai Kambei (Takashi Shimura) posing as a monk to save a kidnapped child. Impressed by his bravery, a group of farmers begs him to defend their village from encroaching bandits. Kambei agrees and assembles a group of six other samurai, and together they build a militia with the villagers while the bandits loom nearby. Soon the raids begin, culminating in a bloody battle. ... Read more

Description

Get set for more action, more vampires and more Wesley Snipes in this second monster-hit installment in the Blade franchise. ... Read more

Reviews (314)

Arguably the Best Action Movie of 2002
Wesley Snipes and Kris Kristofferson return to battle the undead in what will probably be the best action movie of 2002. With a whole slew of fight scenes, great costumes, great weapons, great scenes, and great soundtrack music, Blade II rocks.

Blade (Snipes) is enlisted by the Vampires to help destroy a genetic nightmare-being called the Reapers, which even have the Vampires themselves on the run. Assisting Blade is a re-juvinated Whistler (Kristofferson) and the Bloodpack, an elite group of Vampires trained to hunt Blade led by the lovely Leonor Varela and Ron Perlman. Blade is now the leader of the Bloodpack as they must try to defeat the Reapers.

Two hours later, you're going to have to catch your breath outside of the theater. Del Toro's direction is incredible, as you are right in the thick of the action. All the stops are pulled out for this sequel. However, the only drawback is the lack of a solid plot, but you pretty much forget about that after you get taken in my all the action sequences. The computer effects are equally dazzling, and adds to the gore of the film (which is definately a factor).

Everything is just right in "Blade II". The film is casted well, everything is shiny and glossy with a kick-butt attitude towards it. Camera shots and frame rate are queued with perfection, and the fight scenes during the film are what makes this production top-notch. A must see and a definate buy when released.

Claret has never looked better!!
If Guillermo del Toro set out to translate the language of comics to the silver screen, than he more than achieved his goal with the visually astounding Blade II. With the exception of the two returning characters of Whistler and Blade, this 'sequel' couldn't be more removed from the original if it tried. From atmosphere and colour coded lighting to whip crack pace and even more gore, Blade II is relentless in it's attempt to leave you gasping by the time the blood drenched credits roll. Foregoing any real semblance of plot (that would only slow things down after all), the film tends to feel like one long fight scene but it's all executed so impressively that the final impression left is one not unlike riding a rollercoaster. Not a bad thing and an even better thing if that's what the director set out to do. Guillermo himself is unapologetic in his honesty that he was simply intended to fashion a 'kick ...' movie that while different from Stephen Norrington's original, retains the similar style and wit that made the first so special. Acting wise, Blade is a role Wesley Snipes could probably play in his sleep so while he is predictably fantastic in bringing the character to believable life, all eyes settle on newcomer Luke Goss (he of Bros fame) and he doesn't dissapoint as the ruthless (and perhaps somewhat tragic) reaper Gerrad Nomak. From his appearance onscreen, Goss gives a captivating performance, somehow even investing a real humanity in a character that is more animalistic than human and that is testament to Goss' talents. Smartly avoiding overkill in the make up department, it's Goss' physical presence that is the most unsettling aspect of the villian. With two such formidable actors grounding the insanity that ensures in it's running run, the film is left to throw body parts up at the screen haphazardly. That it is crafted all so professionally allows you to simply be whisked away for the horrific ride. While not as acomplished as the first, Blade II remains startling good viewing. All action genres are pandered to, the horror fans get what they are after and when all is said and done, some might find themselves surprised how addictive the film continues to be, requesting if not demanding repeated viewings. A great horror and action film that deserves more of an accolade than simply 'sequel' and more a title in it's own right.

BEST MOVIE EVER
After the first installment in the Blade series, I was really looking forward to the sequel - and I wasn't dissapointed. This far surpasses Blade and just hightens the suspense for Blade: Trinity (out Dec 10). Wesley Snipes is his usual great self in a fast-paced, suspense action movie. Kris Kristofferson is brilliant as Whistler once again (as are the rest of the cast). If you liked the first then you will definetly like this - and hopefully like me you cant wait for Blade: Trinity !

Blade I Retains M. Wolfman Touch....
....Blade II does not.

What's the Marv Wolfman Touch you may ask. Wolfman and Gene Colan of course was the original Marvel comics team which created Blade from a subplot in their most popular horror comic Tomb of Dracula in the 1970s. Those dudes pretty much knew they were creating comic books stories and never, never took themselves 100% too seriously.

Blade II loses the light touch--as much as fables of vampirous goings on could indeed have a light touch--and goes for the jugular, pun intended. I found myself wishing for one of those campy, talky Vincent Price death scenes since most of the creatures here explode in a special effects blast into dust and immediately into oblivion type of thing when killed. The crew of offending vampires creepily open the flesh on their cheek, jaws and upper neck to--bite yer neck and suck yer blaad! Yeesh! And Snipes smiles sadistiaclly thru-out the entire thing. It was a chore to look at it 'cuz it is busy, so many of those vamp things disintergate and no one is having that much fun. I'll watch a video featuring Sesame Street's Count any day insteada this mess.

Pulse-Pounding!!!!
When the world is threatned by a new and deadlier breed of super vampire the legendary Blade and his mentor Whistler must join forces with the Bloodpack, an elite team of vampire warriors made up of his sworn enemies. In order to stop the carnage these ravenous fiends must be destroyed at all costs. In this high-voltage adventure, exploding with spectular effects and martial arts action. The electrifying Snipes reprises his role from the original cult classic Blade. I thought this was a hell of alot better than the original. I thought the sequel had a better plot, great acting, excellent fight scenes, and nonstop action. If you liked the original, you'll love the sequel. I loved the sequel, alot more than I liked the original. ENJOY!!!! ... Read more

Amazon.com

The delirious passion and angst of Mexican telenovelaAmor Real gets a condensed treatment on this concise DVD presentation.Amor Real tells the story of Matilde Penalver (Adela Noriega), a general's daughter in love with a common soldier named Adolfo Solis (Mauricio Islas), but who is tricked by her status-conscious mother into marrying a wealthy landowner Manuel Fuentes Guerra (Fernando Colunga). But Manuel has his own baggage--he's a bastard, only acknowledged by his father as the old man lay dying. When Matilde learns the truth, she and Adolfo try to run away, but Manuel catches her and carries her off to his hacienda, where their tempestuous marriage is tested all the more when Adolfo arrives in the guise of Manuel's new administrator. From there, the plot of Amor Real explodes in a dozen directions, including the romance of Matilde's unscrupulous brother and a wealthy spinster; the struggle within the household between Matilde and the housekeeper, who also loves Manuel; Adolfo's marriage to a young woman dying of tuberculosis; the scheming of Manuel's cousin to disinherit him; revolution; kidnapping; the murder of a priest; steamy sex; and much, much more, building to an epic conclusion.

Though at times outrageously melodramatic, Amor Real has the juggernaut plotting of a Victor Hugo novel--the many story threads are so skillfully interwoven and lurch from joy to disaster with such vigor that it's impossible not to get swept away. Making the experience even more dizzying is that this DVD is basically a high-points compilation, condensing 95 episodes into a 4 1/2 hour sprint. Between the careful editing and the charismatic cast, the story is easy to follow and giddy in its swiftness. Fans of the full series may find that this abridged version undercuts the pathos of the original, but for the uninitiated, it's a hugely enjoyable high-energy romp. --Bret Fetzer ... Read more

Description

A middle-aged philosophy teacher begins an affair with a young girl that drives him past the point of obsession when he realizes that he can not possess her. ... Read more

Reviews (12)

A thought provoking film ...
The plotine is basically about a philosophy professor,an unsympathethic womaniser who has the desire to do something with his life. He meets a young woman, who was a model for a painter, who died while they were having sex, he doesn't get along well with her yet he has this physical connection to her. His obsession with her and her inability to respond to him make him resort to violence, he wants to break up with her and yet he cannot. Can a person love and despise another at the same time? This film explores that premise and utilises a lot of gratuitous sex and nudity ... Overall, it was a thought provoking film and I would only recommend it to any fan of French Cinema.

about this movie L ennui.....
A middle-aged philosophy teacher is having sex with a horde(whom later also have 'relationship' with another two men) where he could get give up the woman as he is too obsessed by her. This movie will be recommened to those whom like multiple sex scene and the rating I give to the scene are 4 star. The story of this movie is only a three star rating. The story end up with an accident where the philosophy teacher almost had himself killed.

Long and Boring
I guess people wants to see this movie for different reasons, I'll try to analyse this movie according to what I expect viewers are looking for and try to dissuade you from seeing it. There is nothing in this movie where you can't find in another with more bells and whistles and fun.

[1] If you're looking for hot arousing sex scenes, forget about it.

[2] If you're trying to explore / understand the psyche of middle aged men, forget about it too. All you'd see is this divorced Professor of Philosophy in his 40s/50s being obsessed about a girl half his age, ringing the girl at all times, tracing her phone numbers, and being confused why he likes the dull boring girl so much. Interesting, but you might wonder if you really need to spend 2 hours to examine the issues?

ABSOLUTE AWAKENING
I think you miss the whole point of this movie if you are expecting a typical Hollywood "brainwashing" movie. This movie is French. The whole point of the movie is precisely that the woman is not slim and gorgeous like a model (as Hollywood would make you want to believe all woman should be to be desirable to men). The fact that she is chubby makes the point precisely. She is not beautiful in his eyes, she is plain and chubby but he is crazy about her, why? because he cannot posses her. (Apart from physical pleasure there is nothing he can give her to make her interested in him.) And the farther away she is emotionally the more he wants her, and the more obsessed he gets with her. It has nothing to do with the outer physical beauty --she has managed to possess him in every way, without the "beauty" attributes that Hollywood movies would want to instill in the audiences. Her character has weaknesses as to the emotional and that is what drives him crazy about her. This movie is a great awakening into the deeper psyche of men.

L' Ennui - DVD
Martin a 40-something teacher has an affair with a girl half his age. There is plenty of sex and nudity (front & rear) in this move. I can't understand how a director could cast a plain, chubby young women in such a role. Any erotic value that this movie may have is taken away by how fat (chubby anyways) this girl is. This would have been a much better movie had the lead role been played by a younger and much more attractive (physically and sexually) girl. As you read the other reviews you need to determine for yourself if you want to waste your money on this one.

Gatekeeper Reviews movies only for their sexual, violence and nudity content. There is no child nudity in this movie. Please read other reviews if you're interests lie elsewhere. ... Read more

Reviews (135)

A rich experience worth viewing over and over again
This is a magnificent movie. It is visually beautiful - the colors and the way the shots are framed are stunning. The visuals are controlled in ways that add to the poetic power of the story. I do not speak Japanese, but the sound of the language combined with the musical score also adds to the intensity of this movie. The subtitles are good, but I am sure that those who understand Japanese get even more from this story.

This is not a film of Shakespeare's "King Lear". Rather, it is an adaptation and is based on the underlying themes of the play. It is not important for me to list the differences between the play and the movie, it is just important that a first time viewer not expect the Shakespearian story. If you know the play you will recognize aspects of the movie and enjoy the ways in which Kurosawa adapted the story to his own and Japanese sensibilities. It may nod to Shakespeare, but Kurosawa makes this his story.

The costumes, music, and acting are superlative. For me, the trademark Kurosawa battle scenes are more wonderful here than usual. This is a masterpiece by a filmmaking virtuoso who is also a sensitive enough artist to make a spectacular movie that is also poetic, humorous and heart breaking, tender and brutal as well images that are beautiful and others that are hideous.

This isn't light viewing or mind candy, but it has so much to offer that it