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DOWNLOAD MOVIE Breed, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Breed, The

A very intense movie! I really was on the edge of my seat during the whole film. Unfortunalty the cannibals look a little too “costumed”. Good film music, fits perfectly. It’s defenaltly worth to see it! Two American tourists on a romantic camping trip are brutally murdered. A few days later, during the ancient festival of Samhain, a group of American university students moves into a beautiful cottage, surrounded by a lush forest and a majestic lake.

They are here to learn about the rituals of the ancient Druids and other Celtic legends. But in the remains of an abandoned copper mine, lives the ancestors of an incestuous clan of cannibals. Stalked by a hulking, disfigured mutant, the students and their chaperone are in for the most harrowing time of their young lives. And keeping their heads on their necks will become their main concern…

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DOWNLOAD MOVIE Thank You for Smoking Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Adapted from the novel by Christopher Buckley, son of political commentator/author William F. Buckley, Thank You for Smoking marks the feature-length debut of writer/director Jason Reitman, son of director Ivan Reitman.  The apple didn’t seem to fall too far from the tree in either case, as both the book and feature film are effective, inspired, funny and thoughtful, showing that the sons have learned much from the fathers – a theme that is very prevalent throughout the course of the story. At its core, Thank You for Smoking is a satire, poking fun at all angles of the debate.  The pro-tobacco lobby is shown in just as unfavorable a light as those politicians that have taken the anti-smoking mantle, while those that fall in between are challenged to think for themselves, all the while being manipulated by those same forces claiming they are doing no such thing.  The moral to the story is that there are no morals anymore, despite the fact that everyone uses morality to push forward their agenda.  The debate is spin vs. counter-spin, while the truth is ignored in favor of self-aggrandizement and political angling.  It’s not about right or wrong – it’s about who wins the argument that’s important. Aaron Eckhart (Suspect Zero, Paycheck) stars as tobacco lobbyist Nick Naylor, who regularly makes appearances on behalf of the tobacco industry to argue against the assertions made by the anti-smoking movement as to such things as nicotine’s addictive qualities and the detriment of smoking to one’s overall health.  Nick may be a success as a brilliant conniver, but his wife (now ex) had been fed up with his lies long ago, while his son Joey finds him to be an embarrassment.  However, during a little road trip, Joey (Bright, Birth) soon gets to see what his daddy does first-hand, as the tricks of the silver-tongued trade are revealed, a bold and ingenious strategy of winning the argument by convincing the American public to disregard years of documented research by challenging the weakest links and throwing up straw men to fight against.  It’s attack and defend, as Naylor tries to thwart a bill that would see a "Poison" label on every pack of cigarettes, while also trying to promote the "coolness" of smoking by making sure it is shown regularly in popular movies. Thank You for Smoking is a funny movie in a subversive way; it’s not a laugh-riot in the slightest, and in fact, you may rarely laugh out loud at all.  All the same, the amusement level is certainly high, featuring more than enough witticisms to quote from it during many a smoking argument in the future. 

At the same time, it’s also not really about smoking, at least not in its core themes.  What it’s really about is the art of argumentation, in this case, by a man who champions a cause that very few in their right mind would champion, which is, of course, the virtues of smoking.  Turning an argument on its ear, never backing down and using someone’s own words against him is what it’s all about, like a snake-oil salesman for the modern day.  Turn on the radio or television talk shows and you’ll find no end to the Nick Naylors of the world. If there’s anything one takes away from Thank You for Smoking, other than its obvious entertainment value, it’s that we, the general public, should always educate ourselves as to the truth on our own, not relying solely on spokespersons, politicians, pundits, or anyone else that claims to be an “expert” with only the power of persuasion on his side.  Whether smoking is right or wrong isn’t so much an issue as an example, a token argument if you will, of an debate that becomes a farce when handed over to those that have made a career at doing nothing but obfuscation and misdirection in order to walk away a winner from no-win discussions, without even having to study the subject at hand.

Lest I forget, the film is good beyond just the core themes.  Reitman’s direction is energetic and inventive, mixing in amusing musical cues and snippets to enhance the sensory humor in subtle but effective ways.  The casting is also excellent, especially from Aaron Eckhart as the conniving Naylor, who manages to retain his likeability despite doing and saying some despicable things for his own, and the corporate interest’s, profit — "moral felixibility" is his credo.  Reitman’s approach is a bit scattershot, but always interesting, filled with amusing asides and plot developments. Of course, I realize the irony of doing this review, which is little more than an argument in itself as to why Thank Your for Smoking is a good film.  I don’t claim to be right in my assessment, which is, of course, a matter of opinion.  However, like the film states, in its not-so-obvious way, if you ever want to truly know, you’ll just have to find out for yourself. 

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DOWNLOAD MOVIE Sonny Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie
This box set is comprised of three films, Karate Bull Fighter, Karate Bear Fighter and Karate For Life, each one focusing on a different part of the life of Matsutatsu Oyama, a great practitioner and teacher of karate. He’s played here by Sonny Chiba, himself a student of Oyama’s. Each of the films in question are worth a look, and this set offers a great deal for anyone who is interested in the particular charms of Japanese martial arts films.

Karate Bull Fighter is the first film in the set. I suppose I should break the bad news to those of you who are unfamiliar with this movie: despite what the title implies, this is not about a professional bullfighter who uses martial arts to win his matches. There is, in fact, only one scene in which he fights a bull and it comes not at the climax but right square in the middle. The rest of the movie doesn’t quite live up to that wild scene, but is very well done nevertheless.

Our story begins in 1949 in Kyoto. The occupying American military have just lifted a ban on karate, and the first tournament since the end of the war is underway. Among the participants is a dirty, unshaven man dressed in rags who, upon arrival, annihilates the competition; this is Matsutatsu Oyama. After winning the trophy, he’s approached by the master of a local dojo with an offer to train in his gym. Oyama angrily turns him down, accusing him of turning the sport into little more than a dance. For him, karate belongs to the manly art of self-defense, not the exhibition arenas.

He stalks out in a huff. Some time later, he is making his living as a pedicab driver when he picks up the fare of a young woman, Chiako (Yumi Takigawa) in the company of an American officer. Believing her to be a prostitute, he becomes quietly enraged and drives them to a remote location, where he beats up the soldier and rapes the woman. He’s arrested by the American authorities and forced to fight a boxer for his freedom. He prevails, and moves in with Chiako, who nurses him back to health (as is sadly not uncommon in Asian films, rape is used either as a source of comedy or the beginnings of a blossoming romance). He takes on a young student, who he trains harshly but never with cruelty. It is during one of these sessions that a commotion erupts in the distance - a bull has escaped and is now wandering the streets causing havoc! In the scene we’ve all been waiting for, Oyama dispatches the bull with his karate; its a very impressive scene, filmed with a real bull (well, for about 98% of the shots) and ending in a satisfyingly gory climax.

You could, if you liked, stop the film here - almost exactly at the midpoint - and end on a perfectly fine note. The rest of the movie is also very good - as violent, goofy and engrossing as what came before - but I’ll stop the plot summary here, as what comes next is the result of some unexpected plot manuevering. By no means does it go downhill from the bullfighting scene, although that will certainly be the one that lingers longest in your imagination.

Karate Bull Fighter is a very good movie, one which successfully manages to make martial arts (and the practice thereof) the center of the plot, not just another generic convention. Oyama struggles to define his art in a world where it was been cheapened into an empty spectacle, but the film smartly challenges his attitude, raising the question of how far one should be willing to go for the sake of one’s beliefs.

Of course any movie with the word “karate” in the title ultimately stands or falls based on the quality of the action, and Karate Bull Fighter does very well on this point. Director Yamaguchi seems to understand how to shoot an action scene; even with heavy use of such cinematic bells and whistles as rapid cutting, sudden close-ups and heavy use of the zoom lens serve to enhance, rather than obscure the action of the scene. The rest of the film benefits from snappy direction as well, including some unexpectedly bold framings (I think I even spied the use of the dreaded split-field diopter in one scene, Citizen Kane fans take note) and a nicely-done single-shot-trip through a crowded night club.

Karate Bull Fighter takes itself seriously enough for you to care, but there are some moments of unintentional hilarity, particularly a screwy song played over a training montage, the lyrics of which (helpfully translated) extol the virtues of proper karate practice with all the stiffness of a Soviet socialist-realist tractor anthem. Plus, later on, there’s that stable of Japanese genre films, the whiny young boy, meant here to inspire sympathy; contemporary viewers (at least if they’re like me) will likely reward him with a different reaction.

Still, unintentional laughs are better than none at all, and you’ll still find yourself wrapped up in this one despite yourself. With the MSRP of this set being as low as it is, I could safely recommend a purchase based on this one title alone.

As it happens, though, Karate Bear Fighter, the 1975 sequel, is even better. This film finds Oyama up to his old tricks - he’s been expelled from the “karate circle”, yet he continues to practice his art with anyone foolish enough to accept the challenge. In the first minutes of the film he dispatches several members of a karate school, angering the local master who, despite that, refuses to honor the outcast with a proper duel.

Oyama heads to Tokyo, where he encounters a local con-man peddling phoney medicine under his name. After a confrontation, the two become friends, and Oyama helps the man charm a local girl he has a crush on. All the while, Oyama must fend off attacks from assassins sent by the karate school he humiliated in the beginning of the film. In the middle of all this, Oyama gets a visit from a strange old man who leaves him with a bit of cryptic advice.

Tensions with the karate school reach of boiling point, and, after a violent clash, Oyama retreats to Hokkaido. There he encounters the young child of an alcoholic single father, and a friendship begins to bloom between them. The dad suffers serious injuries at work and must be hospitalized; Oyama agrees to fight a hungry bear, in return for which he’ll earn enough money to pay for the man’s care. Shortly thereafter, he returns to the city to finally settle the score with the school.

Bear Fighter, while more episodic than the typical Hollywood film, is much more tightly plotted and structured than its predecessor, with a much more even pace. There’s a lot more (intentional) humor in the beginning, but then it shifts into a very bleak mood by the end, finishing on a note of such melancholy that I wasn’t sure what to make of it. I’m still not, but I can’t deny that its stuck with me since.

Yamaguchi’s direction of Bear Fighter marks a step ahead as well. Perhaps he’s gained a measure of confidence from directing a bona fide hit. Whatever the reason, Bear Fighter feels much more assured and fully realized. Yamaguchi has some fun with lateral staging; watch for some nifty ensemble compositions, with multiple figures arranged in clever patterns within the frame. Many other striking widescreen shots occur throughout, making excellent use of the 2.35:1 frame. The action scenes as well show a willingness to experiment with long takes over the first film’s more traditionally fast-cut fights. There’s a very impressive and elaborate single-shot battle in a restaurant, and later long-take fights actually allow Chiba to show off his formidable athleticism and speed.

And, finally, I would be neglecting my duties if I didn’t devote a few words here to the bear fight itself. This scene is doubtless the reason why many people will even bother with this movie and it pains me somewhat to say that it is among the weakest sections. First and foremost, the bear is quite plainly a man in a bear suit. Normally this wouldn’t be that big of a deal - I’m certainly capable to accepting the limitations of certain kinds of special effects and letting my imagination fill in the cracks - except for the fact that the rest of the movie up to this point relies on a kind of realism for its power. Every other scene besides this one takes place in a wide shot, with Chiba displaying unrehearsed-looking demonstrations of his karate prowess in real space and time; when the bear shows up, Yamaguchi suddenly (and necessarily) resorts to hiding figures behind trees and bushes, much more intrusive cutting, and so forth. Its very jarring and becomes a bit of a distraction from what is otherwise a surprisingly absorbing film. While its not a bad scene - Bear Fighter doesn’t really have any bad scenes - its hardly the highlight. Aside from that rather embarrassing misstep, Karate Bull Fighter is among the best Japanese martial arts films I’ve seen in some time. It succeeds on almost every level and is well worth your attention.

Karate For Life is the weakest film of the set, but it makes up for this somewhat by also being the goofiest. In this film, Oyama follows a shady promoter to Okinawa, where he becomes a professional wrestler (!), putting on matches for the rude and racist GIs stationed there. Since the theme of the series thus far has been Oyama’s dedication to the purity of his art, you can imagine that it isn’t long before he begins to chafe under the conditions under which he works (fixed matches, making the opponent look better than he is, etc). and rebels by fighting the matches his way. This does not go over well with the local gangsters who run the whole operation, and, after several attempts to extort promises of good behaviour go awry, they strike back at Oyama by attacking his friends (consisting of a good-hearted prostitute and - horrors! - a whole gang of whiny Japanese children). In a furious and fun climax, Oyama and his judo-master tag-team partner take on what seems like the entire gang in revenge, breaking limbs left, right and center in a wild display of mayhem.

I’m simplifying the plot of Karate For Life in part because its the most episodic of the films, with the greatest amount of narrative padding and not a few non-sequitors. The opening and closing fifteen minutes consist entirely - and I mean entirely - of riotous martial arts sequences, in which dozens of would-be assailants fall under Oyama’s vicious karate. They’re all well-shot and staged, but they have the feeling of a long guitar solo in the middle of a concert - its kind of cool, but it doesn’t really have much to do with what else is going on. Take those sequences away and you’re left with only an hour of movie left.

And that hour is, frankly, not made up of the strongest material. While the concept of testing Oyama’s convictions in the world of professional wrestling might seem like a nifty idea, in practice it clashes a bit with the (relatively) serious tone set by the rest of the films, monkeying with this viewer’s expectations in ways that didn’t always pay off.

Furthermore, Karate For Life is the most unpleasantly anti-American of the three movies. There always was an undercurrent of this in the other two films, but it becomes a central theme here, even blossoming into subtle racism and Negrophobia (Oyama’s friend turned toward prostitution after being raped by a black American soldier).

Still, Karate For Life is never boring and its weirder plot conceits are just loony enough to keep you interested. While it is easily the least of the three films, it isn’t bad by any means - if it was a stand-alone film, it would be remembered as an interesting, competent, curiosity. I’d recommend checking this one out if you’re specifically a fan of martial arts, Japanese genre films or Sonny Chiba.

The DVD

Video:
The image quality of Karate Bull Fighter is the best - its not the best I’ve ever seen, but certainly very good, with no defects that I was able to detect. The other two movies, however, had some slight problems: some noticable ghosting, a bit of image enhancement. This isn’t bad enough to ruin the viewing experience, but it keeps me from giving this as high a grade as I might have. Overall, the video is servicable, if not outstanding. All of the films are in anamorphic widescreen, in 2.35:1 ratio.

Sound:
Karate Bull Fighter alternates between mono and stereo sountracks. The mono seems to be the original, theatrical track, but I preferred the stereo, as it seemed more dynamic. The other two stick with mono, which sounds fine but gets a bit distorted in the (many) louder moments. As with the image, the sound is perfectly adequate, but nothing you’ll rave to your friends about.

Extras:
The only extras appear on the Karate Bull Fighter and Bear Fighter discs: previews for Karate Bull Fighter, Killing Machine, Karate Bear Fighter, Karate For Life, Shogun’s Samurai, G.I. Smaurai, Black Magic Wars, Legend of the Eight Samurai and Resurrection of the Golden Wolf. The Karate For Life disc has no extras. Final Thoughts:
Despite some minor reservations, I wholeheartedly recommend these discs, which I think will give you many hours of pleasure over the summer. The Karate films have a great range of moods and tones which don’t always hang terribly well together, but are at least satisfying in their own right. A fun combination of action, pathos, nihilism, comedy (both intentional and otherwise), any fan of martial arts films will definitely want to pick these up. Check it out.
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DOWNLOAD MOVIE Legend of Zorro, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Legend of Zorro, The Reviewed By Greg Ursic Posted 11/07/05 12:18:52

"Legend lacks the magic of Mask" (Average)

A decade after freeing the people of the republic of California from the tyranny of elitist Mexican interests and nascent American Imperialism, Alejandro de la Vega (Antonio Banderas) AKA Zorro, oversees the vote for statehood with pride. There are those however who are not interested in the democracy for anyone who isn’t a white Anglo-Saxon Christian and they try to negate the process through intimidation, drawing Zorro once more into the fray. Wife Elena feels that it is time for Zorro to allow the citizens to fight their own battles and spend sometime with his family, and she gives him an ultimatum: put away the mask or leave.I enjoyed 1998’s The Mask of Zorro for upholding the spirit of its predecessors, the matinee serials: Mask was an energetic romantic swashbuckler with a sense of humor that featured fine performances from Anthony Hopkins, Catherine Zeta-Jones and Antonio Banderas. The studio’s announcement that they were planning a sequel, without Hopkins in the lineup, sounded like a risky gambit at best. The execution proves even worse. First, I must note, that I initially had major misgivings over the addition of the son, as I felt it was an attempt to up the cutesy factor and pander to the younger demographic, and based on the trailers, I had developed an almost immediate dislike for Adrian Alonso. Thankfully Alonso proved far less annoying over the course of the movie, and I actually found him to be somewhat engaging. Once again Banderas and Zeta-Jones are a joy to watch when they’re together onscreen. In addition there are several some high-octane stunt sequences. So why am I not going to recommend it? The answer has many layers.First, the chemistry that I referred to between Banderas and Zeta-Jones is cut short by a ridiculous plot premise that separates them for the bulk of the movie. In addition, Zorro’s role - the supposed protagonist of the piece - has been severely stripped down to give Zeta-Jones and Alonso more screen time. The villains, a clan of Illuminati style madmen with grand designs of world domination, reminiscent of the crazier Bond menaces (think Moonraker), are laughably inept and neither frightening nor interesting. More importantly the story has been sanitized this time around – not only does Zorro not kill anyone this time around, he doesn’t even graze them. Finally, at 129 minutes, there is far too much time between action sequences.b]Mask of Zorro[/b] fans will likely be disappointed by Legend, as it lacks the spark of adventure, spicy pacing, mature humor and chemistry that made Mask a joy to watch. Sadly, it looks like the studio is trying to set the stage for a Zorro Jr sequel.
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DOWNLOAD MOVIE Believer, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Believer, The Reviewed By Scott Weinberg Posted 04/29/04 15:37:43

"A controversial gimmick in search of a better narrative." (Average)

A one-note movie that beats its drum loudly and often, The Believer hinges upon the viewer’s capacity for accepting a Jewish Nazi Skinhead. It’s not Ryan Gosling’s intense performance that prevents us from buying the whole package. It’s Henry Bean’s lecturing and self-satisfied screenplay that keeps this mildly compelling character study from evolving into anything more worthwhile.Gosling’s Danny Bolint is a miltantly self-hating Jew. Why? Not sure really. Through use of some clumsily overdramatic flashbacks, we learn that Danny enraged his Hebrew School teachers by challenging long accepted laws of Judaism. OK, fine. So Danny learns some untraditional teachings from his father. How that evolves into violent hatred for his own religion is anyone’s guess.The Believer is packed to the gills with various speeches, lectures and theological bantering. Much of it ends with someone getting a baseball bat to the head. In many respects, The Believer feels a whole lot like American History X with a Semitic gimmick.Much of what does work in the film can be attributed to Gosling’s excellent work as the hate-filled Danny, though his supporting cast is a mixed bag at best. (When Theresa Russell is the big standout, that’s not exactly a great thing.)Created more to incite than to entertain, and that’s just fine. But this one’s loaded with more cornball dialogue and convenient plot holes than your average Sandra Bullock flick, which makes The Believer a tough movie to take all that seriously.
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DOWNLOAD MOVIE Enemy at the Gates Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Enemy at the Gates Reviewed By Erik Childress Posted 03/16/01 04:51:07

"Sniper Sequences Overcome Many Flaws" (Worth A Look)

Jean-Jacques Annaud has become known for creating visually enthralling works of art on the screen. It’s no wonder that he was chosen to helm Wings of Courage, one of the first “features” created solely for the IMAX format. Film lovers will acknowledge his Quest for Fire and The Bear as his respective masterpieces. Quest dealt with the struggles of the caveman while The Bear encapsulated the struggle of an orphaned cub and its evasion of game hunters. Both films were unique in telling their stories with little to no dialogue and that Annaud staple has been carried throughout all of his work. It’s when his characters speak in where the problems lie.That’s not to say that the acting in his latest film, Enemy at the Gates, is bad. Far from it. It’s just rather dull compared to the epic shots of war and the heart of the story which is the battle of two snipers during World War II. It’s Stalin vs. Hitler in the battle for Stalingrad. In this corner representing Russia we have Vassili Zaitsev (Jude Law), a young soldier trained with the rifle since the age of five. And for Germany there’s Major Konig (Ed Harris), their personal best sharpshooter. At a time when the Nazis were marching through Europe like a Mayday parade with artillery, Stalingrad was the final prize that could ensure victory for the goosesteppers. Vassili was one of hundreds of soldiers to be shipped in to fight the good fight (without a weapon) and one of the few to survive an opening onslaught that will remind many of Spielberg’s D-Day sequence from Saving Private Ryan. Upon discovering his handy little talent, a Soviet political officer, Danilov (Joseph Fiennes), starts publishing his exploits as propaganda to boost morale. It’s this newfound fame that propels the Germans to send in Konig to put the final bullet in Vassili’s coffin and the duel begins. The sniper sequences, and I mean all of them, are done with incredible precision and tension, arguably, the best we’ve ever seen. Vassili gets occasional company stalking his prey in the form of Ron Perlman who shows up to prove that he could seamlessly step in as Jaws in the Bond series. But its when Vassili stands alone with nothing to communicate with except his rifle that this element of the story comes to life. Each man’s tactics are clearly defined as if they were sitting across a table over a game of Stratego. The tension that is built without a single word being uttered is an incredible achievement for any director and Annaud makes the most of every opportunity. There is a situation so amazingly choreographed involving a small barrier and a series of mirrors that is so masterfully done that you’ll wish you had a remote control in the theater to rewind it and watch it again frame-by-frame.Unfortunately, some of the characters have to speak. So in between the sniper face-offs, we have to sit through an undeveloped romantic triangle between Vassili, Danilov and a Jewish female soldier, Tania (Rachel Weisz). Their feelings are mostly held in check (while their British accents aren’t) and half the time I couldn’t figure out who Danilov was more into, Tania or Vassili in a Mr. Ripley-style. The one relationship that does hold our interest is that between Konig and a young Russian boy, Sacha (Gabriel Marshall-Thomson), who worships Vassili yet works as a double agent supplying the Major with crucial information. Ed Harris’ performance as that Major is the strongest in the film. The quiet way he talks down to the eager boy and bribes him with chocolate reminds us of the way that children were influenced by the Fuhrer into joining their ranks. Harris has a way of communicating with just his eyes a look of extreme sympathy or cold menace, reminding us of how powerful an actor he is. The rest of the cast doesn’t fare as well as they keep getting sucked back into that unrequited/betrayed love story. Neither Fiennes, Law or Weisz register below par, but sometimes an actor is only as good as their material. Just look at Bob Hoskins who shows up as Nikita Khrushchev not banging his shoes, but to make people “mess their pants” and to pay homage to “the boss” which with all the Communism and Nazism running rampant had me singing “Born in the U.S.A.” in my head.As WWII films go, Enemy at the Gates isn’t nearly up to the quality of a Saving Private Ryan. It’s sort of a throwback to old school war flicks with its cartoon maps and battles peppered with love affairs and on its own level it works, despite its many flaws. The love story is unfulfilling far beyond the reaches of the character’s own hearts. The full extent of the propaganda campaign is never truly felt. Vassili may be lucky on one too many occasions from playing dead to simply falling asleep as soldiers test surrounding corpses with numerous bullets. And composer James Horner recycles just about every single one of his familiar melodies and even manages to copy the strains of John Williams’ Schindler’s List theme during Weisz’s account of her family being slaughtered by the Nazis.So, Enemy at the Gates is not a perfect movie. But the most interesting and entertaining aspect of it is as close to perfect as they come and if you come just to see the hunters stalking their prey, you won’t be disappointed. This film has more headshots than a porno casting agency, certainly more than any film in recent memory, including Pvt. Ryan, and every one of them is powerful. Annaud excels at these calm-before-the-storm moments, even able to endow the love scene with a quiet eroticism. As with the case of this film, it’s like the theaters tell us, “Silence Is Golden.” At least until the sounds of the snipers’ rifles being cocked and fired.
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Slip
I remember the first time I saw a Charley Bowers comedy as part of a
silent film variety program; it was like nothing I'd ever seen
before—well, not quite. There are moments when he bears an uncanny
resemblance to Buster Keaton: slightly built, with dark side-parted
hair and a long, pale face. His ingenious underdog character also
recalls Keaton, as does his interest in machinery, but his films are
much zanier, more truly bizarre and surreal. Keaton, especially in his
feature films, was a stickler for logic, authenticity, and believable
stories. Bowers was an illusionist; the core of his art is the
dream-like fantasies he created through stop-motion animation: cars
hatching from eggs, a stuffed doll coming to life, a mouse firing a
gun. His background was in cartooning and animation, and he brought a
loopy, far-out sensibility that is closer to the cartoons of the
Fleischer Brothers than to the work of any other silent comedians. But
comparisons are inadequate; Charley Bowers was unique.

While he's not a great performer, Charley is a winning presence in his
own films. The key-note of his character is enthusiasm: he's constantly
bounding and hopping around in excitement over his inventions. He
always plays an inventor (at least in every film I've seen), a guy with
a one-track mind, calmly monomaniacal, unquenchably visionary. He
invents a process that renders egg-shells unbreakable, grafts a
pussy-willow bush that grows live cats, builds a fully-automated
restaurant kitchen and constructs a pair of shoes that dance by
themselves. As a friend of mine pointed out, Charley was an early type
of the "techno-geek," a technically brilliant guy who is weak in social
skills. His off-beat behavior often sabotages his success; a lot of the
time, he doesn't get the girl. Many of his films follow the downbeat
pattern of THE MAN IN THE WHITE SUIT: violent hostility overtakes the
well-meaning inventor when his inventions go awry or threaten the
status quo.

Charley Bowers' films are usually more mind-boggling than
laugh-out-loud funny, but MANY A SLIP is simply hilarious. It starts
with a delicious premise: Charley the inventor sets out to develop a
formula for non-slippery banana peels. (Has he considered how many
slapstick comedians this would throw out of work?) He hides out in a
basement workshop, avoiding the interference of his battle-ax
mother-in-law, and he goes about his work with methodical zeal. He has
a spidery multi-armed machine that dunks peels in experimental
solutions (everything in his workshop is labeled "patent applied for&quo and he tests the treated peels himself, trudging heroically up a
staircase and letting himself skid to the bottom. When he gets tired of
that he starts planting them for others to slip on, popping out of trap
doors and poking a fishing-rod out of a hidden window. A montage of
pratfalls follows, until he finally achieves a peel with good traction.
It's not too surprising when the man who offers him $50,000 for the
invention turns out to be an escaped lunatic.

Believe it or not, this is one of the less weird Bowers films I've
seen. It contains only a small segment of animation, when Charley looks
through a kind of microscope (it looks like a giant, inverted
telescope) and discovers the germ that's responsible for making banana
peels slippery, a little critter that skates and slithers around
woozily. This is scientific progress, silent comedy style.

NOTE: When I watched this film on the excellent Lobster Films DVD
"Charley Bowers: the Rediscovery of an American Comic Genius," I didn't
realize that I was seeing only the second half of a two-reel film, all
that survived at the time. Then, at a screening presented by Serge
Bromberg, the head of Lobster Films, I got to see the whole thing, a
complete print having recently turned up. Most of the best stuff is in
the latter half anyway, but the first reel shows the arrival of
Charley's mother-in-law and her two dreadful sons for a visit, and some
of Charley's other inventions, including a bicycle-powered player-piano
and a self-feeding coal boiler that causes the radiator to melt into a
puddle. We also see a man (who returns at the end) offer Charley a
reward for the invention of a non-skid banana skin. Enraged by
Charley's erratic inventions, his mother-in-law storms off to the
police station—and that's where the version on the DVD picks up. Here's
hoping that more lost Charley Bowers work will be discovered—there's
nothing else like it.

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Shirley Valentine, the 1989 film adaptation of the hit London and Broadway play about a bored English housewife and her personal reawakening during a trip to Greece, comes to DVD in a sparkling new transfer. Pauline Collins, an unfamiliar face to most moviegoers in 1989, received a lot of attention for her Oscar-nominated role here as the downtrodden Shirley (she had originated the role on stage), who gradually realizes her life, such as it is, is quickly passing her by, and that she had better do something about it before it’s too late. Ably supported by Tom Conti as an amorous Greek bar owner, Shirley Valentine takes the familiar tale of a middle-life crisis, and tries to keep it honest (most of the time), even though it’s rarely balanced or even fair, while, despite its “opening up” for the screen, often remaining determinedly stage-bound.

Shirley Bradshaw (Collins) lives a comfortable, yet maddeningly routine and unvaried life as a Liverpoolian housewife. Things have become so bad for Shirley, who feels disatisfied and unfulfilled, that she’s taken to addressing the kitchen wall (which one assumes she faces much of her day, cooking and cleaning) as Wall, telling her troubles to it — and to us (Shirley also addresses the audience directly, breaking the fourth wall and letting us in on her thoughts and feelings). Her husband, Joe (Bernard Hill), a business owner, appears relatively indifferent to Shirley’s plight (although to be fair, the film never shows her attempting to explain her troubles to Joe). His main source of irritation is when Shirley deviates from his strict weekly dinner menu; when she fails to deliver steak on Thursday, a rather nasty fight erupts, and Shirley confirms an earlier decision she made was the right one.

Earlier, a friend, Jane (Alison Steadman), told Shirley that she had an extra ticket for a two week trip to Greece, and she invited Shirley to go along. Shirley, amazed at her own audacity in breaking away from her needy yet controlling husband for two weeks, dithers about going, but when faced with Joe’s stiff-necked opposition, as well as an aborted return home by her grown daughter (who thinks Shirley’s trip is “disgusting” for a middle aged woman), Shirley does the unthinkable and leaves home — but not before cooking all of Joe’s dinners in advance and freezing them for him.

Once in Greece, Shirley finds that traveling alone can be just as lonely — if not more so — than staying at home. Jane immediately shacks up with another tourist, and Shirley is left to make a new friend on the beach: Rock (yes, like inanimate wall Wall, Rock is a huge rock on the beach). Leaving behind the other nosey tourists who pity her, Shirley wanders off to a nearby seaside bar, and requests a table right at the surf’s edge. She tells the owner that it will make one of her dreams come true. Sensing a lonely foreign tourist, the bar owner, Costas Caldes (Tom Conti), talks with Shirley, convincing her that she should come with him the next day on a boat excursion around the island. Of course he promises no funny stuff, but of course, he’s lying, and sure enough, his quiet charm works on Shirley and they initiate a sexual fling. Feeling liberated, Shirley must make some tough decisions when it comes time to return home from her trip.

When Shirley Valentine came out, I remember quite a few critics and fans discussing it like it was some kind of raucous comedy, with Collins spitting out venomous one-liners like a jacked-up British Neil Simon character. I skipped the movie when it premiered, but watching it today, it seems much more laid back than its previous reputation implies. Quite often, Shirley does go for the rim-shot quip, but it’s all rather low-key, really, with a British reserve that feels more like Ealing than Simon territory. Unfortunately, Shirley Valentine doesn’t have the impish charm — as well as the smart-cookie wit — of an Ealing Studio comedy; it often plays just like what it is: an “opened up” one-woman play that probably worked better on the stage.

Every time a movie uses a character that breaks the fourth wall, a whole new crop of viewers suddenly feel like they’ve discovered something terribly new, but in Shirley Valentine, it’s one of the least successful uses of it I’ve seen. It’s not that Collins can’t pull it off; she’s a sly one, with a bit of a twinkle in her eyes that’s infectious. It’s just that the process is infrequent, so when it does come back after a lull, after we’ve started to view the film as a film again, we’re reminded by her comic asides to the camera that we’re watching a filmed play. And frankly, the things she’s made to say don’t ring true in a cinema world. Watching a play, the audience readily accepts characters speaking out to the void, or to us directly, as a theatrical means of expressing thoughts. But in film, it’s a far trickier technique, especially if what’s being said is at times unbelievable (Michael Caine’s Alfie did it expertly). Watching Shirley greet her kitchen wall never feels believable (or the equally stupid “Rock”), and just comes off as a stagy trick that they should have left out of the film version. Other sequences in Shirley Valentine feel theatrically clunky, as well, including a largely awkward scene with Joanna Lumley as a childhood schoolmate who’s become a prostitute (perhaps it worked better as a verbal remembrance by Shirley on the stage). Casting good actors in roles that were only heard about but not seen on the stage doesn’t make a one-woman stage show into a fully integrated film.

Filmic technique aside, there are quite a few things in the Shirley Valentine script that might strike some viewers as awkward, as well. While it’s difficult not to get into the spirit of Shirley’s rebellion against her seemingly stagnant emotional prison (aided no doubt by Collins’ bright performance), nagging questions of motivation do pop up because the film plays fast and loose with the other peripheral characters. One of the reasons it might be easy to side with Shirley is because everyone else in the film is portrayed as a flat, cardboard comedic target. Joe is seen only as an emotional thug, flipping his dinner into Shirley’s lap. When we do get a brief flashback of him acting decently (when Shirley remembers their initial happy times), it’s fleeting, and no explanation is given as to how or why he turned out the way he did (it’s interesting that Shirley says they both used to laugh in their youth, but she — and the film — only blame him for stopping. Maybe he stopped when she stopped?). Shirley’s annoying neighbor is one-dimensionally pompous, obviously functioning as a springboard for Shirley’s contempt. And Carlos turns out to be exactly what the film wants to trick us into thinking he’s not: a genial predator of bored, romance-starved foreign travelers (the cliched gauche British tourists are facile, as well). It’s easier to put forth Shirley as a downtrodden victim who rebels against her station in life, when the screenwriter has put up such one-dimensional obstacles to her path towards personal redemption. How much more rich the film’s conflict could have been if everything in Shirley’s life appeared relatively normal — and she found she was still unhappy.

But where Shirley Valentine does work very well, is in getting across that feeling that I suspect everyone gets once over the course of years, where they look back, and wonder how they became who they are in life. How you became the “you” you are now, and how different that person is from the “you” you used to be. There’s a marvelously sad and poignant flashback to Shirley’s schooldays, where the piss-and-vinegar Shirley is gloriously young and alive and willing to face any challenge — back when she says, “I was Shirley Valentine, not Shirley Bradshaw.” I think everybody over the age of 25 or so can relate to a moment like that, where you realize how far you may have strayed from the kind of young adult you used to be, and this particular sequence is most successful at getting across that lump-in-the-throat sudden awareness of how someone might have settled for far less than what they’re capable of enjoying.

And that’s the successful part of Shirley Valentine. Collins is quite touching in her scenes where she comes to the inescapable conclusion that she’s settled for far less than she should have. Not necessarily that she married the wrong man, but that she’s let her life slip into an emotional vacuum, and that she needs to get back to that young Shirley Valentine’s attitude of taking life on her own demanding terms. At times, the film can be fairly honest, too, with the emotional drawbacks of such an experimentation with life. Shirley is well aware that Carlos is a liar, but she’s willing to go along with the affair to jump-start her emotions, to kick her back into the realm of senses that she’s been deadened to. And there’s no guarantee that her final gambit with Joe will pay off the way she — or perhaps more accurately, the audience — would like. Despite the one-sided easiness of most of Shirley Valentine’s targets, there’s no denying the depth of some of the truths do come out of this funny, sad comedy.

The DVD:

The Video:
The anamorphic 1.85:1 widescreen video image for Shirley Valentine is quite lovely, with deep, rich, true color (the skin tones are particularly subtle in the Greek sequences), and blacks that hold.

The Audio:
Here’s where things get a little weird. The disc offers two Dolby Digital 5.1 Surround mixes: one labeled “US English,” and the other “UK English.” My first thought when seeing that was perhaps the US version is a dub, with different vernacular or perhaps even different scenes with different dialogue. Upon watching both, and flipping back and forth between the two, I could find no difference. Even watching for lip movements, where dialogue was obviously looped in post-production, I couldn’t tell any difference between the two mixes. If someone knows what’s up with these two supposedly different tracks, email me. There’s also a French 2.0 Surround mix, and English subtitles available.

The Extras:
There are no extras for Shirley Valentine — not even a trailer. Too bad; I’ll bet Collins would have been a hoot on a commentary track.

Final Thoughts:

Manipulative, stagy, and maybe not even fair, Shirley Valentine still achieves a depth of feeling in its familiar mid-life crisis story, mainly through the thoughtful, emotionally true performance by Pauline Collins. It’s funny, but mostly sad, and certainly worth your time. I recommend Shirley Valentine.

---

Paul Mavis is an internationally published film and television historian, and the author of The Espionage Filmography

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Final Analysis **1/2 (out of 5) (1992)

Cast: Richard Gere, Kim Basinger, Uma Thurman, Eric Roberts, Paul Guilfoyle, Keith David

Directed by Phil Joanou

  A psychiatrist begins a romance with the sister of one of his patents, although later finding out she’s married to a powerful gangster-type. His lover kills her husband, claiming “pathological intoxication” whereby the person is susceptible to uncontrollable acts of violence when under the influence of alcohol. The shrink pulls some strings and gets her off the hook, but is uncertain if she is a scheming murderess or really a victim to her condition.

A potentially nifty Hitchcockian thriller, with many references to VERTIGO in particular, overdone in style and laughable in acting and writing. It’s watchable and enjoyable, but these actors are solely cast on their looks, and deliver their poorly conceived lines with vast ineptitude. In the hands of a better drector and with a cast of credible thespians, this could have worked much the way FATAL ATTRACTION or JAGGED EDGE did, but we aren’t so blessed here. As far as thrillers go, it does have it’s merits, but the misses outweigh the hits in this mediocre endeavor.

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Iron Giant, The

The Iron Giant ***1/2 (out of 5) (1999)

Cast (voices): Jennifer Aniston, Harry Connick Jr., Eli marienthal, Vin Diesel

Directed by Brad Bird

A giant robot falls to Earth from outer space and startles the people of a small Maine town called Rockwell in 1957. A young boy encounters the gigantic machine and befriends it, but a government agent investigating the case suspects the existence of it and views it as a dangerous threat that must be stopped at any cost.

Not the most original film to come down the pike, as shades of E.T. emerge, but it’s based on a story from the late 50s so let’s give it a little credit here. The strength of the film comes not from the plot, but the well-written and inspired characterizations that lead to the stirring and emotional finale. Not only is the story heartwarming and effectively compelling, but it’s also quite funny with quite a number of “in-jokes” that will please adults while the children are drawn into the giant robot and his young companion’s plight. The animation and sound is excellent, with the casting of the voices spot on. The character of the young boy (Hogarth) does suffer from a bit of the Annoying Kid disease that many Hollywood productions are riddles with, but the story is larger than him. There is a moral core to the story, that of loyalty and sacrifice, of how violence breeds violence, and of the evils of guns. Despite the derivative plot, the writing and characters still breathe life into an oft told story and make it seem new again.

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