3:10 to Yuma – Western Blu-ray movie review

It's one of the best westerns and best all-around movies I've seen in a long time. That's largely due to the outstanding performances by the cast, ably led by the alpha male, bad guy, Russell Crowe. His protagonist is Christian Bale who turns in a nuanced performance as the down-on-his luck rancher. The scenes between these two men are riveting and a display of acting at its best. The supporting cast are all wonderful and in particular, Ben Foster, Fonda and Logan Lerman as Bale's oldest son.

Mangold's film is a tense, traditional western based on an Elmore Leonard story. Leonard is a solid writer, and gave the material upon which the film is based enough background and characterization to permit willful suspension of disbelief. Mangold's film does the same. Our protagonist and antagonist are, respectively, Dan Evans (Bale) and Ben Wade (Crowe). Evans is a would-be rancher and family-man whose family is suffering from a drought and a merciless landlord. Evans and his boys cross paths with notorious outlaw Ben Wade and his gang on their way into town to confront their landlord, and Wade whimsically lets them go. But the connection between these two men and Dan's eldest son is far from over. Eventually Dan will accept an offer made by a railroad agent to help escort Wade to a train headed to Yuma prison, while Wade's crew of murderers dogs their every step.

Although there's plenty of gunplay and death by bullets, this is much more of a psychological drama than anything else. Wade, as played coldly (but not charmlessly) by Crowe, has two goals in mind: gain the mental upper hand on Evans, an untrained rancher, and gain his escape from the clutches of law and order. Meanwhile, although Evans' intentions are less murky, he's not some squinty-eyed sharpshooter whose aim is always true; he's not an iconic hero who you just know is gonna save the day. Bale is terrific; you can really see the anguish he feels as a supposed failure in the eyes of his sons. In the hands of lesser actors, these two complex roles would have seemed less symbiotic and therefore less sincere. For example, apparently Movie Guy Tom Cruise was initially supposed to have Wade's role; if that had come to fruition, we would have been distracted by Movie Star Tom Cruise, and the movie would have suffered terribly as a result.

This film is not about the gun battles or the wild west. It's about the characters. These characters are so deep and as we become so involved with them we are left rooting for them and hoping something doesn't happen that seems inevitable. The final lines of the film are said by Dan Evans' son and Charlie Prince. Both said to Dan Evans. We can get a sense of joy during these final moments because we know everything that happened up until that point went exactly as planed by Evans, and we get a sense of triumph in an odd way. This is a great film regardless of genre. It's also the best Western I've ever seen.

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Mad Men – Original TV series Blu-ray review

The first episode of Mad Men honestly represents the drinking, smoking, sexist fifties, a time when Madison Avenue's attitude and control permeated our entire culture, including one international political blunder after another, a time before anyone ever heard of political correctness. Gays were still in the closet, women slept their way to wherever they wanted to go, and advertising executives ruled the world. Everyone smoked because we all just looked so damn good doing it.

A poster said he/she thought all the smoking and drinking was a bit much and contrived. However, I think it's fairly accurate. I'm in advertising NOW, and we always have vodka in the freezer...a couple of the men in the office open a bottle of scotch in the afternoons. Although the drinking on the clock isn't AS pronounced today as it was in 1960, I do believe Mad Men accurately depicts agency behavior during that time. My art director mentioned to me that the 70s in advertising were very similar; smoking and drinking in the office, on the clock.

The stories center around a particular advertising agent, Donald "Don" Draper, often seen through the eyes of his new secretary Peggy who can't quite figure him out. Draper is a master of the advertising spin, able to leap into imaginative ad techniques with every bound. He wins awards for his ad copies and is an invaluable asset to the advertising firm. But Draper has many secrets. Despite having a beautiful wife and beautiful children, Draper engages in extra-marital liaisons. He is aloof with not only his co-workers but with his family, often seeming like a house guest when he with his family. We also learn that Donald Draper is an assumed name, and he has a long lost brother with whom he wants to cut all ties. In addition to his mistress and his wife, Draper often can't resist a sexual fling, a JKF-like sexual appetite that never lets up.

I really liked the show! It's pretty gritty by today's standards, but it's a darkly accurate window on the near past. For us Boomers, it's a stark reminder of why the Libbers were so P. O.-ed at men all through the 'seventies. And the cars are cool! I think Draper is driving a '59 Pontiac. Man, I'd really like to have that car! And the woman that plays Rachel Menken - wow! Is she HOT!

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Step into Liquid – Blu-ray movie review

Step Into Liquid is full of breathtaking cinematography of (mostly American) surfers achieving heroic feats of beauty in the lap of Neptune. From the crazy Californians who boat 100 miles off shore to ride 60-foot waves breaking over an underwater mountain, to a paralyzed former surf phenom who manages to get back into the tide splashing near shore, to creative nutcases in south Texas who surf in the wake of oil supertankers in a 15-mile-wide canal, the movie offers a snapshot of the breadth of the sport as practiced in an endless number of ways wherever water, for whatever reason, forms waves.

The film had a point, a plot, and we felt like we were headed towards something "greater". Sure, this was a surfing documentary similar to Billabong Odyssey and Endless Summer, but there were unique aspects I hadn't seen before: Lake Michigan surfers riding the tiniest of waves and Texas surfers riding the waves made by huge oil and cargo ships. The film's premise was to show that surfers were everywhere and that the surfing lifestyle meant something more than just an attitude akin to a bad Keanu Reeves impersonation. Surfing means appreciating Mother Nature in her most awesome and dangerous aspect.

The joyous fulfillment and camaraderie radiated by the exuberant folks in this film is infectious. How many people are really fortunate enough to have found a singular, driving passion that becomes central to their entire existence? Too few, I fear. It's something you can't help but envy and - especially when it involves such sublime and spectacular abilities - admire.

From a technical standpoint, I was most impressed with the extent of the effect that they were able to achieve through the almost constant use of slow motion (so much for 'no special effects…') and the outstanding musical selection on the soundtrack. As a novice filmmaker myself, I love to see such simple effects as blending slow motion with certain music, because it has such a strong effect and is something that I've used myself dozens of times. This is the kind of movie that makes me want to be a documentary filmmaker.

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Terminator 3 – Blu-ray Movie review

Terminator 3: Rise of the Machines is often criticized by fans as being not in the same tone as its predecessors. While I agree with that statement in many ways, I think Jonathan Mostow made an honest effort to bookend the series. The story is probably one of the things I take issue with most. It brings up new questions on the nature of time travel within the Terminator universe, as well as bringing new plot holes (something the previous films also had). Some of these flubs could've been corrected with a little research, but I digress. The story tends to be a retread of Terminator 2, which hurts it a lot. But Mostow tries to draw attention away from this with some awesome action sequences. The storyline, in this respect, takes it up a notch with scenes such as the restroom fight and crane scene.

Rise Of The Machines might not be the (near) perfect juggernaut of an action sequel that was Cameron's Judgement Day, but as far as edge-of-the-seat, sci-fi fun goes, it's still bloody good! Director Jonathan Mostow certainly makes the most of his mega-budget, and delivers plenty of jaw-dropping mayhem along with loads of impressive special effects. And Schwarzenneggar does what he does best: blowing things up, shooting huge weapons, and delivering cheesy one-liners.

Terminator 3 was packed full of what Arnie movies do best - fights, chases and s*** getting blown up. The car chase scene involving the crane was great, and as far as I am concerned was better than The Matrix Reloaded's attempt at a car chase any day. The T-X, played by very cute Kristanna Loken, brought a freshness to her role as the 'Anti-Terminator' Terminator. The T-X seems to take the best of the Terminator and the T-1000, and chucks in some extra firepower for added effectiveness.

The T-X model terminator (Kristanna Loken) was nice. Sure, they chose a beautiful woman for the T-X, but she was not to be trifled with. The T-X had the same shape shifting abilities as her predecessor (the T-1000) but she also had abilities to control anything that had a CPU and she could form her hand into a variety of weapons. Similar to the T-1000 (Robert Patrick of T2), the T-X (Loken) took the T-800 (Schwarzenegger) to town, but she was a bit more dangerous even than the T-1000.

T3 was a solid movie for a third installment. Usually by the third sequel you are begging Hollywood to stop, but I can't say that about this movie. This movie is good enough to watch more than once.

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No Country for Old Men – Blu-ray movie review

No Country for Old Men is as exceptional a mix of two creative talents- the Coen brothers, Joel and Ethan Coen, and author Cormac McCarthy (recent winner of the Pulitzer for The Road, his own masterpiece) as one could imagine, as they converge on a story that in lessor hands would be just a B movie. The story concerns an average Joe out hunting one day in Texas who comes across a bunch of dead bodies, heroin, and a satchel with 2 million in cash. He takes it, but without knowing that a true embodiment of a psychopath (Javier Bardem) is on his trail, and as he evades him it becomes more and more clear the fatalism that lies in store, as a weathered sheriff (Tommy Lee Jones) is also on the trail with perpetulally sad eyes looking on from his stolid demeanor.

The Coens begin the movie with a voice-over against a barren Texas landscape, much the way Blood Simple began. In fact, there are several similarities between the two films, like the auspicious lack of music. A reviewer whose name escapes me once said that all Coen Bro. films look great and sound better. I'll get to sound later but to talk about the look... Other than some CGI animals, which really shocked me in such an otherwise perfect film, each frame is filled with such interesting material that the tone is set perfectly so that as you view a scene, you know whether to wait on a laugh or brace for...

Right up until its dénouement, the film is simply brilliant. Taut and thrilling, it blows right through the majority of its two hour runtime with ease. Even during moments of slowing down, the film stays right on track and never feels like it has run its course. It engages even when it appears that nothing is happening. The Coen Brothers truly crafted what appears at first glance to be a masterpiece, even if it is their first real shot at something that is not indelibly and inarguably their own. Even without reading Cormac McCarthy's novel, I know that the Coens have done it justice, even with their bitterly twisted and dark sense of humour scattered throughout the film.

I must say that I can't help but agree to most people when they say the Javier Bardem's Anton Chigurh is the most disturbing character (and yet mesmerizing) to grace the screen since Anthony Hopkins introduced us to Hannibal Lecter in 'Silence of the Lambs.' Chigurh effectively radiates evil and embodies violence in a very intelligent and forceful manner that touches the fear in all of us. Like Lecter, he personifies evil not in the conventional and simple sense, but in way that somehow presents to us the whole magnitude and complexity of its nature. In the dialogue he speaks, a kind of thinking revealed is one that is calculating and deeply philosophical but essentially ruthless and sinister.

A brilliant examination of unavoidable fate and unconventional storytelling, the Coen Brothers' latest effort is one of masterful precision. Though the story is based on McCarthy's famous novel, No Country for Old Men still retains the unmistakable mark of the directing duo, and combined with phenomenal characters in a brutally unforgiving world, this thrilling saga of murder, mayhem, and destiny should not be missed.

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Shine a light-Rolling Stone Blu-ray movie review

Shine a Light displays, thrillingly and with the bombastic POP of a revisited 'happy place', why many love the Rolling Stones and many love the style of Martin Scorsese. It's mostly a concert movie shot over a period of two mights at the Beacon theater (as if doing a workhorse revival of thirty years ago, while Scorsese was busy shooting New York, New York in 76 and doing the Last Waltz concurrently, this time he shot the concert while finishing up the Departed), with some choice documentary footage interspersed in between some songs. On both fronts, however minor the interview footage is, it's a big success, visually and musically, as good old rock and roll performance art, and as visual virtuosity made incarnate.

Shine a Light is a concert film. I'm not sure I'd call it a documentary on the Rolling Stones so much as a filming (a brilliant filming) of an especially good concert they played recently. Scorsese is smart enough, however, to use interviews and clips from all stages of the Stones' career for purposes of humor and even commentary on various aspects of music and the music business, as well as the band itself.

Your average Rolling Stones fan waiting to see a Rolling Stones concert and who isn't a fan of film probably will be bored during the film's opening scenes, but for those interested in film, they provide a fascinating glimpse into the marriage of live music and film-making, which doesn't happen as much as it should. It's also quite an intimate look at the Stones as a bunch of people, exposing them in the same sort of way the non-concert scenes in "Gimme Shelter" did. Then again, how much of it is real and how much is an act is really the essential question that we will forever be asking about this band.

Interspersed throughout the concert performance are plenty of vignettes culled from past interviews spanning from the 60s, which will bring on some laughter as you watch them with perfect hindsight. You will get to see how youthful all of them looked when they first started out, and be amazed at their longevity in this business where bands come and go after making it to the top, if at all. Despite being grand-daddies, Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts still look in great physical condition to be touring and strutting their stuff, dishing out high energy, high performance concerts, with Watts even cheekily feinting tiredness at a point. In fact, none of them thought earnestly thought, back in their youths, that they will sustain their popularity, or would have reasons for it, except perhaps Jagger himself who jested that he had dreamt about rocking the stage into his 60s.

All in all, I'd say this is a pretty decent concert movie, but nothing special in terms of movies in general. If you're a fan of the Stones, you'll enjoy this, but it won't shine any special light on the band themselves.

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Patton Blu-ray movie review

This is a long but interesting character study of a real-life person: General George S. Patton, who also was a real "character." Gen. Patton was one of the most famous military men of World War II, a super gung-ho leader who admittedly had an intense passion for battle. How much of this story is fact and how much is fiction, I don't know. Knowing Hollywood and knowing when this was made - during the heyday of the anti-war (Vietnam) movement - I have my suspicions, but for the sake of the review, I will assume all of this is true.Whatever political bias a filmmaker might have, Patton made for a good movie subject anyway and the story is interesting all the way, thanks to the acting of George C. Scott, who was astounding as Patton and gives one of the more memorable performances ever by an actor.

All the things that contribute to Patton's legend are brought to life, his achievements, his braggadocio, even those character flaws that allowed for no weakness in others, we see in full view. Scott really got inside the heart and soul of General Patton.

Patton had an uncomfortable knack of living up to his billing, at least it was uncomfortable enough for his critics. The only other role of substance and this is really the only weakness of the film is that of Karl Malden as Omar Bradley. Though personality wise they were as far apart as you can get, in real life and in the movie they had great respect and even affection for each other. The other personalities of World War II appear mostly as paste board figures, maybe with the exception of Edward Binns as Walter Bedell Smith, Eisenhower's hard-nosed chief of staff.

What this movie does succeed with, in my opinion, is pointing out how different modern war is from "classic" wars in human history. WWII was the last war in which America had enemies that marched... in fact it was the last chance someone like Patton had to truly succeed in the way he did. Everything since has changed so much and the process differs so greatly that one of the reasons the US has had problems with wars ever sense is because we haven't yet recognized that we're not playing the same game as we were before. Everything's evolved and Patton in the movie is afraid of that, and it's for that reason that this movie still has something to offer.

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Pirates of the Caribbean: At World’s End Blu-ray movie review

Less than a year after the previous installment of the popular pirates trilogy, Jack Sparrow and company return in Pirates of the Caribbean: At World's End. The film should be great, given a three hundred million dollar budget, huge anticipation, and the closure a third installment inevitably brings to a series. While this film does show its budget and is quite visually arresting, it lacks a fair share of resolution to the trilogy and confuses with its overflowing exposition rather than purely existing to entertain.

While lacking the surprise of the original, the third Pirates film is much better than the second (though I liked it, I thought it had too many jokes and gags; a lot of the heart in the first was missing it seemed). Its lengthier, and not in a slowed-down way. Longer meaning more action, more characters (Chow Yun Fat and Keith Richards are awesome), and a final battle so enriched with awesome design, careful choreography and stunning visual effects it will blow your mind.Pirates of the Caribbean: At World's End is rife with dazzling visuals. As with both previous films, At World's End has spent it's almost-certainly astronomical budget on what actually goes on the screen. The sets, costumes, and stunning visual effects are impressive, to say the least. You might be excused for actually believing that what you are seeing is real at times, not just movie trickery. The make-up artists have also once again proved that they can be the go to guys for the creation of unappealing looking characters, as almost no one in Pirates of the Caribbean: At World's End looks like they have taken a bath or brushed their teeth, well, ever, which, in this case, seems to work for the film. If you want to see a visually spectacular motion picture, especially on the big screen, you need look no further than At World's End.

The movie's strongest emotional punches come near the end, as the destiny of Will Turner is revealed. It was at this point that the movie became truly set apart from the usual popcorn movie fare and became really good in its own right. I'll say no more than that over the last two movies Will's story has been masterfully handled; this gives him a fittingly legendary, mythic ending.

Overall, if you a fan of the first two, you will love these. This is just as enjoyable as the first two. This is one of the must-see movies on the big screen. If you did not like the other two, do not see it because you will not like it. One small plot hole was brought to this reviewer's attention after the movie ended but it is neither big nor noticeable so it is not a big deal. At the end of the movie, there was a lot of applause from the audience and it truly deserved it. "Pirates of the Caribbean: At World's End" is extremely recommended!

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Halloween – The original horror Blu-ray movie review

The original Halloween is definitely a true slasher flick, as well as a horror classic. Even though this is an independent feature and at the time had a relatively unknown cast, it became one of the surprise hits of the late '70's. Halloween more than most modern horror movies relied more on scares and suspense than extreme gore to help make it a success.

Halloween is the story of a boy who was misunderstood as a child. He takes out his problems on his older sister, whom he murders at the beginning of the film. This is just the start of things to come from Michael Myers.Donald Pleasance plays the doctor who's been studying Myers for years. He knows that something is different about him, something mysteriously evil. This evil will not be contained, and it cannot be stopped. After an escape from an institution, Myers tracks down his younger sister. If he kills her, there may be an end to the troubles of this misunderstood boy. But he seems to have problems in finishing his sister off as other people get in the way. He manages to take them out while still looking for that one girl he needs.

The casting of this film was brilliant and all the actors and actresses gave top notch performances, Jamie Lee Curtis was stunning in her first film role as Laurie Strode and Donald Pleasance gave a thrilling performance with his small role as Loomis. Nick Castle who portrays Michael did an outstanding job as the soulless and evil killer, and his walk and body movements were perfect.

One of the great highlights of this film is it's chilling score done by John Carpenter himself who created one of the most recognizable horror themes known today. The Blue Lighting was creepy and effective and one of the great moments in this film is when young Laurie is cowering against a wall after seeing her dead friends, and in the shadows behind her Michael's face materializes before he strikes. Michael's mask was one of the thing's that sent chills down my spine the most, the white emotionless face worked perfectly.

Overall, not only is Halloween a great horror movie, but also a great film. It works on many levels and draws the audience in and never lets up. This should be standard viewing for anyone wanting to experience a truly scary movie. And for an even more frightful time, try watching it alone with the lights off. Don't be surprised if you think you see "The Shape" lurking around in the shadows!

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Gangs of New York Blu-ray movie review

Gangs of New York is just perfect entertainment. It is an enthralling, bloody, melodramatic epic that more than justifies its two and one half hour running time. In Gangs director Martin Scorsese spins another tale of the New York underworld but with a twist. Instead of the mid-twentieth century organized crime milieu of Goodfellas, Scorsese ventures back to the 19th century to show us the origin of the modern street gang.

The movie takes us back to a time when America was a young country and New York was divided. Those who felt they were "native" Americans did not want immigrants to enter their great country, spawning hatred between groups all over the city where many of them landed. In the story we see how much of the town is run by one man, with William Cutting ("Bill the Butcher," played marvelously by Daniel Day-Lewis) being the most feared and well-respected man of the "five Points."

All of the actors put in extremely good performances. Leonardo DiCaprio really proved that he's not just a pretty face and that he does actually have a great deal of talent (which can also be seen in his other movie of the season, "Catch Me If You Can"). Cameron Diaz' performace also proves that she can do much more than the standard romantic comedy. Also, after hearing reports of Daniel Day Lewis' REALLY getting into his character, I admit that it was completely worth it. His character Bill Butcher is so complex and although you know you hate him, you can't decide why.

Scorsese may lose his way with the story but it is easy to forgive him because he does so well with the majestic historical sweep he gives to everything else. The sets look great, the costumes look great and the dramatic flair he gives in delivery add so much. It is a real problem that he has not taken the characters and story along for the ride but I found his silver lining to be enjoyable even if his rather OTT approach did further take away from the realism of the people and the story. His approach is matched by the cast, who are mostly enjoyable despite lacking depth. DiCaprio is more than the bland pinup I had feared he would be but he can't do much more than play the "silent revenge" card from start to finish. He is overwhelmed by Day-Lewis who has great fun in a fantastically OTT role that worked much better than I expected him to. Diaz is not that good and I felt she was miscast in an attempt to get "credibility" by working with Scorsese. The support cast is roundly good and features solid turns from Neeson, Reilly, Gleeson and many others fill out a strong cast.

Sometimes a little bit too wordy and slow, but still this almost three hour film is strong enough to hold your interest and imagination. In spite of the nay-sayers I believe Scorcese is a master among his peers. And being Irish is no requirement for feeling some pride or sorrow.

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