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A hypnotically bold, daringly original, and utterly fearless film that seemingly effortlessly dances between drama and comedy, tenderness and tension, completely unafraid to go to shocking, dangerous places. It feels totally unpredictable, and nothing about it feels safe, which is something far too many movies are these days. The Paperboy hearkens back to the audacious spirit of American cinema in the 1970s, when filmmakers weren't afraid to make outrageous works like Deliverance and Prime Cut. In this film's world, nothing is sacred, and because Daniels is so assured with this approach, so completely in control of every moment, watching it is an enthralling, absorbing, exhilarating experience.
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Rob Zombie’s The Lords of Salem is a masterpiece. Make no mistake about it. Regardless of how one feels about his previous films, this is something altogether different. It marks Zombie’s ascension to a new level of filmmaking prowess, a level barely even hinted at in his previous work. He has graduated from the pop writing and visceral shock-horror of his prior cinematic endeavors and emerged as a genuinely intelligent writer, a sensitive director of actors, and a powerful visual stylist. Though the film retains much of the gritty surface Zombie has been refining over the years, for the first time there is a deep well of subtext beneath it; there is a singular intent behind the gruesome imagery.
Stylistically, atmospherically, and structurally, the film is partly a pastiche of The Shining, Rosemary’s Baby, Dario Argento, Ken Russell, and other surreal films and filmmakers, but this is a creation that is unmistakably personal and impassioned, the work of intense vision and purpose. With this film, Rob Zombie has proven himself as someone capable of much more than just pop horror - he has shown he can make films with real insight and depth. He can back up the morbid shocks with something meaningful, and he has also displayed a striking command of beautiful imagery. The Lords of Salem is a masterwork that is unprecedented in his filmography, and a film that took me by surprise. It is beautiful, disturbing, cerebral, and important.
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While it may not reach the heights of Richard Shepherd's previous film, The Matador, The Hunting Party still has plenty to offer. It has the same witty dialogue, fun (but real) characters, and dead-on balance of humor and heart. Many have objected to the film's supposedly blackly comedic portrayal of war crimes, but the film does not draw its laughs from the actual atrocities; in fact, it treats them respectfully, tastefully, and with the appropriate sense of tragedy. The humor comes from this group of characters, the rapport they develop, and the increasingly insane situations they get themselves into as they get further and further in over their heads.
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Don't judge this film if you've only seen the theatrical version. While you do get the gothic atmosphere and general storyline, the editing in that version is just horrendous and turns the movie into a pacing nightmare. Watch the director's cut and enjoy one of the bloodiest, most atmospheric and entertaining werewolf movies ever made.
Picture quality of the Blu-ray is stunning, too.
My Best Buy number: 2650011757
What's great about it: Director's Cut
What's not so great: Theatrical Version
I would recommend this to a friend!
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American Werewolf in London [Full Moon Edition] [$5 Halloween Candy Cash Offer] [Blu-ray] [1981]
This user is a My Best Buy® Elite Plus Member, who has spent $3,500 on eligible purchases and is now getting 1.25 points per dollar. They may have received My Best Buy® bonus points for submitting reviews. They may have also participated in an invitation-only program that provides My Best Buy® Elite Plus Members with manufacturer-supplied products for the purpose of writing honest, unbiased and usage-based reviews.
Subtlety can be a tricky thing. In the hands of a craftsman like Elia Kazan, it can be the pathway to a masterpiece. But in the new adaptation of John le Carre's espionage novel Tinker Tailor Soldier Spy, director Tomas Alfredson banks on the trait so heavily that the rather simple narrative at the film's core is quickly lost in a convoluted mess of long pauses, meaningful glances, and generally frustrating storytelling.
It should be noted that this approach works wonders during the film's opening ten minutes or so. The early sequence of a potentially volatile meeting between two edgy gentlemen looking very intense and covert unfolds with palpable tension and remarkable attention to detail, playing out almost like a description-for-description visualization of a novel. However, this alluring scene - followed by a silently character-developing credits sequence - is as far as the thrill goes. Things unravel quickly as characters, subplots, and flashbacks are introduced and subsequently passed over in a whirlwind of information that, upon closer examination, really isn't all that complex. It's just that Alfredson wants us to believe that it is. This decidedly impenetrable structure is the film's ultimate undoing, as it creates an uninterested distance in the audience and renders the proceedings dreadfully dull and boring. In the end, Alfredson favors intricacy over forward momentum and forced style over character development. When the identity of the mole in MI6 is finally revealed, all one can muster is a disinterested shrug, as one can hardly tell the difference between any of the suspects in the first place.
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Absolutely gorgeous movie. Marcel Carne - truly a master of his craft - understood the language of cinema like few others, and when his beautifully expressive visuals and keen sense of camera movement are paired with Jacques Prevert's magnificent, lyrical dialogue, the result is pure film poetry. A complex, intricate meditation on love and life that is both playful and intense, sad and joyful, cynical and hopeful, with a sharp wit, fierce intelligence, and filmmaking prowess that is mind-bogglingly ahead of its time.
As usual from Criterion, the Blu-ray quality is top-notch. Can't praise them enough for giving an obscure gem like this such wonderful treatment.
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Well, Anthony Mann has finally made it to Blu-ray in the US. Sadly, the film is Strangers in the Night - easily one of his worst. This is an early film of his, and one he clearly didn't care much about. While the story sounds like it would be an interesting, dark, psychological character study, it is anything but. This is a silly thriller with paper-thin characters and very few redeeming qualities; not even Mann's usual technical skill or visual strength are particularly evident here. It's just a dull yarn (that only runs an hour, which barely qualifies as feature length) with a wasted plot and a bafflingly ludicrous ending. Thankfully, Mann was still just finding his talent and went on to much better things.
The disc itself is satisfactory. Pretty good picture quality, especially for such an obscure movie. Didn't notice any evidence of DNR, EE, or other such meddling. No extras to speak of, though.
This user is a My Best Buy® Elite Plus Member, who has spent $3,500 on eligible purchases and is now getting 1.25 points per dollar. They may have received My Best Buy® bonus points for submitting reviews. They may have also participated in an invitation-only program that provides My Best Buy® Elite Plus Members with manufacturer-supplied products for the purpose of writing honest, unbiased and usage-based reviews.
P.T. Anderson once again proves that he is the best filmmaker working today, and maybe the best to ever live. This an absolute masterwork of cinema on every level. The performances, which have been rightly lauded, are stellar, particularly Joaquin Phoenix, who becomes so lost in the role that his entire physicality changes. The 65mm cinematography is beyond gorgeous, and really enhances the immaculately accurate period detail. And the film itself, as I said, is a masterwork; this an intense, emotional, darkly funny examination of the battle between man's id and ego (Phoenix's Quell being the former, Philip Seymour Hoffman's Dodd being the latter) that effortlessly careens from powerful, visceral exchanges of dialogue to inquisitive, carefully executed sequences of conflict and questioning to moments of almost outrageous humor - sometimes in the same scene.
The Blu-ray itself is magnificent as well. The picture quality is perhaps the best I've ever seen; nothing else really displays the full capability of the Blu-ray format like 65mm or 70mm photography. The color and clarity of the images really bowled me over. It's also beautifully packaged with reversible artwork and a postcard, and has some interesting features including deleted scenes and, perhaps most interestingly, the John Huston-directed WWII documentary "Let There Be Light," which PTA has cited as a major influence on this film.
This user is a My Best Buy® Elite Plus Member, who has spent $3,500 on eligible purchases and is now getting 1.25 points per dollar. They may have received My Best Buy® bonus points for submitting reviews. They may have also participated in an invitation-only program that provides My Best Buy® Elite Plus Members with manufacturer-supplied products for the purpose of writing honest, unbiased and usage-based reviews.
P.T. Anderson once again proves that he is the best filmmaker working today, and maybe the best to ever live. This an absolute masterwork of cinema on every level. The performances, which have been rightly lauded, are stellar, particularly Joaquin Phoenix, who becomes so lost in the role that his entire physicality changes. The 65mm cinematography is beyond gorgeous, and really enhances the immaculately accurate period detail. And the film itself, as I said, is a masterwork; this an intense, emotional, darkly funny examination of the battle between man's id and ego (Phoenix's Quell being the former, Philip Seymour Hoffman's Dodd being the latter) that effortlessly careens from powerful, visceral exchanges of dialogue to inquisitive, carefully executed sequences of conflict and questioning to moments of almost outrageous humor - sometimes in the same scene.
The Blu-ray itself is magnificent as well. The picture quality is perhaps the best I've ever seen; nothing else really displays the full capability of the Blu-ray format like 65mm or 70mm photography. The color and clarity of the images really bowled me over. It's also beautifully packaged with reversible artwork and a postcard, and has some interesting features including deleted scenes and, perhaps most interestingly, the John Huston-directed WWII documentary "Let There Be Light," which PTA has cited as a major influence on this film.
This user is a My Best Buy® Elite Plus Member, who has spent $3,500 on eligible purchases and is now getting 1.25 points per dollar. They may have received My Best Buy® bonus points for submitting reviews. They may have also participated in an invitation-only program that provides My Best Buy® Elite Plus Members with manufacturer-supplied products for the purpose of writing honest, unbiased and usage-based reviews.
Well, Anthony Mann has finally made it to Blu-ray in the US. Sadly, the film is Strangers in the Night - easily one of his worst. This is an early film of his, and one he clearly didn't care much about. While the story sounds like it would be an interesting, dark, psychological character study, it is anything but. This is a silly thriller with paper-thin characters and very few redeeming qualities; not even Mann's usual technical skill or visual strength are particularly evident here. It's just a dull yarn (that only runs an hour, which barely qualifies as feature length) with a wasted plot and a bafflingly ludicrous ending. Thankfully, Mann was still just finding his talent and went on to much better things.
The disc itself is satisfactory. Pretty good picture quality, especially for such an obscure movie. Didn't notice any evidence of DNR, EE, or other such meddling. No extras to speak of, though.