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    October 10, 2007
  • Last review
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prlwctd's Reviews
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Christopher Lee stars as the fanged Count Dracula in Horror of Dracula. The film is presented in its original 1.78:1 anamorphic widescreen aspect ratio and looks very nice. The blood red colors and spooky black levels are all solid and well defined with only the slightest amount of grain penetrating the image. Otherwise this is a great looking transfer that should please all vampire fans. The soundtrack is presented in Dolby Digital 1.0 Mono in English and is not half as impressive as the video portions of the disc. While the dynamic range is decent, directional effects and surround sounds are completely lacking. All aspects of the sound mix are free and clear of any excessive hiss or distortion. Also included on this disc are English, Spanish, French and Portuguese subtitles. This standard DVD edition only includes a few extra features -- some text pages of vampire movie information, a cast and crew listing, and an anamorphic widescreen theatrical trailer for the film.
 
Customer Rating
5 out of 5
5
My favorite Dracula
on November 2, 2008
Posted by: prlwctd
Hammer's followup to The Curse of Frankenstein and the first Dracula movie in color, is my favorite film version of Stoker's novel.
It reunites Curse of Frankenstein stars Peter Cushing and Christopher Lee (who would share the screen numerous times after this film) as, arguably, the finest actors to portray Van Helsing and the Count, respectively.
Equally memorable is the bone-chilling score from James Bernard.
As with Curse, Horror is more faithful to its literary source than its Universal counterpart.
What's great about it: great acting and music
What's not so great: nothing wrong here
I would recommend this to a friend!
0points
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The monster arises once more in the 1957 horror flick The Curse of Frankenstein. Warner has done an admirable job at making sure this 2.35:1 widescreen transfer is in very nice shape. The colors and black levels are all represented well with only the slightest amount of grain penetrating the image. With flesh tones natural and well saturated, this DVD image should please horror fans everywhere. The soundtrack is presented in Dolby Digital 1.0 Mono in English and sounds generally lifeless and boring. While there isn't a lot of dynamic range or fidelity to be found in this track, overall the hammy music, cheesy dialogue and clashing effects are clear of any excessive hiss or distortion. Also included on this disc are English subtitles. The only extra features included are some cast and crew listings, and a theatrical trailer for the film.
 
Customer Rating
5 out of 5
5
a great and different take on Frankenstein
on November 2, 2008
Posted by: prlwctd
This, the first film version of Mary Shelley's book to be filmed in color, brought Hammer Films to prominence the same way Steamboat Willie brought Disney to prominence.
This follows Mary Shelley's book more closely than the 1931 version, and is impressive in its own right.
The gore was a bit much for some in 1957 and is a bit eyebrow-raising today. The creature (played by Christopher Lee) doesn't even make his first appearance until halfway through the movie, which also may test the patience of some viewers, but that is also what makes this version unique.
The action is seen (and told in flashback) through the eyes of Baron Frankenstein (chillingly played by Peter Cushing). We see how his obsession with creating new life not only proves harmful to everyone around him, but succeeds in destroying him.
What's great about it: acting and production values
What's not so great: may be too explicit for some
I would recommend this to a friend!
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Customer Rating
5 out of 5
5
the definitive version of Frankenstein
on November 2, 2008
Posted by: prlwctd
Like Dracula, released earlier in 1931, this version of Mary Shelley's book is the one that enters the minds of most people when they think of Frankenstein.
Although, like Dracula, its lack of a musical score makes the film seem slow in places, its virtues more than make up for it.
First and foremost is Karloff's great work as the monster, aided immensely by the monster makeup by Jack Pierce.
Colin Clive is also memorable as the title character, who creates new life without a thought given to the possible consequences. Dracula alumni Dwight Frye and Edward Van Sloan are also memorable as Fritz (Frankenstein's sadistic assistant) and Dr. Waldman (the doctor's former tutor), respectively.
But it's Karloff who dominates this film, playing one of the most frightening and pitiable of all movie characters.
What's great about it: Karloff's legendary work and fabulous undertones
What's not so great: a bit stagey by today's standards
I would recommend this to a friend!
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Customer Rating
5 out of 5
5
the most famous of all Draculas
on November 2, 2008
Posted by: prlwctd
This, the first sound version of Bram Stoker's great novel, remains the one version that everyone the world over thinks of when they think of the Count. This is in no small part to Bela Lugosi's legendary performance in the title role. Having played the role numerous times on the stage before and after this movie (the film is based more on the play by Hamilton Deane than on Stoker's book), Lugosi was indeed the perfect (but, ironically, not the first) choice for the role.
Kudos must also be given to Dwight Frye for his funny work as Renfield and Edward Van Sloan for the nice air of authority he brings to the role of Van Helsing.
The film is a bit slow in parts (due, in part, to the lack of a musical score, although the new Philip Glass music is servicable), which, ironically, the simultaneously-filmed Spanish version makes up for, although that movie's lack of Lugosi has kept it from enjoying the same classic status as this film.
This movie's great success led to the chain of monster flicks that Universal Studios is so well known for, beginning with the equally definitive version of Frankenstein.
What's great about it: spooky moments and Lugosi's definitive performance
What's not so great: a bit stagey by today's standards
I would recommend this to a friend!
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Customer Rating
5 out of 5
5
Shocking and funny
on November 1, 2008
Posted by: prlwctd
Kubrick's followup to 2001: A Space Odyssey is also science fiction, but of a very different kind.
A punk named Alex (played with wonderful black humor by Malcolm McDowell) has the time of his life violently taking advantage of other people with his 3 friends (or droogs, as he calls them), who eventually turn on him and leave him for the police, who later attempt to 'recondition' him. This experiment leads to Alex becoming susceptible to revenge from the society he terrorized.
This is a violent picture which just happens to have a sharp sense of humor.
The film was initially rated X (or NC-17 as the rating is known today). Although it was later reduced to an R rating, the violence still shook people up in 1971 (enough for the movie to be banned in the UK until after Kubrick's death) and it's still potent today.
This is certainly not for the sensitive, but, as was commonplace for Kubrick's films, it is a unique experience for those willing to view it.
The film certainly paved the way for movies such as Natural Born Killers and Minority Report.
What's great about it: violence laced with black humor
What's not so great: the violence could turn off some people
I would recommend this to a friend!
+2points
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Customer Rating
5 out of 5
5
majestic sci-fi
on November 1, 2008
Posted by: prlwctd
Enterainment Weekly rightfully proclaimed this Kubrick film "the grandest of all science fiction movies."
This movie involves a mysterious black monolith which first appeared on Earth in the early days of humanity. There is then a fast-forward to the titular year, in which a similar object is found on the moon. This leads to a group of 5 astronauts (3 of which are in suspended animation) being sent to Jupiter, where a transmission from the monolith is being directed. Their ship, Discovery I (which obviously inspired the Star Destroyers seen in Star Wars) is controlled by a supercomputer known as HAL (memorably voiced by Douglas Rain) who proceeds to act unpredicably towards his(?) human compatriots en route.
What occurs afterward can't be put into mere words. This is one film which must be seen to be comprehended, and, even then, its unprecedented method of narrative drive may leave some viewers confused. This is not a film that meets the viewing audience halfway, as it were. Much is left to the imagination, which is part of the genius of Kubrick.
The fact that real-life astronauts have claimed that being in space is just like 2001 is proof of the indelible mark the film has left on cinema.
What's great about it: a breakthough in SFX and storytelling
What's not so great: the pace of the film is not for all tastes
I would recommend this to a friend!
+3points
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Customer Rating
4 out of 5
4
underrated Hitchcock gem
on November 1, 2008
Posted by: prlwctd
Marnie was the first great non-Bond film from Sir Sean Connery since he began playing his career-defining role as 007. This was also Hitchcock's followup to his classic The Birds, with the same leading lady, Tippi Hedren.
Sadly, the film didn't gather much acclaim upon its original 1964 release. One reason being that it is not a suspense shocker like The Birds or Psycho. Another being that Sir Sean is quite far from the Bond role (the film was sandwiched between From Russia With Love & Goldfinger). Indeed his character, one Mark Rutland, is an upperclass businessman who becomes quite self-serving when he blackmails his employee (the title character, played by Hedren) into marrying him in the hopes of understanding the psychosis which drives her to steal.
By 1964, Hitchcock's name had become synonymous with suspense and, while the moment Marnie steals from Rutland may put the viewer on edge, the picture itself is more of a character study involving the plotting between the two principals keeping the details of their marriage a secret from everyone including the sister of Rutland's late wife, who's smitten with him herself.
Some scenes (mostly those in between Rutland & Marnie's confrontations) slow the pace of the movie somewhat. However, both Connery & Hedren do fine work, but the best part of the film is the music from frequent HItchcock collaborator Bernard Herrmann, which is possibly the most romantic musical score for any movie.
In recent years, though, this film has gained a more positive reputation. Although Hedren didn't obtain any high profile roles following this, it is seen as one of the first indications that Sir Sean's acting talent was not limited to playing James Bond.
What's great about it: good acting from the two leads, great musical score
What's not so great: a bit slow at times
I would recommend this to a friend!
0points
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Director Steven Spielberg's A.I.: Artificial Intelligence was not only a box-office disappointment, it also did something that his previous films have rarely or never done -- it alienated the audience and divided the critics. Perhaps with the release of the film onto DVD, Spielberg's misunderstood science fiction fairy tale will find a more receptive audience. Dreamworks Home Entertainment has released the film as a two-disc special edition, in either its preferred letterboxed version (1.85:1 enhanced) or in a pan-and-scan format. The image on the letterboxed version is excellent throughout. The soft smoky interiors of the first part of the film have a nice auburn glow to them, which nicely contrasts the sultry colors that take over for the second part. There is no evidence of color bleeding or flaring up and the image is consistently balanced. Many scenes, which are filmed purposefully dark, still manage to keep a richness and depth that is difficult to replicate outside of a movie theater. The disc also comes equipped with various soundtrack options, including an English language 5.1 track, 2.0 Dolby Surround, and a 5.1 DTS option. The first two tracks are vigorous and active, though always keeping the dialogue clear. The first disc contains the film itself and a short ten-minute documentary on the making and origins of the film. But it's with the second disc that one finds a plethora of supplemental material. The disc contains numerous mini-documentaries on all stages of A.I.'s production, from its initial planning stage with Stanley Kubrick to its final release. There are some nice interviews with actors Jude Law, Haley Joel Osment, and others. Also of interest are the interviews with the storyboard artists, production designers, and the many special effects technicians from Stan Winston's factory of wonders and Lucasfilm's ILM studio. The disc also contains a couple of theatrical trailers, a multitude of storyboard sketches, production photographs, some interesting interviews with sound designer Gary Rydstrom and composer John Williams, and much more.
 
Customer Rating
4 out of 5
4
fascinating and frustrating
on October 31, 2008
Posted by: prlwctd
Stanley Kubrick had a few potential movies in the works when he died in 1999. One of these was a story involving an android child seeking to win the love of his human mother, based on a story by one Brian Aldiss. Kubrick believed that Steven Spielberg would be the ideal choice as the director for this project and they began collaborating on it on and off through the years. After Kubrick's death, Spielberg made the decision to direct and write the screenplay for the film as a way to honor his friend (hence its release in 2001).
The pacing and the flow of the film, like that of 2001: A Space Odyssey, will be a turnoff for some. However, what cannot be denied is the brilliance of Haley Joel Osment as the android child, David. His journey to win his mother's love is an intriguing, even harrowing, one. Also fabulous is Jude Law as an android (described by one critic as a cross between the Tin Man in The Wizard of Oz and Malcolm McDowell in A Clockwork Orange) who's on the run for a crime he didn't commit when he comes across David and agrees to help him.
Many complained that the ending of the film was too sweet and upbeat, but look at it more closely and you'll realize that it's not very upbeat at all.
This is a noteworthy departure from science fiction previously done by Spielberg (which would lead to the similar tone in both Minority Report and War of the Worlds) and, simultaneously, is a wonderful tribute to the great Stanley Kubrick.
What's great about it: the acting, the SFX, and a surprisingly downbeat tone
What's not so great: the presentation isn't for all tastes
I would recommend this to a friend!
+1point
1of 1voted this as helpful.
 
Customer Rating
5 out of 5
5
the definite zombie film
on October 31, 2008
Posted by: prlwctd
Even those who dislike zombies films recognize the name Night of the Living Dead, which basically reinvented the zombie genre at the same time Sergio Leone was reinventing the western (which would, in turn, led to Italian studios churning out both types of pictures as though they were pizzas for a while).
A woman and her brother go to their father's grave when they are accosted by an unknown assailant. The brother dies protecting his sister, who escapes by finding refuge in a seemingly abandoned house. She then finds her only assistance in the form of both a drifter and a small group (a family of three and two sweethearts) hiding in the house's basement. As the group board up the house and contemplate/debate strategy, the assailant, they realize, is only one of many that are trying to get into the house.
They eventually discover where these murderers are coming from and the reason for their bloodlust.
This film, released in the hot (in more ways than one) year of 1968, tapped into the ziegiest of people's feelings for authority and society in general. The black and white photography adds to the grittiness of the film and its ending is not what you'd expect.
What's great about it: relentless and shocking
What's not so great: not for the squeamish
I would recommend this to a friend!
0points
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Unlike the previous two discs of The Alien Legacy Box Set, this one is not loaded with special features, but the audio and video transfers are as well done, if not better than the others. Both have been digitally remastered in THX and make excellent use of home-theater capabilities. The soundtrack is a very strong 5.1 mix which makes pronounced, frequent use of the rear channels, adding a great deal of atmosphere to the already claustrophobic nature of the film; voices echo eerily, and lingering, ambient sounds permeate almost every moment. The video transfer is pristine, with not a single instance of graininess or pixilation to be found anywhere. Also, the lines are sharp and the colors clearly defined -- there is very little to no bleeding to be found here. This film relies heavily on shadow and darkness to maintain its suspenseful atmosphere, and it seems that the disc's producers kept this well in mind, mixing the blacks as dark as possible while still maintaining subtle details within them. Again, the extra features are nothing extraordinary; the only feature worthy of special note is a short making-of featurette, which contains interviews with many of the cast and crew. There are also theatrical trailers for all four Alien films, as well as a preview of the video game based on Alien Resurrection, the fourth film in the series. Despite the lack of extraordinary special features, the disc's superb transfer make it a worthy addition to any collection.
 
Customer Rating
2 out of 5
2
a noble failure
on October 31, 2008
Posted by: prlwctd
Like The Godfather Part III, Alien 3 may be viewed more as more of a classic had it been the first of the series. In both cases, however, the fact that there are not one but two predecessors which are hard acts to follow make the third seem anticlimatic by comparison.
It was indeed bold to begin the film by crash landing Ripley on a penal colony, which results in the loss of her friends.
However, this makes the events of Aliens pointless, and, as anyone who's seen Aliens knows, the circumstances surrounding the aforementioned crash strain credulity.
Weaver is fine again as Ripley and Charles S. Dutton is good as the inmate who becomes the closest thing she has to an ally.
There are other factors, though, that just don't add up to a satisfying whole. Why did Ripley basically sleep with that doctor on a whim like that? Why did it take so long for the alien in Ripley to hatch while the one in that poor dog took basically no time at all? Why do basically all the residents of this colony (save Dutton's character) act as moronic as teenagers in a Friday the 13th film?
Credit should be given for at least trying a different tactic, and it's nice that David Fincher was able to go on to better things like Se7en & Panic Room, but anyone expecting a complimentary companion piece to Alien & Aliens will be disappointed.
What's great about it: it tries something different
What's not so great: it fails by trying something different
No, I would not recommend this to a friend.
+2points
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