Lifeguard Review

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(More customer reviews)With the approach of his fifteen year high school reunion and the possibilty of re-connecting with his teenage sweetheart (Anne Archer), an aging lifeguard (Sam Elliot) re-examines his career choice and single lifestyle.
This is my favorite Sam Elliot role and conversely probably his least well known. It's one of those perfect little gems where everything seems to work to perfection. Much like the main character, Lifeguard Rick, the viewer subtly touches on so many different emotions during this film that it's hard to define exactly what you're experiencing at any given time. But in the end you are left with a quiet contentment, an understanding and acceptance of who you are and what is the right choice for yourself no matter what the mainstream opinion might be.
Paul Williams' song "Time and Tide" was removed from the soundtrack when this movie hit the T.V. screen. I hope it has been restored on the DVD release, it just wouldn't be the same movie without it.
Update 06/22/05: The DVD came out yesterday. I bought it and watched last night. All is well, the song is back. Thanks Paramount!

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Sam Elliot drew waves of accolades for his sensitive and sexy portrayal of aging lifeguard Rick Carlson, who's compelled to reassess his life and career as a professional lifeguard. To keep things status quo or pursue things status-conscious - that's Carlson’s dilemma. It's an agonizing decision compounded on one side by an adoring beach groupie (Quinlan) and on the other by a former high school flame (Archer) that's game for rekindling, but only if he's serious about trading in his swimsuits for three-piece suits.

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The Outlaw Josey Wales (2008) Review

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(More customer reviews)Although Clint Eastwood gained his greatest critical acclaim as a director for 1992's "Unforgiven" and 2003's "Mystic River" -- both of which are incredible pieces of American cinema -- his best film remains this perennially popular Western from 1976. Here's Eastwood's own take on it: "I do believe that if I'd made that picture in 1992, in place of `Unforgiven,' it might have received the same amount of attention, because I think it's equally as good a film. I think the subject matter of `Josey Wales' is timeless." Orson Welles himself named it one of his favorite movies!
Yet critics at the time completely dismissed it as just another Clint Eastwood Western-Revenge flick. On the surface, the plot might give you that illusion: Missouri farmer Josey Wales loses his family to marauding Union cutthroats during the civil war. In retaliation, he joins Qunatrill's raiders in the guerrilla warfare that flames across Missouri. When the war ends, Wales refuses to surrender. He flies west across the country, chased by his former leader Fletcher (John Vernon in a great, sympathetic performance) and Terrill, the Union captain who murdered his family (Eastwood regular Bill McKinney). It seems Wales has no future except to stay alive long enough to get his revenge.
But...that's not at all what movie ends up being about. Gradually, Wales finds himself at the center of a growing community of outcasts from many different backgrounds: an old Cherokee named Lone Watie (Chief Dan George, in the film's most unforgettable performance), a band of Northern settlers (including Sondra Locke in her first role with Clint), a girl from another Native American tribe, the residents of a dying Texas town, and a red bone hound. Gradually, "The Outlaw Josey Wales" turns into a story about forgetting revenge and a fixation on death, and instead about embracing life and rebuilding a community. "Dying is easy for men like you and me," Wales says to a Comanche chief (Will Sampson) in one scene. "It's living that's hard." It's one of the most unexpectedly uplifting and moving films ever made. And, let's make no mistake about it, it's also an action-packed, tough, and exciting film.
Strangely, the film came out of extremely difficult circumstances and rough beginnings. Eastwood purchased the rights to Forrest Carter's novel "Gone to Texas," only to discover that the author was actually Asa (Ace) Carter, who had worked as a speech writer for George Wallace supporting racial segregation and had once created a subgroup of the Ku Klux Klan. Upon meeting Carter, Eastwood and his producer Robert Daley found the man to be a borderline sociopath (he drew a knife on one of Daley's secretaries at a restaurant). Regardless, Eastwood loved the beautiful story too much and pushed on with making the film. He hired Philip Kaufman to both write and direct the movie, now re-named "The Outlaw Josey Wales." Kaufman (along with Sonia Chernus) wrote a stunning script, but after only a few days on the set, it became obvious he wasn't working out as a director; his style clashed with Eastwood's. Eastwood quietly removed him as director and took over the job himself. As Eastwood's biographer notes, "Kaufman was to a degree the victim of Clint's growing confidence in his own abilities."
Despite this confused beginning, "The Outlaw Josey Wales" turned into a magical piece of Western cinema and a huge hit with audiences. It gets better and better with each viewing: a thrilling adventure when you first see it, its many layers of beautiful subtlety emerge each time you go back to it. Bruce Surtees's photography is astonishing, Jerry Fielding's music exciting and unusual for a Western, and every performance top-notch. Few films are as all-around well done as this American classic.
The DVD offers the film in a glorious widescreen transfer with a new 5.1 sound mix, but there are no extras. Considering the history behind the making of the film, this disc really ought to sport some fascinating commentaries and documentaries, but alas, nothing. Still, I can recommend few films higher than "The Outlaw Josey Wales."

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Studio: Warner Home VideoRelease Date: 09/02/2008Run time: 135 minutesRating: Pg

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Mystic River (Widescreen Edition) (2003) Review

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(More customer reviews)Clint Eastwood's adaptation of Dennis Lehane's wrenching best-seller, "Mystic River," is a remarkable achievement. Having read the book shortly before seeing the movie, I was impressed with Eastwood's faithfulness to the letter and spirit of Lehane's story.
Sean Penn plays Jimmy Markham (Marcus in the book), a small time hood who did a stint in prison almost two decades earlier. Jimmy now owns a grocery store, is a loving family man, and seems to have given up his criminal ways. As a child, Jimmy was a close friend of Sean Devine, who grew up to become a homicide detective, and Dave Boyle, played by the wonderful Tim Robbins. Boyle endured a terrible trauma as a child, and he is tortured by horrifying thoughts that he can never escape. When Jimmy's nineteen-year-old daughter, Katie, is found brutally murdered, Sean investigates with his partner, played by Laurence Fishburne, and the lives of the three old friends intersect once again.
The stellar cast of "Mystic River" is amazingly effective. Each actor completely inhabits his or her character. Sean Penn's performance is brutal and heart-rending, and Tim Robbins convincingly plays a man on the brink of madness. Supporting these fine actors are Laura Linney and Marcia Gay Harden, as Jimmy's and Dave's wives.
Eastwood wisely shot his film on the streets of Boston, and Tom Stern's atmospheric and skillful cinematography contribute to the film's realistic and dramatic look. "Mystic River" is a powerful drama about how desperate people react when they are under tremendous emotional pressure. This mythic tragedy proves Faulkner's dictum, "The past is never dead. It's not even past." The mistakes we make and the injuries that we suffer are always with us in one way or another. Kudos to Eastwood and his fine cast and crew on making an exceptional film.

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Drama. Mystic River tells the story of three men whose dark, interwoven history forces them to come to terms with a brutal murder on the mean streets of Boston.

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Million Dollar Baby (Two-Disc Widescreen Edition) (2005) Review

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(More customer reviews)Hillary Swank (Margaret Fitzgerald), who proved her athleticism in her first major role, The Next Karate Kid, demonstrated it again, pummeling a heavy bag with a power left on which I wouldn't want to be on the receiving end. She's very convincing in this movie - both as a young woman from humble beginnings who wants to make a better life for herself, and as a boxer. In Million Dollar Baby, she returns to the visceral emotional range that left us so deeply moved in Boy's Don't Cry.
Clint Eastwood (Frankie Dunn), who has proved himself repeatedly, has perhaps turned in the best performance of his career. At times irascible, intellectual, mournful, instructive, reflective, passionate - in every manifestation, he reaches you. He was brilliant.
And Morgan Freeman is, well, Morgan Freeman. As the narrator of the story, and an actor within it, he lends a soft-spoken touch that ameliorates some of the film's darker elements. He also lent the film a certain amount of boxing sagacity, as he spoke in non-technical and sometimes quasi-technical terms of the basics of boxing.
This film ain't no Rocky. It has an intelligence and compassion that Rocky (and virtually every boxing film ever made, save perhaps Raging Bull) couldn't think to have. Beyond that, it actually has better fight sequences. More often than in most boxing films - certainly the very poor choreography of the Rocky fight sequences - the punches looked and felt real, or as real as "fake" can make them.
Margaret introduces herself to Frankie after a fight and asks him to train her. He turns her down flat, saying that he doesn't train girls. Given her pluckiness, she appears at his gym the next day, punching a heavy bag with all of the skill, style and fluidity of Pinocchio. Finally he agrees to train her ("finally" takes a while, and watching it come to fruition, the subtle changes in Eastwood's character, is a real treat to watch), and soon she is ready for her first fight.
Here's the only similarity to Rocky: she turns out to be a natural, with a wicked left hook and overhand right (at least that I could see) and is knocking out all of her opponents in the first round. Some might think that this is, perhaps, a bit much. However, in the sport of women's boxing, such a thing isn't uncommon. PLEASE don't think that I'm saying women are not good boxers or don't have the same abilities that men do. It's simply that the increasing popularity of the sport hasn't quite yet led to the kind of talent that exists in men's boxing (although, frankly, talent on that side isn't exactly at it's apex). Her superiority over lesser opponents isn't unheard of.
There's so much more I want to say about this film, because from this point forward it moved from being one of the best films of the year - purely on the strength of the writing, and the performances of Swank and Eastwood in particular - to one of the best films I've seen in several years. I'm so grateful that reviewers didn't give away the ending. I'll just say that the ending is layered with surprises, and that it's been a very, very long time that I haven't seen a single cell phone being used (how annoying is that, even with all of the polite requests and warnings?), and also seen so many in the theater remain in their seats long after the movie ended.
It's a brilliant, brilliant film, the kind that makes me want to go back and change the number of stars I've given most movies that I've reviewed, simply so that this 5 star review means more. I recently gave Sideways, Closer, and Finding Neverland 5 stars, and while they are all very, very worthy films - I'd like to give this one six.

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"I DON'T TRAIN GIRLS", trainer Frankie Dunn growls. But something's different about the spirited boxing hopeful who shows up daily at Dunn's gym. All she wants is a fighting chance. Clint Eastwood plays Dunn and directs, produces and composes music for this acclaimed, multi-award-winning tale of heart, hope and family. Hilary Swank plays resilient Maggie, determined not to abandon her one dream. And Morgan Freeman is Scrap, gym caretaker and counterpoint to Dunn's crustiness. Grab your dreams and come out swinging.DVD Features:DocumentariesFeaturetteInterviews

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Changeling (2008) Review

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(More customer reviews)Clint Eastwood's "Changeling" is not easy to watch, but I implore you to give it a try. This is filmmaking at its finest. It's all at once heartbreaking, infuriating, touching, empowering, and immensely compelling, which is to say that it taps into core human emotions without being manipulative. It tells a story so absorbing, it's as if the movie is happening to us instead of just passing before our eyes. This is appropriate given the fact that it's a true story and not merely based on a true story; screenwriter J. Michael Straczynski relied on actual articles, transcripts, and testimonies to document the story of Los Angeles native Christine Collins, whose nine-year-old son, Walter, disappeared in March of 1928. Five months later, the LAPD returned a boy Collins knew was not her son. Because the police refused to admit that a mistake was made, they deemed Collins an unfit mother and subsequently had her committed to a mental institution. But she wouldn't be silenced, and with the help of some key figures, she took on one of the most shameful cases of police corruption in Los Angeles history.
Angelina Jolie gives yet another wonderful performance as Collins, an honest, caring woman who was clearly striving for independence in a male-dominated society. She works diligently as the supervisor for a telephone company, so much so that she's offered a managerial position. As a single mother, she's firm yet nurturing, and she's upfront with her son (Gattlin Griffith) about why his father left before he was born. After Walter's disappearance, and after the wrong boy is returned to her, she initially faces the LAPD on her own, which leaves her with little since it's a tyrannical system motivated by power, not justice. There's a pivotal scene in which Chief of Police James E. Davis (Colm Feore) makes the following announcement: "We will hold trial on gunmen in the streets of Los Angeles. I want them brought in dead, not alive, and I will reprimand any officer who shows the least bit of mercy on a criminal." This is immediately followed by a shot of officers executing a line of criminals in the middle of a dark street. An elimination of the competition. For a system this dishonest, a persistent woman like Collins is seen as nothing but a disruption.
Of all the authority figures in this film, Captain J.J. Jones (Jeffrey Donovan) is by far the most deplorable. He's obstinate and domineering, bullying Collins into taking in an imposter child, who was found with a drifter in DeKalb, Illinois. Jones has the nerve to question Collins as a mother, claiming she was so happy her son was taken that she's now resorting to phony accusations. Her insistence that he carry on the investigation lands her in a dehumanizing psychiatric hospital, where numerous disruptive women are sent to endure constant medicating and cruel electroshock therapy. A kindly but broken prostitute (Amy Ryan) tells Collins that there's absolutely no winning with the doctors. If you smile too much, you're delusional. If you smile too little, you're depressed. If you're neutral, then you've lost touch with basic human emotions. All anyone can do is learn how to behave properly.
The only person on Collins' side is Gustav Briegleb (John Malkovich), a Presbyterian minister and community activist who made it his life's work to expose the corruption of the LAPD during radio sermons. When Collins is committed, Briegleb takes it upon himself to publicize the disappearance of her son and rally the public to support her. This puts tremendous pressure on the LAPD, as does the recent discovery of a crime scene; buried beneath a chicken ranch in Wineville, California are human remains. A mechanic named Gordon Northcott (Jason Butler Harner) becomes the primary suspect in a string of murders. I don't want to reveal any more about this case, but I will make it a point to praise Harner for not playing Northcott as a fanatical stereotype.
Apparently, Straczynski inserted newspaper clippings into copies of his screenplay, just as a reminder to the actors that everything being depicted actually happened. "The story is just so bizarre," he said, "that you need something to remind you that I'm not making this stuff up." Indeed, a lot of what Collins goes through is so outrageous that it's just shy of being funny. She knows, for example, how tall Walter is, for she measured his rate of growth on a wall. The boy who was returned to her is three inches shorter than the last notch. Collins also notices that this boy has been circumcised; she knows for a fact that Walter has not been. A doctor sent by Captain Jones assures Collins that, after months of improper care and nutrition, children can actually shrink. As for the circumcision, well, she should never put it past a kidnapper to do something extreme.
But what about the LAPD? Should she put it past them to do something extreme, such as returning the wrong child and knowing about it? It's easy to watch this movie and feel just as emotionally drained as Collins; there are moments where I wanted to scream, others where I wanted to cry, and many where I didn't know how to feel. This is not a criticism. The success of a movie like "Changeling" depends on a strong emotional gamut that reflects what the audience thinks and feels. This is, without a doubt, one of the year's best films, a powerful human drama dedicated to the ideals of hope and perseverance.

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CHANGELING - DVD Movie

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Escape From Alcatraz (1979) Review

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(More customer reviews)Seldom do Amazon.com reviewers agree on ratings for films they watch, but for this one, the vote is in and it is unanimous. Escape from Alcatraz is a winner.
Director Don Siegel is pitch perfect from beginning to end. Many reviewers who have been to Alcatraz comment on the realism of this film. Siegel gives us an inside look at what it might have been like to be imprisoned on "the rock." From the black hole of solitary confinement to the painfully small individual cells of the prisoners, Alcatraz was a nasty place meant for only the nastiest criminals.
One of these prisoners is Frank Morris, expertly played by Clint Eastwood, who is transferred to Alcatraz, gets into a fight with an inmate who wants to make him his "punk," and spends time in the black hole. When he gets out of solitary, Morris begins to plan his escape. Several reviewers comment on the fact that Hollywood does not get these facts straight, but I didn't much care. I was pulled very quickly into Morris's plans and then the actual mechanics of the breakout, which were genuinely interesting and toward the end, had me sitting at the edge of my chair as I waited with suspense to see how the story would end.
The escape is obviously central to the entire plot, but the life of prisoners at Alcatraz is also dramatized expertly by Don Siegel. The warden, Patrick McGoohan, is aloof and professional, but he has a mean streak, which makes life harder than it needs to be on the rock. Frank Morris is smart enough not to get mad, but to get even, and this he does with three other inmates who assist him in the breakout. The warden and his guards are constanly on the alert for any suspicious behavior and we hold our breath from time to time as the escape plan is almost detected.
At last the time comes and we go step by step with Morris and two of his crew as they head for the icy waters surrounding Alcatraz. The fourth member of the crew hesitated and was left behind. This appears to follow the real-life events as mentioned by other reviewers.
Did Morris and his buddies successfully navigate the treacherous waters surrounding Alcatraz? I'll leave that question unanswered. Viewers can decide for themselves.
What is certain, at least to the reviewers of Amazon.com, is that Escape from Alcatraz is a well-made, highly suspenseful film from beginning to end, and it is one of Clint Eastwood's best roles -- that's saying something. Highly recommended!

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Filmed on location on Alcatraz Island, this is an account of the only three men ever to escape from this maximum security prison.Genre: Feature Film-Action/AdventureRating: PGRelease Date: 28-MAR-2006Media Type: DVD

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Pale Rider (Snap Case) (1985) Review

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(More customer reviews)The Gold Rush in nineteenth-century California attracted all types of people seeking their fortunes. Some would settle in small mining encampments where each had their claims to search for the precious ore, but greed could encourage some to try and drive people away from their claims. Such was the setting for the 1985 film "Pale Rider", which was directed by Clint Eastwood. Located a few miles from a small town, a mining encampment includes the hard-working Hull Barrett (Michael Moriarty), a woman that he's been living with named Sarah Wheeler (Carrie Snodgrass) and her teenaged daughter Megan Wheeler (Sydney Penny). Frustrated with rising bills at the nearby country store and a greedy & wealthy man named Coy LaHood (Richard A. Dysart) who is trying to drive away the miners, Hull and Sarah's relationship is somewhat strained. After Megan prays for assistance and is reading a verse in the Book of Revelation that states "And I looked, and behold a pale horse: and his name that sat on him was Death" (Rev. 6:8), she sees a man riding a pale horse approaching. The rider comes to be known only as "The Preacher" (Clint Eastwood) and after helping Hull out of a skirmish with some of LaHood's men, Hull invites the Preacher to stay with him, Sarah and Megan. It isn't before long that the Preacher begins to give the miners at Hull's encampment courage to stand up to LaHood and to work together. LaHood, of course, is furious that a preacher is helping them because he wants their land so that he can use his very destructive hydraulic mining technology to strip the land of whatever gold may be there. When LaHood can't buy the Preacher out of the encampment, he resorts to hiring a "marshal" of sorts named Stockburn (John Russell, 1921-1991) and his "deputies" to get rid of the Preacher. LaHood, however, doesn't know what the Preacher is capable of doing.
With excellent cinematography, interesting characters, an engaging story and good acting, "Pale Rider" is an excellent film. Other memorable characters include LaHood's son Josh (Chris Penn), Club (Richard Kiel, who is better known for his portrayal of the character "Jaws" from the James Bond films "The Spy Who Loved Me" & "Moonraker" in 1977 & 1979 respectively), McGill (Charles Hallahan), Ma Blankenship (Fran Ryan, 1916-2000) and Jed Blankenship (Richard Hamilton, 1920-2004). Memorable scenes include the Preacher's arrival, the boulder, visiting LaHood's hydraulic mine, the arrival of Stockburn and the final scenes. Overall, I rate "Pale Rider" with 5 stars.

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A nameless stranger who rides into a small California gold rush town finds himself in the middle of a feud between a mining syndicate and a group of independent prospectors.DVD Features:Production NotesTheatrical Trailer

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The Good, the Bad and the Ugly (Two-Disc Blu-ray/DVD Combo in Blu-ray Packaging) (1966) Review

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(More customer reviews)MGM released a DVD edition of "The Good, the Bad and the Ugly" in the late 1990s, but it had few extras, a mono soundtrack, and a scratched print. Finally, MGM has given Sergio Leone's Western epic the double-disc special edition it deserves. The print is restored and as clear as I've ever seen it, the sound is now an astonishing 5.1 Surround (listen to the glass falling off Tuco after he springs through the window in the opening sequence!) nineteen minutes of footage from the Italian original have been restored, and the discs are packed with extras. Even the packaging is great: a sturdy interlocking box, with the DVDs kept in the upper and bottom parts of the two lids. Also inside the box are cards containing posters for the film in five different countries.
The film, like most of the European Westerns of the 1960s, was critically disregarded in its day. The New York Times said of it: "the most expensive, pious, and repellent movie in the history of its peculiar genre. There is scarcely a moment's respite from the pain." It's amazing how people missed the brilliance of this movie, which turned Western conventions upside down in such a wonderfully bizarre, European way. Now the film is considered a classic, and only Sergio Leone's own "Once Upon a Time in the West" (another great 2 DVD set, by the way) has more respect in the genre. Leone's strange style -- stretched out time, obsession with close-ups and extreme wide-shots, focus on rituals, and use of Morricone's wild and avant-garde score -- are all in full force in this tale of three treasure-seekers searching for a cache of gold coins on the Texas-New Mexico border during the Civil War. The implacable and unflappable 'hero' Blondie (Clint Eastwood), the crazy comic bandit Tuco (Eli Wallach), and the calculating immoral sadist Angel Eyes (Lee Van Cleef) cross each other's paths amidst the senseless violence of the war. Leone perfectly contrasts the self-interested men with the greater backdrop of the tragedy of war. It's a strangely emotionally affecting picture despite its focus on three men who are detached from normal society and seem not to care about anything but money. So many individual scenes stand out for their virtuosity that the movie a parade of "greatest hits." Most astonishing of all is "The Ecstasy of Gold" sequence where Tuco dashes madly through a cemetery, looking for the grave that might hold the gold. Morricone's music here is especially overwhelming.
Chances are you've seen the film and love it. What about the new scenes and the extras?
Nineteen minutes of footage have been restored that were never shown in the American prints. The scenes integrate perfectly into the film, and after seeing them once, you won't be able to imagine they were ever missing. Among the scenes are Angel Eyes visiting a destroyed fort; Tuco hiring bandits to help him chase Blondie; Blondie and Angel Eyes having a face-to-face when they first set out together to find the gold; and some extra conversation between Tuco and Blondie in the desert. However, these scenes were never dubbed into English in the 1960s. Therefore, the DVD producers had to newly dub them. Eli Wallach and Clint Eastwood do their own voices. An actor named Simon Prescott does the imitation of the deceased Lee Van Cleef. Admittedly, Wallach and Eastwood no longer sound the same, but I couldn't imagine someone else imitating their voices -- it couldn't have been done any other way. Prescott is pretty good as Angel Eyes, if a bit more gravelly.
The extras...
Disc 1 has audio commentary by Richard Shickel, a film historian who wrote Eastwood's biography and also did commentary on Leone's "Once Upon a Time in America" DVD. His comments can be pretty dry, and he focuses mostly on Leone's style and techniques instead of on background information on the filming itself. Nonetheless, there are many interesting insights, and Shickel manages to say a lot during the three-hour running time.
Most of the extras are on Disc 2:
"Leone's West" -- A 20-minute documentary about the making of the film. Includes interviews with Shickel, producer Alberto Grimaldi, author of the English dialogue Mickey Knox, and best of all, Eastwood and Wallach. There's some very interesting info and memories here, mostly from Knox and the two actors.
"The Leone Style" -- A 23-minute documentary, really just an extension of the first one. It spends more time on Leone's unusual techniques. The same interviewees appear here.
"The Man Who Lost the Civil War" -- A 14-minute documentary that was produced separately from the DVD. It makes no mention of the movie, but is about its historical backdrop: the disastrous General Sibley campaign in Texas. Sibley appears in the film briefly, and this short documentary gives the viewer an important insight into the world of Blondie, Tuco, and Angel Eyes.
"Reconstructing The Good, the Bad and the Ugly" -- An 11 minute look into the painstaking work involved with fixing the picture and sound, restoring the cut scenes, and re-dubbing it.
"Il Maestro: Ennio Morricone" -- 8 minutes; mostly an interview with music scholar John Burlingame about the film's score. At the end of the feature, you can choose to listen to an audio-only twelve-minute lecture by Burlingame that provides a much more in-depth analysis of the music.
"Deleted Scenes" -- Two scenes couldn't go back into the film. The extended torture scene had a damaged negative, so here it is in its rougher state. An apparently lost scene is reconstructed through text, stills, and clips from the French trailer.
Finally, there's a gallery of posters, the original trailer, and MGM tossing in some gratuitous advertising for their other films.
Don't miss this DVD. Not only is it one of the great action films and one the great westerns, but it's the kind of release that the DVD format was invented for!

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By far the most ambitious, unflinchingly graphic and stylistically influential western ever mounted, The Good, the Bad and the Ugly is an engrossing actioner shot through with a volatile mix of myth and realism. Clint Eastwood returns as the "Man With No Name," this time teaming with two gunslingers (Eli Wallach and Lee Van Cleef) to pursue a cache of $200,000and letting no one, not even warring factions in a civil war, stand in their way. From sun-drenched panoramas to bold,hard close-ups, exceptional camera work captures the beauty and cruelty of the barren landscape andthe hardened characters who stride unwaveringly through it. Forging a vibrant and yet detached style of action that had not been seen before, and has never been matched since, The Good, the Bad and the Ugly shatters the western mold in true Clint Eastwood style.
Audio: English: Mono, 5.1 DTS HD Master Audio / Spanish & French: 5.1 Dolby Digital
Language: Dubbed & Subtitled: English, French & Spanish
Aspect Ratio: Widescreen: 2.35:1

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Coogan's Bluff (1968) Review

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(More customer reviews)The talented team of Clintus & Sigelini (Clint Eastwood & Don Siegel) show why they paired up in so many outstanding films together with Clint Eastwood's 1968 cowboy foray into New York City !
Eastwood is the quietly spoken, straightforward Arizona lawmen Walt Coogan sent to New York City to return captured escapee James Ringerman (Don Stroud). Coogan slips up, Ringerman escapes and the hunt is on through the bars, discotheques and parks of New York City for the violent criminal. Solid character actor Lee J. Cobb, plays the frustrated New York police Lieutenant McElroy trying to keep Coogan and his rough and tumble Arizona law enforcement methods in check.
One can't help but get the feeling that "Coogans Bluff" was almost like a dry run for Clint & Don Siegel for the pair's upcoming 1971 cop thriller "Dirty Harry"....about another maverick law enforcement officer refusing to accept mediocrity !
"Coogans Bluff" is an interesting and stylish work that is still enjoyable to watch.
PS. Keep your eyes open in the sequence when Clint enters the discotheque, and they are flashing various images on the walls...you see a very quick glimpse of footage from the 1958 film "Tarantula" where Clint had a bit part as a jet pilot sent to kill the giant arachnid with napalm !!

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Item Name: Coogan's Bluff; Studio:Universal Studios

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The Bridges of Madison County (Full Screen Edition) (1995) Review

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(More customer reviews)This 1995 film, BRIDGES OF MADISON COUNTY, stars Clint Eastwood and Meryl Streep, and was also produced and directed by the former. If you're used to seeing Clint in his belligerent Dirty Harry or Man With No Name persona, then you're likely to be enormously surprised by his triple triumph in this sensitive film in which nary a shot is fired or punch thrown.
The Streep character, Francesca Johnson, was an Italian war bride brought back to Iowa in 1945 by the soldier whose heart she captured. Twenty years later, she lives on a farm with her middle-aged husband and teenage son and daughter. Long since before, she's had to give up her career as a teacher because her spouse, an otherwise gentle and considerate man, doesn't approve of a working wife. She lives, without dreams or passion, a life of quiet desperation. Then along comes the Eastwood character, Robert Kincaid, during a period when Francesca is home alone, the rest of the family off to the State Fair in neighboring Illinois. Kincaid is a photographer for National Geographic, his current assignment to photograph the local covered BRIDGES OF MADISON COUNTY. The divorced Kincaid is the quintessential wanderer, at home wherever in the world he finds himself at the moment, taking his experiences and relationships as they come.
During the four days of her family's absence, Francesca falls deeply in love with Robert, and he with her. In him, she rediscovers her dreams of the wider world long denied her in rural Iowa. In her, he discovers the personal and emotional commitment that he professes not to need. When Francesca must choose between Robert and her family, Duty, Responsibility and Loyalty battle with the Heart for the outcome. The scene towards the end of the film in her husband's pick-up truck, wherein Francesca displays wrenching mental turmoil and emotional anguish over a decision that she must make immediately, is, by itself, an Oscar caliber performance by Streep.
Is Francesca's decision a tragedy or moral victory? At the moment of her choice, how much of what she was and could have been was irretrievably lost? Perhaps hindsight and reason might provide the answer. But, the heart will never really know, will it? And the mind will play "what if" games until time and expectations run out.

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World-traveling National Geographic photographer Robert Kincaid and Iowa housewife Francesca Johnson aren't looking to turn their lives upside down. Each is at a point in life where expectations are behind them. Yet four days after meeting, they won't want to lose the love they've found.
Academy Award winners Meryl Streep (earning her 10th Oscar nomination for this performance) and Clint Eastwood (who also produces and directs) bring blazing starpower and powerful conviction to the beloved characters of Robert James Waller's rhapsodic best-seller of love, choice and consequences. "Streep and Eastwood are so visually and spiritually right they seem to have walked right off the page," Entertainment Weekly proclaims. Also right are the small details and large emotions of once-in-a-lifetime love. With luck, a love like that happens to some of us sooner or later. For Robert and Francesca, it was later. And it was glorious.

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Clint Eastwood: 35 Films 35 Years at Warner Bros. Review

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(More customer reviews)This is a great movie set of all the Clint Eastwood classics. However, as opposed to pre-ordering through Amazon.com, I waited till it physically hit the shelves. Glad I waited as I bought this as COSTCO for $99.99, $16 less than what AMAZON currently charges. Like anything, shop around for the BEST PRICE.

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Hollywood icon and legend Clint Eastwood has touched generations of filmgoers for over half a century. In honor of Eastwood's longstanding 35-year relationship with Warner Bros through Malpaso Productions, WHV is releasing this definitive DVD collection containing 35 classic Clint Eastwood films from the Warner library and highlighting the breadth and depth of his work -- from Where Eagles Dare through Invictus. Included are his “Dirty Harry” movies, Best Picture Oscar® dramas and nominees, Westerns, war movies, comedies, and more – plus commentaries, featurettes, extras on many of his films, and the documentary The Eastwood Factor, which offers a rare and personal look at the actor and filmmaker. Note: Extras are only included for some films.
Films included: 1. Where Eagles Dare, 1968, 2. Kelly's Heroes, 1970, 3. Dirty Harry, 1971, 4. Magnum Force, 1973, 5. The Enforcer, 1975, 6. The Outlaw Josey Wales, 1976, 7. The Gauntlet, 1977, 8. Every Which Way but Loose, 1978, 9. Bronco Billy, 1980, 10. Any Which Way You Can, 1980, 11. Honkytonk Man, 1982, 12. Firefox, 1982, 13. Sudden Impact, 1983, 14. City Heat, 1984, 15. Tightrope, 1984, 16. Pale Rider, 1985, 17. Heartbreak Ridge, 1986, 18. Bird, 1988, 19. The Dead Pool, 1988, 20. Pink Cadillac, 1989, 21. White Hunter, Black Heart, 1990, 22. The Rookie, 1990, 23. Unforgiven, 1992, 24. A Perfect World, 1993, 25. The Bridges of Madison County, 1995, 26. Absolute Power, 1997, 27. Midnight in the Garden of Good and Evil, 1997, 28. True Crime, 1999, 29. Space Cowboys, 2000, 30. Blood Work, 2002, 31. Mystic River, 2003, 32. Million Dollar Baby, 2004, 33. Letters from Iwo Jima, 2006, 34. Gran Torino, 2008, 35. Invictus plus The Eastwood Factor (2009 documentary).

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