Showing posts with label harrison ford. Show all posts
Showing posts with label harrison ford. Show all posts

Wednesday, February 13, 2013

Star Wars Trilogy with Exclusive Best Buy Tin (original theatrical releases) - Widescreen Review

Star Wars Trilogy with Exclusive Best Buy Tin (original theatrical releases) - Widescreen
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I had a chance to watch the Star Wars disc from this supposedly unaltered set and was bummed out that even these are not the version that were in theaters back when I saw them. I know this because when I was 8 I got to watch a bootleg Beta Max version of the first film nearly 50 times at a friends house. I had also seen it the year before in theaters in 1977.
This disc is missing 3 items that were in the original theatrical release. I will list all three.
1. When they are all in the control center(in the death star), C3P0 points and tells Kenobi where to release the tractor beam in 3 different points at the same location. (This was not on the DVD)
2. This one is the most obviuos ommission. When Luke and Leia are at the Chasm before Luke throws the grappling Hook to swing across. In the theater version , he puts the grappling hook in his gun and fires it at the ceiling so it will hook on. Unfortunately it misses for them and it falls down. Luke then needs to coil the whole cord up again with the hook and this time he tosses it and it catches. If you watch any version of the film you will see a really poor edit of Luke pulling up the cord from his belt multiple times as if it had fallen once. But Lucas couldn't just shorten the scene because it would have thrown off the music so he copied and pasted Luke pulling up the cord 2 times. For what ever reason, he felt the first time using a gun was not needed to be left in.
3. This one is minor but when they get through the blast door in the death star to avoid Vader, you can hear the Storm troopers tell the door operator (somewhere) to "Close the blast Doors" and then after it closes, you hear someone say "open the blast doors". In all the versions since the movie came out in theaters the "Close the blast Doors" line has been edited out. It is possible it is still on the non THX version of the Laser Disc.
There is also a shortened scene in the Return of the Jedi but that is for another day. George shortened that as well.
George if you are reading this (And I know you are not) Why don't you actually put the "REAL" theatrical version on DVD and not this Psuedo version of Theatrical. All these DVDS are is of a transfer from the THX Laser Disc Version. I think the original Laser Disc version might have a little more in them, but I am not sure.
BTW, George even did this with Episode III as well. He took out a 15 second scene of General Grevious climbing out side of the crashing ship as it was going down at the beginning of the film. he deleted it because he later realized that General Grevious could not breath outside in space. We know he breathes because of his coughing all through out the film. Those 15 seconds never made it to the DVD or the deleted scene section. Woops ;o)
I don't knwo why he does this to all of his films.
I wish my friend still has his Beta Max copy but it has been long gone for 20 years.

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All three original Star Wars film (episodes IV, V and VI) in the original theatrical form, presented in widescreen with Dolby 2.0 Stereo. Includes six DVDs, two versions of each film (new enhanced versions, as well as the theatrical versions). This was an ultra rare set sold at Best Buy that included an exclusive tin that holds all six discs! Also includes tons of extra features, including commentary tracks and more!

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Sunday, September 2, 2012

The Adventures of Indiana Jones (Raiders of the Lost Ark/ Temple of Doom/ Last Crusade) - Widescreen Edition (1984) Review

The Adventures of Indiana Jones (Raiders of the Lost Ark/ Temple of Doom/ Last Crusade) - Widescreen Edition (1984)
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George Lucas produced something other than Star Wars? The younger crowd may not be aware of this, but anyone like me growing up in the 70's -80's would. The answer: Absolutely! (We can forget & forgive his mid-80's mistake "Howard the Duck.")
This collaborative effort from Steven Spielberg & George Lucas brought new life into the action genre. It is equally important to remember that the films also propelled Harrison Ford from Star Wars's loveable "scoundrel" to a silver screen staple. Here is my take on the series so far (barring Indiana Jones 4 which is on & off...hopefully off due to Ford's age and the closure in "Last Crusade.")
Raiders of the Lost Ark:
From the intro Paramount logo shifting into a real mountain, to the mishaps in recovering the golden idol from the temple, "Raiders" pretty much set a tone for what was to come -action. What it brought in after the opening sequence is something not often seen in action movies -story. Not just story, mind you, but intelligent story (dispelling the myth that audiences are stupid.) It is an awkward sight to see Jones transformed from the adventurer to the lecturer, until he is told of The Ark of the Covenant -supposedly holding The Ten Commandments and a source of ultimate power -and chases after it. The rest & former are long embedded in film history. The Nazi's are after it as well and Jones has the fight of his life.
Interesting points:
The beautiful Karen Allen (Starman) portrays Marion (who I personally would like to have seen resurface in later films) and the rolling boulder (reminiscent of the asteroid thundering through a starship in 1979's B-movie "The Black Hole.")
Indiana Jones & the Temple of Doom:
For me, this was the oddball movie. Jones saves child-slaves from an evil cult. That's about as well as I can sum it up. It fails its predecessor and succumbs to mediocre "sequel fever." I don't expect everyone to share my view, nor do I want you to. All-in-all, it's a high action flick and will pass some time well, even with the miscast future Mrs. Spielberg -Kate Capshaw (Space Camp).
Interesting points:
The chase through the mine is an exciting thrill-ride and the tension of bridge scene afterwards makes up for the lower points of this movie.
Indiana Jones & the Last Crusade:
To place this movie alongside the first would be justice served. Here is the return of the intelligent story and type of action/drama mix that resurged the Jones Saga. It opens with young Indiana Jones (River Phoenix, "The Mosquito Coast") stealing a lost artifact from a band of robbers. Ultimately, he is too young to thwart them; however it reveals the character of Jones from an early age and introduces his father, Henry (Sean Connery). Now, fast forward to the Jones we have come to know and Jones is trying to find his father who went searching for the Holy Grail. The movie is a whirlwind trip through Biblical History and pure adrenaline pumped action. The chemistry between Ford & Connery shines throughout the exotic locations and explosions providing comic relief as much as back-story. I can't say enough about this film, so I will stop here.
Interesting points:
So much is revealed in this movie, from the origin of the name "Indiana," to the deepest parts of each character (something rarely seen in films -character depth.)
DVD Extras:
Fortunate enough to have seen it (and I admit I'm not that much of a fan of these DVD revelations on the making's of the movie because it oftentimes destroys the fantasy of it all) I have to bend and tell you it is worth it. The original trailers are laughable (they weren't at the time the movie came out and I mean that in no disrespectful way) and a trip down Nostalgia Lane. One thing that sets this apart is that the documentary is not boring. Most are in DVD Extra-discs (probably because new movies have no real history -save maybe for The Matrix.)
Final Note:
For the cost, quality (remastered, et al.,) this is one box set that I am happy to comment on and also, one that I believe was done right and released right. (Check out other trilogy box-sets, which I won't name here, and you'll find so many versions and "Director's Cuts" that you'll be baffled at what to buy. This set is complete...plain & simple. Enjoy

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Saturday, July 7, 2012

Zabriskie Point (2009) Review

Zabriskie Point (2009)
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I give this move 5 stars for personal reasons. If you peer ever so closely at the panoramic 'orgy in the desert' shot, you will see me groaning with "her" in the sand. While there was no actual fornicating going on within my range of vision, I can tell you the gal next to me was asking out loud for it! Damn! I miss those incredibly naive, self-indulgent days. It was, I believe, October of 1968 and I was a senior in a Las Vegas high school. I answered the casting call for extras. Miracously, my father allowed me to miss a week of school to "train" with a feely-touchy dance troupe from NY. When shooting started MGM would bus us from Vegas to the Point every morning at 5am. Most of my time on the set was spent gawking at Diana, Antonioni, and all the wild movie equipment. They even imported fine silk sand to blow around. I guess Death Valley sand was not european enough. I remember Antonioni, in full archetypical director mode, chasing Mark F. off the sound set for laughing at our feeble attempts to create "love noises" for the orgy scene. HA! The setting was surreal, the weather incredible, the catered lunch edible, and the young ladies sensuous and willing in that 60's way. You know how you sometimes fantasize about going back to a time in your life that was almost perfect? Well, this is one of those times for me.
Oh, I read the Time Magazine review when the movie came out and the reviewer said, "The moral of the story? Don't help a good boy go bad. Lock your airplane, take your keys." Since I wrote that "review" back in 1991 I had occasion to revisit Zabriskie's Point (the place, not the movie). It was my 50th birthday and my wife treated me to a stay at the famous Furnace Creek Inn.
We went over and it was as I remember it. Stunning. The only change was the parking/view area. You can no longer just drive on in to the canyons as the catering truck did back in 1968. So, while I am 'pointing and pondering' these three beautiful ladies arrive. They are talking away in some Euro language and I hear, "Antonioni". I say, "you know the movie?"
"Yes, we came to Death Valley just to see this place."
I say, "I was there when the movie was filmed".
They all came unglued and plied me with questions. Had to have a photo. My wife was bemused, to say the least. For a moment, I was once again Making Love, Not War.
I am just realizing what an effect this movie has had on so many people and how lucky I was to be even a small part of it.
The real miracle of it all is that my father let a 17 year old wanna-be hippie skip a week of school to bounce around Death Valley with a bunch of radicals. Another odd thing was that I had recently sworn off drugs and alcohol so I got to be totally "present" for the experience. From my observation, I may have been the only sober participant...!

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In a story of youthful rebellion, a young man steals an airplane and flies over the desert, where he meets a young woman and falls in love.

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Monday, November 21, 2011

Air Force One (1997) Review

Air Force One (1997)
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In the Summer of 1997, audiences were treated with another action film from Harrison Ford. During the 1990's, Ford has made quite a number of successful action films but his performance in "AIR FORCE ONE" was truly an example that this Hollywood veteran still had what it takes to be an action star.
The film was directed by well-known action director Wolfgang Petersen ("The Perfect Storm", "Troy", "Outbreak", "Das Boot"), music by well-known composer Jerry Goldsmith ("Rambo", "Star Trek: First Contact", "Star Trek: The Next Generation", "Basic Instinct") and Director of Photography by Michael Ballhaus ("Gangs of New York", "The Departed", "Wild Wild West").
The film was received positively by critics and a success in the box office as it brought in over $315 million worldwide. "AIR FORCE ONE" even received attention from President Bill Clinton who enjoyed the film and watched it twice. The film would go on to receive two Academy Award nominations for "Best Film Editing" and "Best Sound".
VIDEO & AUDIO:
"AIR FORCE ONE" features a pretty solid transfer on Blu-ray. Video is presented in 1080p High Definition (aspect ration of 2:40:1) and one thing that I will make clear is that while many films featured in the 90's tend to have a DNR, clean, waxy or soft effect in terms of picture quality, the good news is that "AIR FORCE ONE" does not.
In fact, there are scenes where the detail comes out quite nicely. But if there was one thing that the Blu-ray High Definition transfer does happen to bring out is the amount of grain. But I would rather take a transfer full of grain than the soft, waxy DNR look any day. And I am so happy that Sony Pictures Home Entertainment decided to feature "AIR FORCE ONE" with a good HD transfer of the film.
As for the audio, I have one word and that is "magnificent".
"AIR FORCE ONE" has one of the most impressive soundtracks that I have heard from a 1990's film. The soundtrack just sounds absolutely wonderful on English Dolby TrueHD 5.1 (the film is also featured in French Dolby TrueHD 5.1).
The film features a high number of action scenes and gunfire, music, mechanical sounds from the vehicles, jet engines flying, helicopter rotors spinning, it would seem that so much was put into the emphasis of having a wonderful soundtrack that "AIR FORCE ONE" truly delivers. And these are not short bursts of audio, there are plenty of scenes that utilize this explosive audio throughout the film.
I was absolutely in awe of how all the speakers were being utilized, especially my surround channels and I also noticed a few times where my subwoofer would utilize low frequency sounds. "AIR FORCE ONE" is an action thriller that truly delivers with its audio that I can say that this is one of the better sounding action thrillers from the 1990's that just shines on Blu-ray. And just to think that this film is 12 years old. I was absolutely thrilled by the audio quality of the film.
As for subtitles, the film is presented in English, English SDH and French.
SPECIAL FEATURES:
"AIR FORCE ONE" features a commentary track by Director Wolfgang Petersen and Michael Coleman. This is the same commentary from the DVD release but there is good information from Petersen on scenes that were actual aerial shots and not CG and which parts were shot on a set and were CG'd. Also, learning about his feelings towards his cast members, Harrison Ford especially and how Ford did his own stunt work.
BD Live is also enabled and there are commercials in 1080p for upcoming releases from Sony Pictures Home Entertainment.
JUDGMENT CALL:
I am a big Harrison Ford fan and I watched this film immediately when it came out on theaters. My first impression was that Harrison Ford should definitely be President because it was like a combination of a President meets DIE HARD's John McClane. Well, not really but Harrison Ford's role as a President who fights back was definitely a highlight throughout the film.
One thing that I know is when a film is being directed by Wolfgang Petersen, the viewer is definitely going to be treated with an exceptional, action-packed film and "AIR FORCE ONE" is just that. Even 12 years later and this film still holds up quite well. Petersen and everyone involved in this film did a wonderful job and I have to say that this is my favorite Harrison Ford action thriller to come out in the 1990's. He manages to have the suave, charisma and that look and feel of an action star but in this case, he's the President of the United States.
But for those who own the DVD of "AIR FORCE ONE", you may be wondering if its worth the double dip? I have to answer with an extreme "YES!!!". The soundtrack of "AIR FORCE ONE" is top notch and I will say that its one of the most immersive soundtracks I have heard on Blu-ray. Also, bare in mind, this is not a new action film, this was a film released in the Summer of 1997 and it can compete with some of the recent, bigger releases on Blu-ray. That is how magnificent this film sounds on Blu-ray.
If there were faults in the Blu-ray transfer, its the fact that there are not many special features included. Just the audio commentary but no HD trailer and no making of featurette. The other thing is that although the film looks better than many 1990's film on Blu-ray and avoids the waxy, DNR look but with its HD transfer, grain is elevated. Though not too bad, it is noticeable and this may be a slight issue for some viewers but I tend to be on side of grain is part of film and high definition elevates the look of grain. And personally, I would rather take the grain than a transfer with a lot of DNR or edge enhancement.
Overall, "AIR FORCE ONE" is a magnificent action-packed thriller and a film that Harrison Ford truly shines in. And as for the Blu-ray, this is the definitive version of "AIR FORCE ONE" to own!

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AIR FORCE ONE - DVD Movie

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Saturday, September 10, 2011

Indiana Jones - The Complete Adventure Collection (Raiders of the Lost Ark/ Temple of Doom/ Last Crusade/ Kingdom of the Crystal Skull) Review

Indiana Jones - The Complete Adventure Collection (Raiders of the Lost Ark/ Temple of Doom/ Last Crusade/ Kingdom of the Crystal Skull)
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Okay, I believe we all know who Indiana Jones, is, right? I grew up with Indy and my kids will be the same. This new box-set is the definitive Indy box-set. This set features the original classic trilogy plus the newest addition, "The Kingdom of the Crystal Skull". Just like the set that came out in May for the 4th movie, this set comes with the new special editions of the original 3 movies. The best part about this set is that the 4th movie is the 2-Disc special edition and not the lame 1-disc version. My only complaints with this set are 1) that the DVD cases are those really lame slim cases and not regular sized DVD cases and 2) the bonus disc from the original trilogy boxset is missing (although the special features makeup for that is most respects) and 3) while the cover is cool, the order of each movie cover is weird; you start from the top right and work your way around. All in all, this is the best Indy box-set out there and it's worth getting. Here's my ratings for each movie:
Raiders of the Lost Ark: 5/5
The Temple of Doom: 4/5
The Last Crusade: 5/5
The Kingdom of the Crystal Skull: 3.5/5

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Item Name: Indiana Jones - The Complete Adventure Collection (Raiders of the Lost Ark/ Temple of Doom/ Last Crusade/ Kingdom of the Crystal Skull); Studio:Paramount

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Tuesday, July 26, 2011

American Graffiti (Collector's Edition) (High School Reunion Collection) (1973) Review

American Graffiti (Collector's Edition) (High School Reunion Collection) (1973)
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"Where were you in `62?"
I wasn't around in `62 -- I was born in `63, as a matter of fact, and I was 10 when George Lucas' American Graffiti was released. I wasn't really aware of either George Lucas or American Graffiti in 1973, although four years later I would know Lucas from his next -- and most popular -- film, Star Wars. I did not go to the movies much in 1973, but I saw this wonderful film when it was broadcast by ABC some years later. (ABC, capitalizing on its "hot" new sitcom, Three's Company, shamelessly promoted it as "starring Suzanne Somers." In fact, Suzanne is not even billed with the eight "stars.")
If film and television historians have it right, though, American Graffiti was the catalyst for the 1950s Nostalgia fad that begat TV's Happy Days, Laverne and Shirley, and the blessedly short-lived Joanie Loves Chachi (not to mention Sha Na Na and Broadway`s Grease). And it isn't terribly surprising that Happy Days and its spin-offs owe their inspiration -- if not their very existence -- to Lucas' first major culturally significant film. Happy Days starred Ron Howard, who (as Ronny Howard) had second billing in Graffiti, while Laverne and Shirley costar Cindy Williams was the female lead.
American Graffiti is a bittersweet yet comedic look at what the DVD publicity blurb says was "America's last age of innocence." In the summer of `62, JFK was in the White House, the Beatles were still unknown in this side of the Atlantic, and drive in diners and movie palaces were very popular. There was no Internet or even Studio 54 just yet, so kids went cruising, looking for girls to pick up or rivals to race in their souped-up hot rods. (Lucas, in the Making Of documentary on the 25th Anniversary DVD, says his intent in making American Graffiti was to document cruising as a socio-cultural phenomenon that died in the more turbulent half of the 1960s.)
The movie's structure -- commonplace now but it was revolutionary at the time -- intertwines several plots involving a group of recently graduated Southern California high school seniors on their last night before going to college. Curt (Richard Dreyfuss) is fretting about going to college in the East with his friend Steve (Howard). Wracked with indecision, he spends his last night in town searching for The Blonde in the White Thunderbird (Suzanne Somers in her first, albeit small, role). His misadventures cause him to step out of character, especially when he crosses paths with The Pharohs, the local gang of miscreants.
Curt's sister Laurie (Williams) must not only cope with her brother's last minute bout with "cold feet" but with the fear of losing Steve. In what may be a typical situation for couples who are "steady" but are going to be separated by circumstances, she's devastated by Steve's suggestion that they "see other people" while they are in school. "I can't expect you to be a monk," Laurie says with false bravado, but in "The Smoke Gets In Your Eyes" sequence, it is obvious that she is hurt and angry.
The other two subplots of this wonderful film center on Toad (Charlie Martin Smith) and John (Paul Le Mat). Toad is the car-crazy, girl-deprived nerd that we either knew in school or that we recognize in ourselves. His attempts to impress the lovely Debbie (Candy Clark) are hilarious -- rivaled only by a similarly themed scene in Summer of '42 -- only to discover that Debbie likes him for who he really is. John, on the other hand, is the Han Solo of this bunch, the high school dropout who loves fast cars and even faster women. He, too, discovers a tender side as he is saddled with 12-year-old Carol (a pre-One Day at a Time Mackenzie Phillips). Not only must he learn patience while driving around with Carol, but also he is being challenged as the top drag racer by Bob Falfa (played by the man who would be Han Solo, Harrison Ford).
All these stories will converge in a climactic, winner take all race, and several Lucas touchstones will resurface in his later Star Wars series -- the choice to either take or reject a certain path, the relationship between men and their machines, and the quest for either love or adventure.
Serving as a unifying thread to all these subplots is Wolfman Jack, mostly heard on the radio but seen briefly in a Yoda/Ben Kenobi style of mentor for restless Curt.
Lucas uses music here very effectively. Each song (and there are over 40 here, ranging from Rock Around the Clock to The Great Pretender) was chosen to provide emotional context, not just period atmosphere. He envisioned American Graffiti as a musical "with no singing or dancing."
This film is fun to watch and definitely deserves having been votes as one of the American Film Institute's top 100 Films of All Time. Watch it with a friend or alone, and if you were of age in the 1960s, answer the movie's famous log line: "Where were you in `62?"

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AMERICAN GRAFFITI COLLECTOR'S EDITION - DVD Movie

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Tuesday, May 3, 2011

Crossing Over (2009) Review

Crossing Over (2009)
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This is realism at its best! With immigration issues more current than ever this movie addresses the growing immigration and the often sad human destinies involved - not only among the immigrants but also among the very government agencies and bodies ment to manage the situation.
Having outgrown Harrison Ford movies (typecast for decades) as I left my teenage years my expectations were very moderate as I entered the theatre - did I turn out to be wrong again!
Harrison Ford delivers a solid performance but the movie is so much more than him - in fact most of the other characters are delivering excellent performances - and refreshingly all are depicted in a shade of grey - rather than black and white as we have come accustomed to from Hollywood for decades. It brings back sweet memories of American Beauty in this department.... in itself something I for one have been longing for for a long time.
The storyline resembles another excellent movie, Crash, in its shifting between multiple stories which in the end turn out to be intertwined and Grand Torino in its coverage of the immigration issue but with far superior acting and plot. In fact particularly the acting of the immigrants were excellent and far superior to the appauling Vietnamese actors in Grand Torino.
At times a bit depressing but also heartwarming and certainly a must see movie.

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Harrison Ford (Indiana Jones films) is on a quest for justice as an immigrations agent investigating the case of a missing illegal. In a cross-fire of crime and bureaucracy, fraud and murder, he must race against time to try to save a family from becoming collateral damage in the fight for the American dream. Critics rave, “Harrison Ford is terrific. An engrossing, thoroughly entertaining movie with great performances from a first-rate ensemble cast” (Pete Hammond, Hollywood.com). Co-starring Ashley Judd (Twisted), Ray Liotta (Smokin’ Aces), Jim Sturgess (21), and Cliff Curtis (10,000 BC); Crossing Over will keep you riveted until the final mystery unfolds.Stills from Crossing Over (Click for larger image)



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Saturday, April 2, 2011

Sabrina (1995) Review

Sabrina (1995)
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I was surprised at how good this movie is. A remake of a movie starring Audrey Hepburn, Humphrey Bogart and William Holden, directed by one of the greats of American cinema, Billy Wilder, is not exactly the kind of task for the faint of heart. The fact that Sydney Pollack (They Shoot Horses Don't They? (1969), Tootsie (1982), Out of Africa (1985), etc.) decided to do it must have raised a few eyebrows in Hollywood land.
And let's just say I had preconceptions as I sat down to watch this. No way could this be anything near as good as the original. And for the first twenty minutes or so I was not dissuaded. Julia Ormond, who was given Miss Hepburn's title role, seemed nothing far removed from ordinary; and Greg Kinnear, who played the playboy David Larrabee, seemed a poor imitation of William Holden. Of course Harrison Ford, I told myself, is another story, since he is the embodiment of the fulfillment of the desire of many woman, and a fine, accomplished leading man. He would be, I suspected, the lone bright spot. In the original, Humphrey Bogart, a little past his prime, and in not exactly the best of moods, and not entirely pleased with the relatively inexperienced Audrey Hepburn, played the cool tycoon Linus Larrabee with some distracted forbearance in what many consider one of his lesser performances. Surely Harrison Ford could improve on that.
He did, but what really surprised me was just how diabolically clever the oh, so romantic script by Barbara Benedek and David Rayfiel turned out to be. I mean, Cinderella move over. Sabrina could not have achieved a more glorious existence had she died and gone to heaven. It is hard to imagine a more fulfilling fantasy for a chauffeur's daughter than what transpires here.
Quickly here's the premise of this celluloid fairy tale/romance: Pretty but ordinary Sabrina, born of working class parents, her father the chauffeur of the ultra rich Larrabees, grows up living above the garage in the palatial Larrabee estate. She watches the lavish parties thrown by the Larrabees from a spot in a tree and falls madly in the kind of puppy love that never goes away with the younger of the Larrabee brothers, David, who is the kind of guy who gives playboys a bad name. When she comes of age, she goes away to Paris (apparently to work for a fashion magazine: in the original Sabrina, she goes to a cooking school in Paris), picks up confidence and a new kind of eye-popping sophistication, comes back and...well, gets noticed.
The basic skeleton of this, the story from the first Sabrina (1954), which is dreamily romantic enough and then some, is greatly augmented here with some very fine psychological touches including developing Sabrina's character beyond the pretty and stylish to something bordering on the wise and heroic. Suffice it to say that we come away feeling she deserves every rainbow's end she gets. I can see Benedek and Rayfiel exclaiming with riotous joy as they are writing the script (trading e-mails perhaps): "They want romance, they want woman's fantasy? They want Sabrina to have a pot of gold and true love everlasting? How about riches beyond counting and the doting attention of the two handsome, very rich brothers? She can take her pick. We've give 'em romance, we'll give 'em dreams come true!" And they do. Not only that, but they keep us guessing about who gets the girl until the last possible moment, and they do that very cleverly.
Of course it helps to have professional direction by Sydney Pollack and a fine cast including Harrison Ford--at his best, by the way--and Julia Ormond, a hard-working and talented actress (I recall her from Smilla's Sense of Snow, 1997), who knows how to be cute without fawning, supported by Greg Kinnear, Nancy Marchand, John Wood and Angie Dickinson. I mention Miss Dickinson because, as the mother of a perspective bride about to throw an incredibly lavish wedding, she gets to deliver this "let them eat cake" line: "We thought we'd use recycled paper" (for the wedding invitations).
The script is full of similar witticisms, some verbal, some like eye candy. For example, when Sabrina removes her glasses (the usual Hollywood signal for the adolescent ugly duckling to become a beautiful swan) after gaining sophistication in Paris, she quotes aptly but surprisingly from Gertrude Stein: "America is my country and Paris is my home." (Of course Gertrude Stein never heard of Paris, Texas--but that is another film, and besides, I digress...)
I also liked it when Sabrina is in the arms of her Paris would-be lover who kisses her, and--noticing that she is not as engaged as she might me-observes with perfect decorum, "I'm embarrassed that you're somewhere else."
Memorable was the shot of Harrison Ford momentarily looking jealous and hurt. By the way, he has a number of good lines, and he delivers them well. I especially liked it when he sadly confessed: "I was sent to deal with you. I sent myself."
It is probably better if you haven't seen the original and can experience this on its own merits without the odiousness that sometimes comes with comparisons. Comparing Audrey Hepburn with Julia Ormond is like comparing Grace Kelly with Jennifer Lopez. They really are very different people. And comparing Billy Wilder's 1954 film (from the play by Samuel Taylor) is a little like comparing Lon Chaney's Phantom of the Opera with Andrew Lloyd Webber's.
Bottom line: see this for both Harrison Ford who wears the business-first character of the "only surviving heart donor" very well, and for Julia Ormond whose intense and beguiling performance makes us forgive her for not being Audrey Hepburn.

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Remake of the 1954 film about a modern-day Cinderella who is the daughter of a wealthy family's chauffeur. When she is transformed into a graceful woman, she captures the attention of the sons of the family.Genre: Feature Film-ComedyRating: PGRelease Date: 29-DEC-2004Media Type: DVD

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Sunday, March 20, 2011

Extraordinary Measures (2010) Review

Extraordinary Measures (2010)
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This movie motivated me to write my first review.
I read on 'Rottentomatoes' that Extraordinary Measures "never feels like more than a made-for-TV tearjerker." Don't believe it! I am convinced that critics who do critiquing for a living often lose their senses of wonder, along with their senses of humor. After hundreds to thousands of movie viewings, they no longer see the story that makes the acting come alive. They only judge the acting (and that, superficially), and my guess is that most go into the theater with preconceived ideas based on trailers and their personal attitudes toward the actors in the film under review.
So with that out of the way, I will concentrate on the movie which I saw last night.
John & Aileen Crowley and their children, John Jr., Megan and Patrick, are the real stars of this movie. Which tells me that the actors who portrayed them did their job well.
As usual in his serious roles, Brendan Fraser brought to the screen the intensity and humanity and reality of John Crowley's decision/quest/obsession for a medical miracle for his children. Brendan is unique. He has been wise in not being stereotyped. As far as I can see, he has much more to bring to life cinematically. His humor is one of his greatest attributes.
Keri Russell is relatable as Aileen. In this condensed version of this part of Aileen's life, I think Keri allowed us to see into Aileen's emotions and her relationships with her children as well as with John.
The children were played by Meredith Droeger as Megan and Diego Velazquez as Patrick. I was entranced by both children. They were believable and amazing in their mature ability to play children with Pompe challenges, while still showing how the disease does not identify their individuality. I believe both Meredith and Diego have a great future ahead of them regardless of their paths in life.
Sam M. Hall is a delightful young man who, I feel sure, played big brother John Jr. very much as he is - supportive, loving and responsible. His own challenges came through often with Sam's expressions and responses to difficult situations.
And, of course, what can you say about Harrison Ford that has not already been said. I watched his interview with Charlie Rose, and he said then that his character, Dr. Stonehill, was a compilation of several doctors the Crowleys worked with. His characterization of the medical research personality was probably not all that far from truth. But he naturally gives his signature personality to the contrary doctor. (I have known some egos like his in the medical field.) In short, he was wonderful. And I truly appreciate his dedication to getting this story to film (along with anyone else involved).
See this film if you have a heart for children. See it if you like any of these actors. (And watch for Dee Wallace. Short but oh so sweet!)

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Imagine Harrison Ford as a rogue scientist exploring not ancient artifacts of lost arks, but biochemical research to help cure rare diseases. In "Extraordinary Measures", Ford manages to keep some of that wry rebellious Indiana Jones energy as he plays Dr. Robert Stonehill, a fringe researcher whose findings just might help keep alive the two children of John Crowley, played with heart and sobriety by Brendan Fraser. "Extraordinary Measures" is based on a true story, one chronicled in the gripping book "The Cure: How a Father Raised $100 Million--and Bucked the Medical Establishment--in a Quest to Save His Children", by "Wall Street Journal" reporter Geeta Anand. The cast is excellent, with Ford tamping down his occasional urge to vamp for the camera, and Fraser grounded in his first true adult role. The supporting cast is also strong, including Keri Russell as Crowley's frantic wife, facing the near-certain death of both of her children; Dee Wallace, Jared Harris, and Courtney B. Vance also appear as strong supporting characters. Director Tom Vaughan switches gears from his wildly successful romp "What Happens in Vegas" to turn in a crisply paced and suspenseful family drama. As Crowley and Dr. Stonehill team up to raise money to support Stonehill's research, Crowley says, "Who's going to be half as motivated as the dad who's trying to save his own kids?" "Extraordinary Measures" brings to mind similar dramas like "Lorenzo's Oil", but its heart and drive are unique to the story of the Crowleys, a very special family indeed. "--A.T. Hurley" \n\n \n\n\n Stills from "Extraordinary Measures" (Click for larger image)

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Sunday, February 27, 2011

Star Wars Episode IV - A New Hope (1977 & 2004 Versions, 2-Disc Widescreen Edition) (1977) Review

Star Wars Episode IV - A New Hope (1977 and 2004 Versions, 2-Disc Widescreen Edition) (1977)
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I am one of those geeks who was ten years old when Star Wars came out (note: it was not originally called "Episode IV.") I watched it in the theater perhaps a dozen times. It was the most amazing thing I had ever seen.
This release contains two DVDs: the version that Lucas has been tinkering with, and on a bonus disc, the original movie in 4:3 letterbox, taken from the best-available videodisc masters.
About that "tinkering." The 2004 version of Episode 4 looks, for the most part, quite gorgeous. The _restoration_ that Lucasfilm did is impressive: the blacks are blacker, the whites whiter, the color richer, the contrast improved all around, and the soundtrack is great. The dirt and scratches are gone, the shaky color very solid.
However, at some point Lucas crossed over from "restoration" into making a new movie. That's fine; he has the right to do so. But for him to say that the original Star Wars is not really what he had in mind, when it was one of the most famous and popular movies in history and became entrenched in the culture -- well, I find that weirdly arrogant. And when he says, in effect, that his altered version _is_ "Star Wars" and the original _isn't_ -- well, hmmm. A movie is a historical artifact. There's a difference between preservation and tinkering. Mainly, that tinkering mostly is there to gratify the artist, while preservation serves the art -- and the fans of the art. Artistic creation is a fragile and uncertain process. For Lucas to assume that he knew exactly what made Star Wars great and presume to make it better misstates the amount of control that artists actually have over how their creations are received by the public.
Where you draw this line is slightly unclear. I think the cleanup of the backgrounds is fine. The improvement of the soundtrack to use the latest technology available is wonderful. I'm not sure why Kenobi's weird cry that drives away the sandpeople was replaced with a slightly different weird cry. He's redone some of the explosions twice now. I'm not sure why they all became pink in 2004. Why did he feel that Alderaan and the Death Star needed to explode in giant rings? Why do the lightsabers now give off blinding green flashes when they collide? Most of these changes are not improvements; they are just distractions. They tend to stick out like a sore thumb to fans who have seen the movie many times.
But there are more than just the small arbitrary changes, I'm not really happy with the addition of dinosaur-like creatures in Mos Eisley, and I'm really not happy with giving these little bits and pieces cartoonish _sound_ that sounds like it came from Episode 1. Star Wars, the original, had a different tone, a different mood, than Empire and Jedi and the whole prequel trilogy. It's a little darker. It's a world where rebels and stormtroopers are violently killed and Han Solo shoots first. Lucas is free to make that world happier and more cartoonish in his later films, but altering, and in some cases censoring violence from the original, is a very strange thing to do.
So, although I really admire the improvements to the image and sound in the 2004 edition, I generally prefer watching the original 1977 cut. For that, I'm sorry to report that the digital transfer, from the videodisc master, is only adequate. Many fans are griping that it is 4:3 instead of anamorphic 19:9. This means it isn't full-width on a widescreen TV. That doesn't particularly bother me, but I'm viewing it on an old TV, not a widescreen TV. It looks like a very good analog videotape, but we've recently -- and rather abruptly, in terms of years -- gotten used to DVDs of films that were transferred to the digital realm and mastered there. It's actually taken from the master for the analog videodisc. The audio is good, but again we now tend to compare it to all-digital productions. Negative comments on Amazon about the black level are on the mark; some of the space scenes make black outer space look brown, or gray. This is particularly evident when we see Vader's helmet in his tie fighter; his helmet is blacker than the black background of space. But that is true in the original film; it was noticeable in the theater on opening day. A number of the desert scenes have poor contrast and faded color; some of this is film deterioration, and some is because the contrast and color in some of the outdoor Tatooine scenes were never that good to begin with. There are noticeable scratches. The color is shaky in some scenes, particularly outdoor scenes, and flickers a bit. It looks like a film that is considerably older than it is. I've seen restored films from considerably earlier that look a lot better than this one does.
Here's the thing: it didn't have to be this way. We would have considered it to be a fairly good video rendering at one point in time. But our expectations have been raised considerably -- and, in fact, Lucas himself is largely responsible for raising those expectations, because of his constant embrace of new technology for delivering films to audiences. The 2004 DVD release has all those black level problems fixed. There aren't any visible scratches. The contrast is excellent. The colors are vivid. The missing dialog is restored.
So which version do I want to watch? Well, the answer is neither. I want to watch a version that doesn't exist: call it "Star Wars: the Nostalgia Edition." That version would be fully _restored_, but not _altered_. And it would have things like Han Solo's scene with Jabba available as a "deleted scene" special feature, along with all the other so-called lost footage such as the scene at Anchorhead, which introduces (and makes sense of) Luke's relationship with Biggs. It would have been presented with respect for the original work, not as a bonus disc given no special treatment. Instead, Lucas has disowned that picture.
And here's the thing: I'd be shocked if Lucas didn't have every scene, unaltered, from the first film in beautifully restored digital form. After all, wouldn't a restored original film have been the starting point for this whole process of remastering that led to the 1997 and 2004 versions?
So, I'm not actually advocating that we give up the advances in restoration that are evident in the 2004 release. But don't bother with the tinkering. The fans don't care about it. Keep the original death star cell block footage. Sure, the tunnel behind the actors is obviously a matte painting, and the perspective is off kilter when the camera angle changes. But you know what? I saw Star Wars at least ten times in the theater and I never noticed the problem -- because it isn't a "problem," it's an artifact of the budget and technology that existed in 1977. You notice it if you are looking at the frame cynically, not when you are immersed in the story. It might be an irritant to Lucas now, but it is the effect we grew up with. For the "Nostalgia Edition," let Star Wars be Star Wars.
Then Lucas can go on with his director's cuts, turning Star Wars into a 3-D cartoon until the sun explodes, for all I care. Just don't make me watch Greedo shoot first!

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For the first time ever and for a limited time only, the enhanced versions of the Star Wars: Episode IV A New Hope, Star Wars: Episode V The Empire Strikes Back and Star Wars: Episode VI Return of the Jedi will be available individually on DVD. Plus, these 2-Disc DVD's will feature a bonus disc that includes, for the first time ever on DVD, the original films as seen in theaters in 1977, 1980 and 1983.

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