Don Movie Reviews

It's a little more mature than Najica, but also a bit slow and plodding. I'm not saying that Noir should be passed up, in fact I'd suggest buying it, but not perhaps as your first choice when building a collection.

The one thing which this series has that makes it stand out is the sheer cold-blooded manner in which the two protagonists kill. They have character and personality but also regularly gun down people in such a cold fashion that you are compelled to puzzle over just how these two could have gotten to this point.

And that is the whole hook - two cute (of course) girls (of course) who assasinate their targets without pity. Even in mainstream Hollywood do you rarely find scenes quite so merciless. Not outright evil, just cold-blooded.

I'm not saying this is good or bad. It IS different, in a series that without it would be terribly drab.

So final analysis - Noir is overrated, but not by too much, and it has it's moments. Just don't buy it for your brooding teenage daughter before she goes to gun-camp...

Noir is a diamond in the ruff. Do not let the first volume steer you away from the rest of the series. The plot thickens in the 2nd volume. I gave it 4 stars only because it takes a while for the series to stop focusing on their cold blooded skills and focus on the real reason you are watching. And that is, a clue as to who they are, how their past is linked, and why the powers that be are playing with there lives? So stay tuned!

Hey this dvd is simply awesome. the music fits so well with whatever scene is playing. it has great animation. One thing i did not like was that their voices were so soft that i had to turn on the english subtitles to find out what they were saying!
But overall a very awesome anime i recommend it!

It's a little more mature than Najica, but also a bit slow and plodding. I'm not saying that Noir should be passed up, in fact I'd suggest buying it, but not perhaps as your first choice when building a collection.

The one thing which this series has that makes it stand out is the sheer cold-blooded manner in which the two protagonists kill. They have character and personality but also regularly gun down people in such a cold fashion that you are compelled to puzzle over just how these two could have gotten to this point.

And that is the whole hook - two cute (of course) girls (of course) who assasinate their targets without pity. Even in mainstream Hollywood do you rarely find scenes quite so merciless. Not outright evil, just cold-blooded.

I'm not saying this is good or bad. It IS different, in a series that without it would be terribly drab.

So final analysis - Noir is overrated, but not by too much, and it has it's moments. Just don't buy it for your brooding teenage daughter before she goes to gun-camp...

Noir is a diamond in the ruff. Do not let the first volume steer you away from the rest of the series. The plot thickens in the 2nd volume. I gave it 4 stars only because it takes a while for the series to stop focusing on their cold blooded skills and focus on the real reason you are watching. And that is, a clue as to who they are, how their past is linked, and why the powers that be are playing with there lives? So stay tuned!

Hey this dvd is simply awesome. the music fits so well with whatever scene is playing. it has great animation. One thing i did not like was that their voices were so soft that i had to turn on the english subtitles to find out what they were saying!
But overall a very awesome anime i recommend it!

We've all seen it before: the 'horror' movie where someone's lost a loved one, suddenly their ghost starts popping up, and the desperate search to get to the bottom of it ensues. Director Nicholas Roeg took a story somewhat like that, based on a short story by Rebecca author Daphne DuMaurier, and successfully proved that it doesn't always have to be like that. Don't Look Now is a nearly-forgotten film from the 70's by a nearly-forgotten director (I believe this is the only one of his handful of great films that's on DVD), and after watching the film, I realize it's a shame.

As Don't Look Now opens, we see a placid little pond, and disjointed, dreamy editing and cinematography that combine to form an unsettling scene of two kids playing. A young boy is riding around on his bike, and a little girl in a red mackintosh is frolicking around. We then see the parents of the children, John and Laura Baxter (Donald Sutherland and Julie Christie), sitting comfortably inside by the fire. Something is wrong, though. The film's editing style eerily merges the slowly mouting events outside with the warmth of the interior. The boy's bike hits some glass and John's drink crashes on the table. Before we know it, the Baxter's daughter has plunged into the pond and the Baxters are left with a dead daughter.

Fast-forward to some unknown time in the near future, and the Baxters are in Venice, where John is restoring a church that he quite quickly discovers is an architectural fraud. One day in a restaurant, Laura is encounted by a mysterious, psychic, blind woman who assures her that her daughter is 'happy.' Laura tells her husband this, but John is a staunch non-believer in things of the sort, and in a tender, wonderfully-edited scene, the Baxters make love.

The love scene in Don't Look Now is notorious for those familiar with it. Being quite graphic, it was trimmed a bit for an R rating in the US, but even by today's standards, it's quite surprising. There's a catch, though - Roeg's film intercuts their frenzied sex with a scene of them dressing afterwards and leaving for dinner (most notably paid tribute to in Steven Soderbergh's Out of Sight, much tamer, but edited in a similar fashion). Why? It is at once the most frustrating, and greatest, thing about Don't Look Now.

The film contains a numerous amount of plot strands: a mysterious figure in a red coat (who may or may not be the ghost of the Baxter's daughter) begins to appear around Venice, dead bodies are being found in the canals, the killer's on the loose, and the blind prophet continually warns of John's pending danger. What connects them all? Well, one can't really be sure until the end of the film, and that's where Don't Look Now nearly stumbles.

In Roger Ebert's review of the film, he comments on how successfully the movie builds up tension and how disappointing the film's climax is, but I felt the opposite. Not that much happens in the movie until its final, bloody, climax. What is important, though, is that every little thing that happens in the film has something to do, in some creepy, abstract way with the film's finale. I found myself immensely frustrated by the middle stretch of the movie, because not much makes sense for a while. Don't worry, though, because director Roeg doesn't offer some neat tie-up of all the loose ends of the film; he simply offers a suggestion to the viewer. The question is: is the suggestion he offers good enough to redeem the complete puzzle that the movie is before it? I'm going to go with 'yes,' for the film doesn't ground itself firmly in reality, thereby allowing some slack in how lucid the ending must be. In fact, it seems somewhat like a dream the whole way through (don't worry, I don't think it is).

What is the point of Don't Look Now, and why should you watch it? Well, Don't Look Now proves that there may be more 'future' in our present than we think... All of the plot strands seem to occur at odd, disjointed times in the film, and it's up to us to decide what's important. Yes, we do find out who the killer is, but don't expect some easy resolution in the perplexing amalgam that the film is. In fact, Roeg lets two plot strands of the movie converge in its conclusion. I was immensely impressed by Don't Look Now, for the device of 'who's the killer' is actually put to some interesting use. I think I know what the movie suggests, but there's so much there that it requires a second viewing. If not a second, you should at least give it one, but be prepared to be confused .

Dont look now is a very important film because it changed the way films would be edited forever. There are several key sequences where the editing is beautifully mastered to create wonderful montages not seen since Tarkovsky - the initial child drowning accident, the love making scene shot in reverse and the shock ending. This is a wholly creative film from start to finish. The director has paid remarkable attention to the direction of colors. If you think that Spielberg was original with his girl in the red coat, then you are mistaken. This is where that vision began. The majority of the film takes place in Venice but the director has chosen to roam the more obscure and backward waterways and tunnels. The film is layered with such beautiful simplicity that is should be the goal of every film student to study this material to no end.

The premise basically revolves around a personal family tragedy of a young couple, John and Laura Baxters, played by Donald Sutherland and Julie Christie, (a magnificent match) who are trying to come to terms with the death of their daughter. Laura finds a blind clairvoyant and her sister by accident in a restaurant who claim that the dead daughter is trying to warn them of some great danger. Slowly Laura starts to crackup as John becomes increasingly angered by her belief in an supernatural afterlife and the warnings given by the medium. The ending manages to shock every time.

This film is not for everybody. The production values are minimal and most of the film was shot from the hip on a shoe-string budget. However the realism that this film conjures up is steaks and bounds ahead of most psychological horror films of its kind. The story is somewhat slow, but emotionally it packs a hell of punch. There are several background elements to the film including a bizarre series of multiple murders, missing persons and events back in England that seem almost connected to the couples genuinely heartfelt struggle to come to terms with bereavement. Essentially this film is every parents nightmare come true and the horror of the loss of a child is very strongly presented and does disturb.

This is a bleak, raw and alarming art house film with many moments that will cause the viewer some distress. The connection between the onlooker and the leading protagonists has an impact that will leave you reeling emotionally long after the film has ended.

A classic masterpiece of emotional and psychological horror.

Don't Look Now is first and foremost a director's film. And not any director, but one of the few original, talented and visionary filmmakers who have made a lasting mark on British Cinema to this day, with a cinematic language that benefited greatly from the freedom many directors had before the age of agents,and studio executives took over.
Ken Russell, Derek Jarman, Ken Loach, Robin Hardy, the late Lindsay Anderson, and Nic Roeg, directors whose style and experimentations was not to everyone's liking at the time, but certainly much appreciated later as classics of cinema.
Whether a political statement,a musical biography or a horror story,these directors made films that are different, original and daring, both in their subject and style.
Don't Look Now, Nic Roeg adaptation of Daphne De Maurier's ghost story was one example of this creativity unfolding.
His third film, after the experimental Performance and the masterpiece Walkabout, Don't Look Now invited the wrong type of controversy at the time,the famous,or should I say infamous sex scene between Sutherland and Christie. Did they or didn't they? a question that preoccupied many, and imprinted itself on the film to this day, but on that scene later...
Grieving parents escape to Venice to rebuild their lives after the drowning of their small daughter, on the premise of a church restoration job. Life seems to take a slow but assured return to normality, helped by the change both parents sorely needed, when a blind and creepy clairvoyant/psychic (with her sister) drops a chilling bomb on still emotionally very vulnerable mother: I have 'seen' your daughter sitting next to you and she was happy!.
This is when everything steadily changes..not only for the parents whose world slowly collapses around them,but for the viewer as well.The blind psychic has another surprise up her sleeve, one that will turn hope into a chilling warning: Your daughter has warned me,the father is in danger and he must leave Venice at once!
Venice that magical Italian city, turn from a beautiful romantic place that helps couples rebuild their lives, to one with its maze like dark alleys and lanes that is sinister and uninviting. This is the genuis of Roeg in visually showing this slow change, while keeping the both dreamy and eerie mood constant from the first scene until the twist at the end.
So the sex scene, which is one of the best ever filmed, can be see as a passion reignited between a couple who has been through a lot. It is a sort of sexual affirmation of their slow return to normality ..this is why it is so believable and natural and never gratitious or voyeuristic.
Roeg, as he himself admitted in the making of documentary, could not have chosen a better cast than Sutherland and Christie. He had only these two fine actors in mind for his film, Sutherland at the peak of his career, an actor with whom great directors like Fellini and Bertolucci had had great faith in, and Julie Christie , in my opinion a very much underrated actress with a classic beauty and classy personality.
I will not spoil the ending for those who have no seen it, save to say, Don't Look Now while can not be pigeonholed into a specific genre, be it horror or thriller, it is rather a film that manages to capture your senses from the first scene and take you on a journey that is full of grief, passion, guilt, false hopes, sinister secret, and a city that can be both welcoming and deadly..
Films like these are rarely made these days, until of course studio executives give back the total artistic freedom to talented directors to do what they know best, and forget the debacle of Heaven's Gate which was responsible for stifling many talents in cinema.
Don't Look Now is a must buy for any serious lover of cinema as an art form of the most sophisticated kind.

Go figure: Under Siege 2 was driven purely by contractual obligation. It's also superior to Seagal's previous effort, On Deadly Ground, an abomination he also directed and produced.

Being the most successful Seagal film at the time (and subsequently, ever) Under Siege could not get away without a sequel. The producers follow a tried and true method: they just make the same exact movie all over again. Once again, Seagal dispatches a team of highly trained yet bumbling terrorists. Instead of a battleship it's a massive train that gets taken over by terrorists with a master plan to kill a lot of people and make a lot of money. In other words, Die Hard on a train. Eric Bogossian plays yet another insane former CIA resource running amok, having stolen a top-secret satellite thingee that can fire laser beams from space and cause earthquakes. Or something like that.

It's up to Seagal, as Casey Ryback (former Navy SEAL who, according to the niece/hostage whom with he's travelling, has 'medals so secret he can't show to them anybody') to bump off the terrorists one by one. Dressed entirely in black in order to hide his expanding waistline, Seagal does it all: shoots, stabs, blows up, punches, kicks and maims a team of bad guys led by Everitt McGill, another arch bad guy who actually wants to fight Seagal because 'he scares me'. Seagal himself gets shot, falls off a train, falls off a cliff, and outruns a speeding train. He even gets in a plug for the first PDA, the Apple Newton, which saves the day while Seagal breaks necks and shoots ears off.

I enjoyed this one immensely. Eric Bogossian is perfect as the loony toons leader of the pack, another guy who plans to blow up half of America for a lot of money (not wondering what his money would be worth after that).

Seagal utters about 100 words in this film, another direct correlation to the quality of the film. The less Seagal says, the better. The more bones he's breaking, baddies he's shooting, and bombs he's making out of the contents of a wet bar, the better. No preaching, no Zen philosophy. At one point he tells his sidekick, a scared porter hiding in the luggage car, "I'm gonna get through my bag of tricks, and we are going to rescue those hostages." Then he stares into the distance, doing that crazy eyebrow thing in what is supposed to represent grim determination in the face of grave danger.

Whatever. The movie is brisk at under 100 minutes, the direction is sharp and economical. The bad guys are evil. They die violently, including a female assasin who gets dropped out of a helicoptor and bounces off the side of a train with a loud, satisfying *thunk*. Fingers get chopped off, necks are broken, people get thrown off moving trains, and Seagal makes a constipated face as he settles into a martial arts stance that suggests he's going to rip his pants. Plot holes? Sure, like who's driving the train after Seagal shoots everyone in the locomotive? Seagal even takes a sniper bullet but ignores it, as if he only deals with serious wounds. ('This ain't being shot.') His black blazer is in great shape at the end despite the fact that he's been dangling off the side of cliffs, crawling on top of trains, getting shot, etc.

It's completely acceptable on a slow night. Incidentally, Basil Pouledouris' score is not bad.

Also note that Morris Chestnut, playing Seagal's 'sidekick', would go on to play the villain in a later and much worse Seagal outing (Half Past Dead) which is a high or low, depending on your pov.

watch 007 die another day they have satalites that can destroy things. in under siege 2 there's do earthquakes in the air it locks heat from the plane and blows it up and they two passwords just to hijack it from the goverment. he blows the cumpter up with one bullet but goverment blows it up two finale count. 007 is being chased by laser beam in die anther day and the satalite melts a ice palace in iceland.in die anther day it destroyed land mines almost the base the got destoyed . this satalite also gave some light. the in under siege 2 is not powerfull die anter day they both could destroy world. the movies had almost same plot with satalite. if had choice between them 007.

This movie is action packed fun and good but like all movies, plenty of bloopers.I just
want to write about the last part of the movie in which the two trains collide.
The whole accident was a blooper! If you playback the movie slowly, you can tell that
the two locomotives of the passenger train's locomotive already derailed just before hitting the
freight train.This caused the freight train's first locomotive to hit the passenger
train from the side rather than "Head on" as it was supposed to be.
This made the whole collision look different. Even though the accident looked very
realistic and spectacular, it was not done correctly. If you know of any movies
that have well made "Head on" collisions, reply me cause up till now, I haven't seen any.
There is a show called "Movie Magic" of which gave detail about how the collision was made.
I can't find anything about this show on the internet. If you know in what channel
they show it, please write!

I think there's already enough reviews on this complaining about the lack of DVD features, the quality, and the awfulness of the movie (that's the POINT, people!!!). But I LOVED IT! It was hilarious! Except...my roommate and I were disappointed that there was no making out at the end...only the beginning, which was COMPLETELY irrelevent to the rest of the movie.

As a pretty well-versed fan, i tend to get more easily bored by the typical mst3k-type movies. you know what i mean: black and white, 50s, mutants/radiation/radar-something-or-other. i prefer the more unusual movies like manos or skydivers or catalina caper even!

but for what it is, the beginning of the end is a funny episode featuring one truly genius skit: "peter graves at the university of minnesota."

if you're new to mst3k and want to experience the show in it's purest form, this is it. a bad sci fi movie augmented by classic riffing and funny skits. if you're already experienced in the realm of mst3k, try something else first, but of course buy this to add to your collection!

Unfortunatley every time I watch this I become less interested. I think I need to keep an open mind. I love the short of Crow's movie "Just plain Peter:the U of M years,or "Peter Graves goes to the University of Minnesota". I think by the title, you know what happens in the skit. Not as absolutley funny as it could be, but who am I to critize MST3000?

Yes Monroe gives one of her greatest performances (the other being in THE MISFITS). However, after directing two different productions of the William Inge's excellent character driven play of the same title, I must say that I cannot objectively judge this wretched adaptation.

Gone is all of Inge's carefull character sketches and complex study of human nature. BUS STOP as a story has never been solely star vehicle. Cherie is but a small part of an ensemble cast. Gone in this film version is Dr. Lyman and his resurrection in the hands of the neophyte Elma. Gone too is the sexual dynamics of bus driver Carl and the lonely Grace. The setting change from Kansas to Idaho loses so much of the midwestern heart that drives Inge's central narrative.

Again, the film is worth watching for Monroe's fine star making performance, but if anyone has read, scene or produced the heart-breakingly beautiful original play, the movie adaptation just doesn't add up.

This story is about a vulnerable hillbilly saloon entertainer, Cherie (Marilyn Monroe), who is bowled over and smothered by an unworldly, manner less rodeo rider, Bo (Don Murray) who seeks to find a lady companion. They are two opposites that end up attracting in the end. A sweet story, Bus Stop was very enjoyable although a little unbelievable at times. Marilyn Monroe is sweet, naive but gorgeous as usual. Hard to believe that she would end up marrying Bo and being happy. Hmm...

The story begins when a rough rural cowboy sets off to a Phoenix rodeo with his friend Virgil. Virgil suggests that it is time for Bo to meet a lady friend. Bo sets his sights high, saying that he will know the girl when he sees her. Then, enters Cherie (said with a French accent) on stage whisperingly singing "that ole black magic". Bo falls head over heals for her on first sight when searching for his first "angel". Bo, inexperienced and naive about women, believes that he has found his wife in Cherie (he calls her Cherry) and proceeds to bring her aboard their Greyhound-style passenger bus on their return back home to Montana.

Cherie is confused as things are moving quickly. She struggles to get free of Bo, even claiming to a fellow passenger that she is being abducted against her will by Bo and his ranch companion Virgil (Arthur O'Connell). She doesn't want to marry Bo. Everything changes when the bus is stopped due to a blizzard and they are stuck all together at the bus stop lodge for the night.

Grace's Diner is where bus driver Carl ends his frustration with Bo and decides to fight him to stop him from his angry fit once he discovers Cherie was trying to escape. After a knock down, drag out fight, Bo comes to his senses and apologizes to everyone for his unruly uncontrolled behavior, but mostly to Cherie. Cherie sees the sweet side to Bo and sees that he really loves her. She decides to board the bus to Montana, along with the wedding ring invitation.

In conclusion, Bus Stop is worth seeing for Marilyn, if nothing else. Her acting and singing are so-so, but her unmatchable sweetness is worth your time!

One thing is a fact here: Marilyn's male co-star is annoying throughout the entire film. Period. He almost ruins the film.
However, Marilyn is SO GREAT in this film, that she saves it.
Her acting is superb, and she comes across as extra vulnerable.
So credit Marilyn's acting skills with making this a worthwhile
movie - definitely worth seeing!

"Don't Tell Mom The Babysitter's Dead" was one of my favorite movies as a child. I always thought it was so cool that the four kids got to spend the entire summer by themselves without anyone telling them what to do!

The story revolves around a family whose mother has gone on a trip to Austrailia for the summer. Thinking they're home-free, the kids are shocked to find out that their mother has hired a babysitter to watch over them while she's gone. At first the babysitter seems like a nice old lady, but as soon as their mother is gone, she becomes worse than a drill sargeant. Unfortunately, the babysitter dies in her sleep and the family must learn how to survive the entire summer with no money. Christina Applegate's character goes and finds work at a uniform company by lying on her resume. You will be shocked at what this family accomplishes!

I would recommend this film especially to kids and teenagers. Adults might find this film a little far-fetched, but kids will definitely enjoy it!!!

Here's a movie that's about four times better than it should have been. "Don't Tell Mom" starts with the silly comic premise of its title, but about 20 minutes into the movie something strange happens...it abandons the high concept completely and becomes ABOUT something.

You could look at the second act of the movie as a solid gen-X metaphor - girl uses "throwaway" skill to make it in the big bad corporate world, sort of - but it's nice just to sit back and watch and not think too hard. Applegate has a nice, easy charm, and everyone involved with the movie gives it his and her all. "DTMtBSD" wasn't created to win any awards, but it's a damn enjoyable waste of 90 minutes.

I have alwasy enjoyed this movie since the first time I saw it. When I was about 5 I had some really weird favorite movies for a 5-year-old, they were Critters, Buffy the Vampire Slayer, Clueless, Little Nemo, and Don't Tell Mom the Babysitters Dead.

Don't tell mom the Babysitters dead, if a perfect comedy for kids and teenagers. It is also a great time capsole for the early 1990's.

The story revolves around 5 kids who's plans for the perfect summer is smashed, when they find out their mother (who is leaving for 3 months to travel in Austrila) has left then in the care of a mean, rule demanding 200 year old woman. But on the first night, she drops dead. Having left her on the morge's doorstep, it is now up to Sue Ellen to get a job and provide herself and her siblings with the Best summer imaginable.

I like independant films, I like Ben Stiller and Patricia Arquette, and while Tea Leoni isn't all that consistent an actress I've always had the hots for her, so I thought this was a sure bet. It just didn't come through. Stiller's character is actually quite annoying, Arquette's role is a thin caricature, and Tea Leoni's character, even when she's running around in her underwear, is just too strange to bear. I wish I had liked this film, but the whole thing just fell flat. Find a better move to buy.

This movie had be laughing all the way through. It's one of those movies you could watch over and over again and never get sick of. And you'll need to watch it over and over because everytime you watch it, you catch other subtle things that ultimately become more hilarious as you get to know what lies ahead. All I have to do is think about parts of that movie, and it lights me up. This movie is awesome and worth every penny. Richard Jenkins is a crack up, who also starred as Stillers therapist in "There's something about Mary", another masterpiece! This movie is beyond hilarious! I wish all comedies were this funny.

I just watched this film for the first time since it came out in 1996. David O. Russell's second film is a great comedic masterpiece, wedged in nicely between 'Spanking the Monkey' & 'Three Kings.'

Normally, this type of comedy might be characterized as slapstick in the Charlie Chaplin or Buster Keaton mold, but its so clever and intelligent that its impossible to imagine this as a silly film.

In the mid-1950's, Colombia Pictures did more then their fair share of creature features. But not a lot of them were any good. Case in point is this disapointment from 1955. Made alongside It Came From Beneath The Sea, it also suffers from a low budget, terrible script, and bad casting. The Ymir really looks like a "creature test" that Ray was doing in order to create the more realistic effects work of the Cyclops in "The 7th Voyage of Sinbad", as that movie was done in a much more creative/entertaining/and style way which is really lacking in this film.

This is a good genre film and cult movie. Don't expect something as fancy or artistic as Murnau's Nosferatu. This a B movie. However, it has some attractive of its own.
The Ymir was really well animated for its time (OK, for today's standards, the "stop motion" technique might seem a little bit crude), but you can't help but notice that, although the creature looks fake, it "feels" real. Once again, Harryhausen shows his mastery.

There's really not much to this one. Earth sends a spacecraft to Venus, it comes back with an alien life form that starts out at six inches high then grows into a 20-foot beast that wreaks havoc on the city, etc., etc. Character depth? Why bother, this monster has a lot of character on its own. Plot intricacies? What the heck for, the monster is on a rampage and has to be stopped, what more do you want?

That's 50s sci-fi for you. No frills storytelling, and it's darn good fun. But what makes this entry especially enjoyable is, you guessed it, the monster itself. The Ymir (curiously, that name is never mentioned in the film) is another in the long list of stop-motion wizard Ray Harryhausen's creations. Unlke many of the mythology-based creatures in his other films, this one was entirely his own design, and let me say this, it looks really great. It's a neat mix of reptilian features reminiscent of the dinosaurs and humanoid form with fully-developed and functional arms (a decidedly non-dinosaur feature). Now that's cool.

I mentioned earlier that the monster has a lot of character. It really does. This isn't your basic carnivorous beast that devours any living thing in its path. It feeds on sulphur (!), and is actually non-aggressive. In one unforgettable scene, the Ymir stops and growls at a grazing sheep, then walks right by, leaving the sheep unharmed. (The growl probably translates roughly as, "excuse me, do you know where I can find some sulphur? You don't? Ok, thank you.")

The problems start when the humans, in their typical fear of what they don't know or understand, set out to destroy the creature. Naturally, it becomes violent. What the humans don't know is, the big guy is really just an unfortunate victim of circumstances that wants to be left alone. But then again, how do you leave a 20-foot Ymir alone?

Speaking of leaving things alone, this was Harryhausen's last black-and-white film. Nobody better even think about releasing a computer-colored version. That would take away so much of the nostalgic enjoyment we classic sci-fi fans get from watching films like this.

for some reason I feel that we americans get screwed out of great L&H releases so when I read that hallmark was releasing a d.v.d. I was happy.. I bought it and thought it was great even with it's flaws at least we get them,if you are reading this (hallmark) GIVE US MORE,MORE,MORE!!!thanks..(p.s. NO MORE "FLYING DEUCES" AND "UTOPIA" RELEASES!!!!!!!!!)

There are a number of Laurel & Hardy DVD's out there and many of them are not so good, featuring them in some of their latest, and sadly, weakest works (Utopia, Air Raid Wardens etc.). This DVD is not only excellent quality, it has some of Laurel & Hardy's strongest works.

It includes "The Music Box", which deservedly won the Oscar in 1932 for best comedy short. In it L&H spend the day taking a piano to the top of an unbelieveably long flight of stairs. You remember! What a hoot!.

It also contains another of their feature length films, "Sons of the Desert." In it Hardy fools his wife into thinking he and Stanley are taking an ocean voyage to Hawaii for his health while they in reality are going off to revel at the Sons of the Desert convention in Chicago. Check out Stan surreptitiously eating his third piece of waxed fruit in the past month at Hardy's house. Mrs. Hardy wondered where her living room fruit display had been going. They are at their best.

The three remaining, shorter works "Another Fine Mess", "Busy Bodies" and "County Hospital" are also very well done with L&H both being in their comedic prime particularly in the first two. The DVD also contains some nice extras including a location tour of some of the sites for their early movies as well as biographical information. It's great for L& H fans.

I hope someone comes out with another DVD with some of their other best works, like "Block Heads." I also wish that those who sell the DVD's (like AMAZON!!) would not simply list "Laurel and Hardy volume XX" as the title, but would make it easier to discover WHICH of their films are included on that DVD (i.e. the dog "Utopia" or the gem "Music Box"). Look at the listings. It 's almost impossible to easily discern which is contained. Since Laurel and Hardy never made a film titled "Boxed Set volume 6" we meed more information!!

With the trash on today's theater screens, we need more Laurel and Hardy!

"The Boys" as Stan Laurel & Oliver Hardy were affectionately called are finally on DVD thanks to Artisan Home Entertainment. Artisan does a grand job bringing us 5 of The Boys 100 movies to this Digitally Remastered DVD. Including their only Oscar film performance in "The Music Box (1932)".

Hal Roach introduced these two comedic genius' in 1926 from then on for the next 25 years they charmed us with 100 films. These timeless comedy feature films (greater than 60 minutes)and shorts have been enjoyed by millions and generation after generation have laughed endlessly. Even today after 50 years since their last film scores of die hard fans gather monthly to share the joy of this teams genius. The "Sons of the Desert" Tent Society/club named after one of Laurel & Hardy (L&H)finest movies (included in this marvelous DVD) is a world wide organization. Each "TENT" (there are hundreds) is named after one of their films or significant film event. Some of these "Tents" are listed in the Special Features.

Summary: These films are presented beautifully on this DVD with digitalized picture & sound. "The Sons of the Desert" is their most famous feature film. L&H belong to this exclusive boys club (spin off of the Shriners)of the movie title name. They need to go to the annual convention but must go on a planned vacation with their wives. L&H now come up with the perfect scam to get to the convention. But as all Laurel & Hardy comedies all things go haywire and we laugh endlessly to their predictable fate. "The Music Box" is their only Oscar winning film short. L&R go into business as movers. Stairs & piano provide us with the hilarity. "Another Fine Mess" This phrase was used by Ollie frequently in L&H movies. Escaping from the police our hereos seek refuge in a mansion & as only the boys can do end up as butler, maid & owner (briefly). "Busy Bodies" L&H work as construction factory assembly workers. In a very short time they destroy the place innocently only as the boys can. Finally "County Hospital" Ollie is in the hospital bed with a full leg cast recouperating. Along comes Stan for an innocent visit. You can only imagine what happens? This is a funny short.

Special Features: Artisan does a great job giving us background information of "The Boys". Key to Laughter Tribute - several stars comment on L&H genius & timeless comedy. Then And Now Tour - Culver City pictorial of Hal Roach Studios, famous L&H film locations then and now. Hal Roach Articles, Photo Montage, Tent Sites and Biographies of Stan Laurel, Oliver Hardy & Hal Roach.

This is a great DVD for everyone who loves timeless comedy and to watch one of the greatest comedy teams ever. Enjoy.