Collecting Movie Reviews
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More great comedy sketches starring Caesar, Coco, et al.
A Priceless Gift

This is Live Television at It's Absolute Best.
Classic Sketch Comedy from Caesar's "Your Show of Shows"!
Its vogue lasted a decade and then some, from Sergio Leone's 1964 A Fistful of Dollars (released in the U.S. in 1967) to Monte Hellman's 1978 art film China 9/Liberty 37. Often, fully half of the 300 films turned out by Italian companies in any given year were spaghetti Westerns, which could be trusted to sell tickets the world over--under a delirious variety of titles from market to market. They tended to be shown in sleazy grind houses, via spliced and tattered prints. What a pleasure to report that Blue Underground has gone back to the original, mostly pristine materials to produce the crystal-clear, gorgeously color-saturated, widescreen DVDs in this boxed set. Few audiences ever saw these movies looking better than they will on the home screen.
The present quartet affords an admirably varied and illuminating cross-section of the spaghetti Western as entertainment phenomenon and mirror of its troubled time. Sergio Corbucci's Django (1966), with a Gypsy-named protagonist (Franco Nero) dragging a coffin through a mud world of bigotry and double-cross, spawned sequels ad infinitum; this release is the first in more than 30 years to be struck from the original camera negative. Django, Kill! (1967) isn't "Django" at all--it's If You Live, Shoot! (how's that for existential absurdism!), a wildly transgressive fever dream set in "a totally guilty town" and boasting a band of flagrantly gay gunslingers, director Giulio Questi's variation on Mussolini's Black Shirts. The gem of the collection, Sergio Sollima's Run, Man, Run! (1968), features an infectiously funny performance by Tomas Milian as a knife-throwing scalawag who became an icon to late-'60s student radicals; this film of almost Leone-class visual grandeur has rarely been seen outside Italy. Director Sergio Martino claims that Mannaja: A Man Called Blade (1977) was "the last, perhaps next-to-last" of the spaghetti Westerns. The strain was showing--but even this preposterous fantasia about a hatchet-throwing eco-avenger (Maurizio Merli) exerts a goofy fascination.
Incidentally, the short documentaries spotlighting each film are very enjoyable in their own right. The scruffily aged Tomas Milian is a particular delight. --Richard T. Jameson

Spaghetti Western collector's "Must Have"First of all, the EASTER EGGS! I have yet to find a DVD that had Easter Eggs (those little tidbits that are hidden to treat people who either made a mistake with their remote or dragged the cursor over something to click on), and Blue Underground has at least seven or maybe more eggs inside the DVDs. I can't list them all here, and have made attempts to list the particular egss at the bottom of each movie review I posted on 5/Sept/03. If I recall correctly, If You Live Shoot! has 3; Run Man Run has 2; Mannaja and Django each have one that I discovered. Each DVD's Easter Egg has hidden trailers of other movies on DVD. Shoot! has two interviews in addition, and Run has an interview (each of the four reviews have detail on extracting each egg, and I hope amazon.com posts them all).
The most INCREDIBLE interview came from Shoot! where lead actor Tomas Milian makes some rather startling charges (he even suggests that he may be sued by his revelations of an accusation that he verified he was making during the interview). I will not spoil the interview, but it is worth searching the contents of the DVD to discover.
The lover of European Westerns will relish this find, even though some of the contents of the films aren't up to the caliber of a Leone epic. I knew before buying this set that the movies themselves would be a letdown if I were to expect anything near the filmmaking style of Leone and the musical genious of composer Ennio Morricone. The reason I made the purchase was to discover filmmaking OTHER than Leone's because at almost every turn, a macaroni feature airing on television will be one of the Eastwood trilogies or the epic, Once Upon a Time in the West (which is planned for DVD release in fall 2003).
TSWC is not recommended for the die- hard Eastwood or Leone fan, unless the viewer can be open- minded so as not to wind up comparing apples and oranges. One cannot and should not compare Leone's style with any other spaghetti western. He is in a class by himself.
The DVDs all were from transfers of original prints. The quality of the video material was definitely from the origibal stock. Interestingly enough, Shoot! must have used some cheaper film grade, because the saturation seemed flat, which is no fault of Blue Underground because many of the movie productions of the time were cutting corners to save as much money as possible.
The work that was put into the box set really shows by the amount of information that each DVD box provides. Blue Underground deserves credit for renewing a fan's belief that a company is releasing such obscure titles not for high profit but for a love of the genre. I wouldn't expect MGM to release the 162- minute Good/Bad/Ugly in its original 176 minute fully- restored glory. They did release 14 minutes of footage as extras, but I feel they should have followed Blue's decision to release films completely unedited and uncensored, even if it means having to replace Italian language scenes into an English language release or allowing the runtime to jump towards 3 hours in length.
Blue put forth an excellent effort to give the lover of Eurowestern cinema more detailed information about films that we really appreciate.
Bravissimo!It's great to finally see the rare "Django Kill." This is truly a cult oddity if ever there was one. As much a horror film as it is a western it's full of bizarre, religious imagery as well as references to everything from Luis Bunuel to Edgar Allan Poe. This extremely violent, unforgettable film is presented uncut and, as with all the films in this set, the transfer is immaculate.
"Run, Man, Run" successfully tosses liberal doses of comedy and politics into the mix. Like "Django Kill" it also stars the wonderful Tomas Milian as Cuchillo, a knife-throwing thief.
"Mannaja: A Man Called Blade" is the most conventional and latest film (1977) of the set. Still, it's extremely entertaining and stylishly directed by Sergio Martino (Torso). Maurizio Merli is great in the title, hatchet-wielding role.
The classic "Django" is exclusive to this set. Though Anchor Bay also released this title some time ago, this new transfer came from the original negative and is far more colorful and less grainy. As for the film, it's a must. From the great opening of Franco Nero dragging a coffin behind him to the insanely catchy theme song, "Django" holds you in its grasp.
All four films look exceptional, come with English language and Italian tracks with optional English subtitles and boast a nice selection of extras--interviews, trailers, poster/still galleries, etc.
Thank you Blue Underground for releasing such a cool set.


"You can be SURE...."
Nostalgia Plusssss
Hong Kong wuxia films, or martial arts fantasies, traditionally squeeze poor acting, slapstick humor, and silly story lines between elaborate fight scenes in which characters can literally fly. Crouching Tiger, Hidden Dragon has no shortage of breathtaking battles, but it also has the dramatic soul of a Greek tragedy and the sweep of an epic romance. This is the work of director Ang Lee, who fell in love with movies while watching wuxia films as a youngster and made Crouching Tiger as a tribute to the form. To elevate the genre above its B-movie roots and broaden its appeal, Lee did two important things. First, he assembled an all-star lineup of talent, joining the famous Asian actors Chow Yun-fat and Michelle Yeoh with the striking, charismatic newcomer Zhang Ziyi. Behind the scenes, Lee called upon cinematographer Peter Pau (The Killer, The Bride with White Hair) and legendary fight choreographer Yuen Wo-ping, best known outside Asia for his work on The Matrix. Second, in adapting the story from a Chinese pulp-fiction novel written by Wang Du Lu, Lee focused not on the pursuit of a legendary sword known as "The Green Destiny," but instead on the struggles of his female leads against social obligation. In his hands, the requisite fight scenes become another means of expressing the individual spirits of his characters and their conflicts with society and each other. The filming required an immense effort from all involved. Chow and Yeoh had to learn to speak Mandarin, which Lee insisted on using instead of Cantonese to achieve a more classic, lyrical feel. The astonishing battles between Jen (Zhang) and Yu Shu Lien (Yeoh) on the rooftops and Jen and Li Mu Bai (Chow) atop the branches of bamboo trees required weeks of excruciating wire and harness work (which in turn required meticulous "digital wire removal"). But the result is a seamless blend of action, romance, and social commentary in a populist film that, like its young star Zhang, soars with balletic grace and dignity. --Eugene Wei
The Fifth Element
Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero--what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film incorporates presidents, rock stars, and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. --Geoff Riley
Desperado
It's Sergio Leone meets Sam Peckinpah meets Quentin Tarantino in this ultraviolent, mythological shoot-'em-up by auteur Robert Rodriguez. In Desperado, Rodriguez creates larger-than-life, genre-tweaking stock characters and puts them through their paces. As they stride bravely through an Old West lightly dusted with camp humor, they're periodically called upon to nimbly dodge bullets and fireballs through outrageously choreographed displays of Hollywood pyrotechnics. In this bigger-budget semi-remake/semi-sequel to Rodriguez's indie sensation, El Mariachi (made, famously, for $7,000), Antonio Banderas is the darkly charismatic El Mariachi, the Mysterious Stranger in town; Steve Buscemi is perfectly cast as his weasely, motor-mouth Comic Sidekick, laying the groundwork for El Mariachi's entrance by spinning saloon stories to build up his legend; Cheech Marin is a standout as the Bartender, who really knows how to handle a toothpick; and gorgeous Salma Hayek is, well, the Girl--treated to the kind of full-blown, slow-mo introduction the movies traditionally lavish on beautiful new stars. It doesn't add up to much, but it's a kick. --Jim Emerson

Superbit review
Review of the DVD quality, not the movies.

Finally!!! All In Widescreen!!! Buy It Now!!Vacation 1- 5 stars easily
European 2- 4 stars
Christmas 3- 5 stars!!!
Vegas 4- 3 stars..pretty funny, but not as good as the originals!
The Best Family Films To Watch During a Vacation!I hope these movies are digitally remastered, and in jewel keep case boxes this time.
A definite buy for anyone who has ever had a vacation to an amusement park across the country, European countries where your ancestors once lived, a Christmas vacation with all the grandparents, or to the wonderful city of Las Vegas. It doesn't matter, all through and through these movies are and remain funny because of their comedy, and all comedy is funny because it has a little truth, like having Grandparents over for Christmas.


Makes me want to hop a plane and see the sights firsthand !
Excellent overviewThe Main Feature (82 minutes) covers not only standard tourist highlights such as London, Bath, York, the Cotswolds etc. but also includes lesser known spots such as Boston, Ely, and Lincoln. The only obvious omission is the Industrial Midlands (Liverpool, Coventry, Ironbridge, etc - perhaps not a great loss), which as I recall was not mentioned.
The breadth of the Main Feature is well complimented by the three "DVD Extra" segments (approx 35 minutes), which provide more detailed looks at several castles and stately homes, including Castle Howard, Warwick, Chatsworth and several others.
If you're hoping to see a specific locale, you may be disappointed, but if you just want to enjoy well-presented scenery and architecture, "Discovering England" is quite rewarding.

Dashing Errol Flynn is the definitive Robin Hood in the most gloriously swashbuckling version of the legendary story. Warner Brothers reunited Michael Curtiz, their top-action director, with the winning team of Flynn and Olivia de Havilland (Maid Marian) and perennial villain Basil Rathbone as the aristocratic Sir Guy of Gisbourne, and pulled out all stops for the production. It became their costliest film to date, a grandly handsome, glowing Technicolor adventure set to a stirring, Oscar-winning score by Erich Wolfgang Korngold. The decadent Prince John (a smoothly conniving Claude Rains) takes advantage of King Richard's absence to tax the country into poverty but meets his match in the medieval guerrilla rebel Robin Hood and his Merry Men of Sherwood Forest, who rise up and, to quote a cliché coined by the film, "steal from the rich and give to the poor." Stocky Alan Hale Sr. plays Robin's loyal friend Little John (a part he played in Douglas Fairbanks's silent version), Eugene Palette the portly Friar Tuck, and Melville Cooper the bumbling Sheriff of Nottingham. Flynn's confidence and cocky charm makes for a perfect Robin Hood, and his easygoing manner is a marvelous counterpoint to Rathbone's regal bearing and courtly diction. The film climaxes in their rousing battle-to-the-finish sword fight, a magnificently choreographed scene highlighted by Curtiz's inventive use of shadows cast upon the castle walls. --Sean Axmaker
Yankee Doodle Dandy (1942)
James Cagney thrills in a rare (and limber) song-and-dance performance as composer-entertainer George M. Cohan. This nostalgic biography is told in flashbacks, covering Cohan's formative years becoming Broadway's brightest star and touching upon his loves, musicals, and artistic triumphs. Director Michael Curtiz (The Adventures of Robin Hood) offers Cagney ample opportunities to invent an utterly charming performance in what is practically a one-man show. If you've never seen Cagney as a hoofer, you're in for a treat: his dancing is as dynamic as anything else he's ever done on screen. --Tom Keogh
The Treasure of the Sierra Madre (1948)
Ranked at No. 30 on the American Film Institute's list of the 100 all-time greatest American films, The Treasure of the Sierra Madre is a genuine masterpiece that was, ironically, a box-office failure when released in 1948. At that time audiences didn't accept Humphrey Bogart in a role that was intentionally unappealing, but time has proven this to be one of Bogart's very best performances. It's a grand adventure and a superior character study built around the timeless themes of greed and moral corruption. As adapted by writer-director John Huston (from a novel by enigmatic author B. Traven) it became a definitive treatment of fate and futility in the obsessive pursuit of wealth. Bogart plays Fred C. Dobbs, a down-and-out wage-worker in Mexico who stakes his meager earnings on a gold-prospecting expedition to the Sierra mountains. He's joined by a grizzled old prospector (Walter Huston, the director's father) and a young, no-nonsense partner (Tim Holt), and when they strike a rich vein of gold, the movie becomes an observant study of wretched human behavior. Bogart is fiercely intense as his character grows increasingly paranoid and violent; Huston offers a compelling contrast as a weathered miner who's seen how gold can turn men into monsters. From its lively opening scenes (featuring young Robert Blake as a boy selling lottery tickets) to its final, devastating image of fateful irony, The Treasure of the Sierra Madre tells an unforgettable story of tragedy and truth. With dialogue that has been etched into the cultural consciousness (who can forget the Mexican bandit who snarls "I don't have to show you any stinking badges!") and well-earned Oscars for John and Walter Huston, this is an American classic that still packs a punch. --Jeff Shannon

Warner Bros. Legends Collection now on restored DVD box set.All 3 movies are outstanding and are timeless classics. The American Film Institute (AFI) voted all 3 films into the greatest films including top 100 film circa 1998 for "The Treasure of the Sierra Madre" & "Yankee Doody Dandy" (James Cagney received Best Actor Oscar).
"The Adventures of Robin Hood" (1938) with legend star Errol Flynn remains the best film even today depicting this fictional hero. "Yankee Doodle Dandy" Hollywood legend James Cagney in his Oscar winning song & dance man (as George M, Cohan) performance. "The Treasure of the Sierra Madre" (1947) starring film legend Humphrey Bogart (many say this was his best role) is a western about gold treasure and what it does to man.
What makes this "Two-Disc Special Edition" Set so great? Each film has an all-new digital transfer from restored picture & audio elements. Disc 1 in this series includes; Each film has a unique "Night at the Movies" introduction by Leonard Maltin. Warner Brothers has provided the viewer with a complete specialized movie program circa the year each movie feature was made. First off, coming attractions, newsreel, Bugs Bunny Cartoon, Short Subject Film and finally the Main Feature presentation. This is an awesome treat!!!! Thank You, Warner Brothers Studio. Also you have up to 12 legendary star film trailers. Finally a full feature commentary. That's only Disc 1.
Disc 2 - has over 3 hours of extra features to include; documentaries, radio shows presentations, galleries of art/photo/publicity, cartoons, cast & crew, & vintage shorts.
With this "Warners Legend Collection" box set you get a bonus 7 disc, "Here's Looking At You, Warner Bros." - the history of Warner Bros. Studios. (108 min documentary) excellent bonus!!
All Movies & Extras are Standard Format (4:3 ratio / tv size) Pre- WideScreen 1953. Robin Hood is beautiful TECHNICOLOR. (even today it is still regarded as the best color) Pictures & sound are outstanding. This is a must have collectible box set. I especially love the "Night at the Movies" program. Enjoy.
Really great movies stay greatEach film is given the 2-disc treatment, with plenty of extras, plus excellent commentaries. I love when they give the classics this much attention.
Oh, there is one drawback...Hollywood, please, no more Leonard Maltin as host of classic DVDs! I know you probably think the public has a recognition of him as a famous movie reviewer, and thus his hosting must be a plus because will buy it, but you would be surprised to see how many of those people are truly, truly sick of him and shun his ever appearance. I know I got fed up with seeing him a long time ago. So has everybody I know. I almost hesitate picking up a DVD if he is anywhere on it. Turner Classic Movies' Robert Osborne is a much better choice for host. Osborne has style, sophistication, and an intelligence that is delivered on a friendly, low-key level. Maltin is too much in your face.

Arguably more defined and even more lyrical than its predecessor, When It Was a Game 2 moves from a general celebration of baseball culture in America to a specific focus on various facets of the game's history, including the special relationship between game announcers and fans and the farm-team system during the 1930s, '40s, and '50s. Brooklyn's assimilation of the Dodgers into their community identity is covered quite winningly as is the heartbreak of the team's desertion to California. Last, the film takes us on a tour of some of the game's legends and presents a touching tribute to the extraordinary Babe Ruth. --Tom Keogh
When It Was a Game 3 focuses on the 1960s, a time of change for all of America. Through sharp, incredibly clear color footage of players and fans, the film shows how Major League Baseball slowly but surely evolved from pure sport to moneymaking entertainment. Covering the mighty Yankees, the western expansion of both leagues, the increasing inclusion of black players, and the rise of free agency and increased salaries, the film shows the growth of baseball from adolescence to adulthood. --Rob Lightner

When it was a game-3 pack
Baseball History on DVD

the worst witch
worst witch is great