Flashback (2002) (Ws Sub)

Starring:Valerie Niehaus, Xaver Hutter, Alexandra Neldel, Simone Hanselmann, Erich Schleyer, Katja Woywood, Fabian Zapatka, Christian NÃ¤the, Michael Greiling, Nicola Etzelstorfer, Allegra Curtis, Elke Sommer, Detlev Buck, Marina Mehlinger, Sebastian Deyle, Christoph Hagen Dittmann, Joseph Holzknecht, Dietmar MÃ¶ssmer, Peppi GrieÃŸner, Ulrike Lasta
Director: Michael Karen
Studio: Lions Gate
Product Type: DVD

Average customer rating:

Excellent :)
"That woman deserves her revenge... and we deserve to die."
Vol 2 is better
kill bill vol. 2
A Letdown

Kill Bill, Volume 2
Starring: Larry Bishop , Sonny Chiba , Sid Haig , Samuel L. Jackson , and Gordon Liu
Manufacturer: Miramax Home Entertainment
ProductGroup: DVD
Binding: DVD

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Kill Bill, Volume 1
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Kill Bill - Volume 1 (UMD Mini For PSP)

ASIN: B00005JMUA
Release Date: 2004-08-10

Amazon.com

"The Bride" (Uma Thurman) gets her satisfaction--and so do we--in Quentin Tarantino's "roaring rampage of revenge," Kill Bill, Vol. 2. Where Vol. 1 was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, Vol. 2--not a sequel, but Part Two of a breathtakingly cinematic epic--is Tarantino's contemporary martial-arts Western, fueled by iconic images, music, and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honors in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of Kill Bill is clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike Vol. 1, this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U," and she's become an unforgettable heroine in a pair of delirious movie-movies (Vol. 3 awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. --Jeff Shannon

Description

With this thrilling, must-see movie event, writer and director Quentin Tarantino (PULP FICTION) completes the action-packed quest for revenge begun by The Bride (Uma Thurman) in KILL BILL VOL. 1! Having already crossed two names from her Death List, The Bride is back with a vengeance and taking aim at Budd (Michael Madsen) and Elle Driver (Daryl Hannah), the only survivors from the squad of assassins who betrayed her four years earlier. It's all leading up to the ultimate confrontation with Bill (David Carradine), The Bride's former master and the man who ordered her execution! As the acclaimed follow-up to the instant classic VOL. 1 -- you know all about the unlimited action and humor, but until you've seen KILL BILL VOL. 2, you only know half the story!

Customer Reviews:

Excellent :) .......2007-06-18

Uma Thurman, swords, kung-fu,& Quentin Tarrentino ... how can you go wrong?

"That woman deserves her revenge... and we deserve to die.".......2007-06-01

All grown men have a little boy in their heart that still surfaces every now and again...some fellows more so than others, and it's always so much fun to go back. That is one of the many reasons I enjoy having a son waiting to greet me when I come home from a day of work or a long business trip. On the flip side, Quentin Tarantino gets to go back to being a boy every time he goes to work, and I say good for him.

The Kill Bill movies are a potent effusion of likely all the things Quentin grew up with. Westerns, Kung-Fu movies, Samurai movies and other action films that helped mold and create his robust imagination. Now, he can take the ideas that inspired him as a child and make them even better for the next generation of action-craving bloodthirsty little children. Kill Bill volume 2 is more than a derivitive tribute film, it is an elicitation of massive nostalgia, excentuated keenly by incredible dialogue. Other than function well as a conclusion to the series, it is actually quite different from Kill Bill volume 1 in a few ways. Kill Bill volume 1 contained mostly introductions, followed by bloody action as Beatrix Kiddo took on and took out Vernita Green, O-Ren Ishii, Go-Go Yubari and of course the Crazy 88 (yes, all 88 of them). But in Kill Bill volume 2, I felt like those were merely the supporting villains as Kiddo takes on the more resourceful and profound antagonists in this film; Elle Driver, Budd and of course Bill himself. The sequel, unintentionally perhaps as the two were written and filmed together, possesses more depth than the first part. There is more room for dialogue and that is of course a great thing because outrageous and unlikely dialogue is one of Quentin's strengths, and it serves here to make the characters even more unearthly and super-hero-like then in the first film.

Overall, in volume 2 we get to see how Beatrix learned her skills and we learn more about the relationship between her and Bill. It all leads up to an often criticized climax between Bill and Beatrix. Between the dialogue and David Carradine's performance, the climax helped me enjoy this film a bit more than volume 1. So, if you prefer action and violence you will like the first movie better, but if you just so happen to get caught up in the characters along the way and have an appreciation for the kind of concentrated cultural yearning crossed with mythical level characters that only a Tarantino film can deliver, then Kill Bill volume 2 is a great cap to the two films. For me, simply put, together they make one amazing movie.

Vol 2 is better.......2007-05-27

You've seen vol 1 and thought do I really want to sit through another 2 hours of swords and kung-fu? Well vol 2 is the much better film, so the answer is yes.

Curiously enough although Vol 2 is longer, it seems to have a tighter construction. Some of the chapters are breath-taking, perhaps because they are shorter. The Pai-Mei chapter is simply marvellous. Uma Thurman gets her training with Pai Mei and Bill tells her "remember no sarcasm, no back-talk at least not for the first year or so, gonna have to let him warm up to you"! The Pai Mei chapter ties a lot of things together as well.

Oh yes in vol 2 we get to see Bill for the first time. David Carradine is great, very cool, and occasionally seems to become Kwai Chang Caine again all these years later.

I'd recommend seeing Vol 1 first, although it isn't quite as essential to do this, as it is to watch vol 2 after watching vol 1.

This is fabulous entertainment made by a master film-maker and I strongly recommend it.

kill bill vol. 2.......2007-04-19

i tend to bounce back-and-forth in my mind as to which half of the "kill bill" story i like better. as of writing this review, i'm going to have to go with "vol. 2", perhaps just because it's the one i've seen more recently, but i'm thinking there's more to it than that, so i'll try to get to those points instead.

first off, this really is like splitting hairs, picking which volume is better. now, believe all of those who point out how incredibly different the movies are because they are absolute night and day, but equally good and, more importantly, equally enjoyable.

i guess the one and only edge that i'd have to give "volume 2" is that the character's you get to spend time watching in this half (alongside the Bride, who is just as awesome here as in "vol. 1") are just more in-tune with what i like to see. for example:

-i LOVE the character of Bill, and found the scenes between he and the Bride to be among my favorite ever "ex-lover" face-off's in all cinema. they're is certainly a nastiness to the scenes, but you can SEE the two of them still deeply caring for another, despite themselves, esp. upon the conclussion of their showdown. it is just excellent.

-Michael Madsen's Bud is quite possibly the most difficult character to not like in any movie ever. despite his actions toward the Bride (no more detail. don't want to ruin anything in case you haven't seen it.), you just can't help but kinda feel for the guy. i mean, a dude that has to take junk off his boss, clean up nasty toilet water at a [...]-hole strip bar, then go home to his El Paso trailer to sit alone and listen to Johnny Cash records just kinda screams "feel bad for me" even if we really don't wanna. Bud is awesome, and i like having more of him, so yet another nod to "vol. 2".

-Pei Mei is freakin' awesome, esp. if you love the old kung-fu movies that the "kill bill" series was so lovingly created to replicate. awesome!

-Elle Driver is my absolute favorite member of the divas, so her being more prominant in this half alone makes me love it, love it, love it! just EXACTLY what a "bad guy" bad girl should be, man. all this, and the revelations made during the throwdown between she and the Bride just makes that fight (and the conclussion of said fight) SO much cooler it's just insane!

there is one more character in this movie that i thought was a really neat addition, but to talk about this is to REALLY ruin the movie, so just in case, i'll let you guys decide who you think belongs in this fifth spot.

overall, "kill bill" start-to-finish is outstanding in everyway, but i wanted to yack about "volume 2" today, so that's that. thanks for reading and enjoy!

A Letdown.......2007-04-03

I liked the first volume, despite the fact that it was mostly plotless, because it was very pretty in all its carnage. Volume 2, however, spends a lot of time on a plot that bothered me more and more when I thought about it. In the end, I found it overly simplistic and irritating (trying not to give anything away here). I kept waiting for a twist that never came. While the first volume was mostly fluff, a lot of style with no substance, it was enjoyable as that at least. The second volume has more plot, but this does not end up as more substance. But in the second volume, the time that is spent on the plot takes away from the style and we end up with two and a half hours which are not very enjoyable.

Average customer rating:

My all-time favorite western!
The Best Spagetti Western To Date
BEST of the spaghetti Westerns
Formidable, operatic western
Poetic and Truly Original

Once Upon a Time in the West
Starring: Henry Fonda , Claudia Cardinale , Jason Robards , Charles Bronson , and Gabriele Ferzetti
Director: Sergio Leone
Manufacturer: Paramount
ProductGroup: DVD
Binding: DVD

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ASIN: B0000AUHPG
Release Date: 2003-11-18

Amazon.com essential video

The so-called spaghetti Western achieved its apotheosis in Sergio Leone's magnificently mythic (and utterly outlandish) Once upon a Time in the West. After a series of international hits starring Clint Eastwood (from A Fistful of Dollars to The Good, The Bad, and The Ugly), Leone outdid himself with this spectacular, larger-than-life, horse-operatic epic about how the West was won. (And make no mistake: this is the wide, wide West, folks--so the widescreen/letterboxed version is strongly recommended.) The unholy trinity of Italian cinema--Leone, Bernardo Bertolucci, and Dario Argento--concocted the story about a woman (Claudia Cardinale) hanging onto her land in hopes that the transcontinental railroad would reach her before a steely-eyed, black-hearted killer (Fonda) does. (The film's advertising slogan was: "There were three men in her life. One to take her ... one to love her ... and one to kill her.") Meanwhile, Leone shoots his stars' faces as if they were expansive Western landscapes, and their towering bodies as if they were looming rock formations in John Ford's Monument Valley. --Jim Emerson

Customer Reviews:

My all-time favorite western!.......2007-06-20

I never really cared for westerns until I saw this movie. I became hooked on spaghetti westerns, and in my opinion, this is the best of them all! The storyline is certainly different, and the ending is somewhat of a surprise. The main characters really stand out: Charles Bronson, Jason Robards, Claudia Cardinale, and Henry Fonda. The music is haunting, and that was what really hooked me.

The Best Spagetti Western To Date.......2007-06-12

Once Upon a Time in the West From start to finish,is by far the best spagetti western ever made to date. It Stars Henry Fonda as a ruthless outlaw. Along with a pose' he murders and destroys his way through every town he and his gang enters.He shows his victims no mercy, not a drop of sympathy is in his bones. He'll make your blood run cold. Henry Fonda is at his acting best! You have never seen him like this! He encounters a mysterious traveler who plays a mysterious melody on a Harmonica. The traveler seems to be looking for him. Why? Here's where the real edge of your seat action really happens. Finally time to reveal what everything means. Right down to the mysterious song played on the harmonica by the traveler througout most of the movie.
Since this film was made other westerns that followed, used Itlalian director Sergi Leone's touch, i.e. The Good, The Bad and The Ugly etc.)

BEST of the spaghetti Westerns.......2007-06-08

Sergio Leone made his indelible mark with the three Clint Eastwood films, but this is his best work, even though Clint is absent. Not to worry. "Once Upon A Time" features a wonderful all-star cast. Avoiding the overdone goodguys vs bad guys cliche, Leone casts perpetual goodguy Henry Fonda as one of the sleaziest amoral villains you'll ever see. And Fonda doesn't disappoint in the role. The so-called goodguys are actually not so good, but they're played brilliantly by Jason Robards and Charles Bronson. Claudia Cardinale is striking as the libertine. Even the opening scene focuses on Jack Elam and Woody Strode - two of the best character actors to appear in any Western.

The plot meanders through a number of twists and subplots, requiring the viewer to follow all of the action between gunfights. Leone challenges the conventional concepts of loyalty, friendship, and alliances. Highly recommended.

Formidable, operatic western.......2007-05-30

"Once Upon a Time in the West" is director Sergio Leone's formidable and unique vision of the old west as grand opera. In Leone's work, as in opera, subtlety is replaced by exaggeration, i.e., the villians in his creation are all over-the-top, almost cartoonishly evil while the ingenue/heroine is both pretty and boring to the extreme. The movie's musical score, as in opera, is as important or even more important than dialogue in conveying the story. In fact, words are rarely uttered in this western tale.

I'm not always comfortable with Leone's antagonists and protagonists because the audience never really gets to know or understand them. They are presented more as abstractions of good and evil than they are as fully developed, three-dimensional human beings.

And Ennio Morricone's idiosyncratic score, while elaborate and memorable, sometimes seemed too languid or pretty to suit the violent action in a western. But perhaps Morricone was aiming for irony.

Overall, "Once Upon a Time in the West" is an unusual and gorgeous- looking western very much worth a glance or two.

Poetic and Truly Original.......2007-03-30

"Once Upon a Time in the West" is one of the best films in the Western genre and also the most fun to watch due to its look and style. The movie is directed by Sergio Leone. I'm familiar with Leone's work, but have never seen any of his films. "Once Upon a Time in the West" bares the unmistakable signature of a genius though and I look forward to watching many more Leone films in the future. The film has one of the greatest opening scenes I've ever seen; lasting 13 minutes, the film opens at a train station where three men anxiously await the arrival of the train. They're waiting for someone. After Leone slowly builds the tension (and I don't know about a director that could do it better), the train arrives and a man (Charles Bronson) gets off of it, playing a harmonica. He's supposed to be meeting with a man named Frank, but we learn that Frank is attending to some other business. Soon, the three men there to meet the man are dead; And because of Frank (Henry Fonda, in one of his strongest performances), a family of 4 is dead. Then the young lady set to marry the father of the family, who is actually already married to him, arrives and is shocked to find everyone dead. The police think they know who did it already and are quick to point the finger at Cheyenne (Jason Robards), after all...He left his "signature" there. I don't want to say much more about the plot (and there is much more; The film is 2 hours and 45 minutes)...When you look at all the westerns in the history of cinema (mind you, I haven't seen another Leone film) and say which one you think is "the most well-made," this film has to pop up.
It's not the most entertaining western film (there are long stretches with no dialogue), but it is certainly one of the most suspenseful, colorful (not just in the literal sense), and most compelling of the genre. The performances, especially those of Fonda, Robards, and Bronson are superb. It's also clear while watching the movie how influential it has been on other filmmakers. You can even see more than echoes of this film in "Kill Bill Vo.2." Explaining just how unique a film like this is in writing is difficult, but I recommend that any true fan of cinema see this movie. Any true fan of western movies has probably already seen this movie, but I mean a true LOVER of cinema needs to see this. It's one of the few western movies I can think of off the top of my head that can deservedly be labeled a masterpiece.

GRADE: B+

Cinema Paradiso (Two-Disc Deluxe Edition)

Average customer rating:

Great, But ...
My fault, but still frustrated
a film with a great concept....I just wish I had liked it more!
A Love letter to Cinema
"The endings justify the means, (all of them)"

Cinema Paradiso (Two-Disc Deluxe Edition)
Starring: Antonella Attili , Enzo Cannavale , Isa Danieli , Leo Gullotta , and Marco Leonardi
Director: Giuseppe Tornatore
Manufacturer: Weinstein Company
ProductGroup: DVD
Binding: DVD

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Ciao, Professore!

ASIN: B000I0RNV6
Release Date: 2006-11-07

Amazon.com essential video

Giuseppe Tornatore's beautiful 1988 film about a little boy's love affair with the movies deservedly won an Oscar for Best Foreign Film and a Special Jury Prize at Cannes. Philippe Noiret plays a grizzled old projectionist who takes pride in his presentation of screen dreams for a town still recovering from World War II. When a child (Jacques Perrin) demonstrates fascination not only for movies but also for the process of showing them to an audience, a lifelong friendship is struck. This isn't just one of those films for people who are already in love with the cinema. But if you are one of those folks, the emotional resonance between the action in Tornatore's world and the images on Noiret's screen will seem all the greater--and the finale all the more powerful. --Tom Keogh

Amazon.com

Cinema Paradiso's complex, interwoven tales of wartime Italy, a boy's coming of age, and the history of cinema can be viewed in their entirety on the Director's Cut included in this Deluxe Edition. Director Giuseppe Tornatore's additional 50 minutes of footage provides closure for the saga's detailing Alfredo's death, and Salvatore Di Vita's lost relationship with his teenage love, Elena. Most of the 50 minutes serves as a continuation of the story, rather than as previously deleted scenes. The original, already celebrated Cinema Paradiso follows Toto (Jacques Perrin), a Sicilian boy who persuades the town projectionist, Alfredo (Philippe Noiret), to teach him how to show films. Spanning nearly 50 years, the film craftily draws parallels between Toto's life and those lives he sees on screen. As Toto matures into Salvatore, a successful Italian filmmaker, the Cinema Paradiso ages as well. Salvatore's return home for Alfredo's funeral is also a goodbye to his Paradiso, demolished to become a parking lot. The film's heightened sense of nostalgia subtly mirrors our humanistic love of movies, making it a tribute to cinema as an artistic genre. The Director's Cut can be fulfilling if one felt unsatisfied by the more ambiguous ending of the theatrical release, but it also feels slightly overwrought. Two documentaries in this package feature fans and critics praising Cinema Paradiso, proving its endurance as a classic. However, as Salvatore discovers over the course of the film, there is no need to improve a masterpiece. --Trinie Dalton

Description

A famous film director returns home to a Sicilian village for the first time after almost 30 years. He reminisces about his childhood at the Cinema Paradiso here Alfredo, the projectionist, first brought about his love of films. He is also reminded of his lost teenage love, Elena, ho he had to leave before he left for Rome. Cinema Paradiso is one of the most beloved Foreign films of all time! Winner of the 1990 Oscar for Best Foreign Film!

Customer Reviews:

Great, But ..........2007-07-05

The original release of the movie is timeless storytelling and a great work of art. Ennio Morricone's beautiful music is both uplifting and heartbreaking at the same time.

In a nutshell, a young boy (Salvatore) loses his father to war. He is befriended by the projectionist (Alfredo) at a local movie house, where he learns to love the cinema. As he grows up in his home town, he experiences the trials and tribulations of adulthood, including the pain of a lost love. He eventually leaves the little town and becomes a famous director in Rome. He returns thirty years later to attend the funeral of his old projectionist friend, who has bequeathed him a single can of film. Upon his return to Rome, he views the film and is transformed by what he sees.

This was the perfect end to a great film, but the director (Giuseppe Tornatore) must have felt the need to bring a little more closure to the lost-love bit. So he adds another hour to the movie, including Salvatore's rediscovery of the love of his youth, Elena. They park in a lonely spot near the beach and talk about their lives (fittingly, the flickering of a malfunctioning overhead street light gives the impression that they are at a drive-in movie). Salvatore learns from Elena that the philosophical Alfredo had essentially sabotaged their love thirty years before.

And then the two middle-aged lovers "do it" in the car.

Sorry, but this kind of "closure" doesn't "do it" for me. For one thing, Alfredo loved Salvatore like a son, and the betrayal bit just doesn't fit in. And while I was happy to see the star-crossed lovers nostalgically reunited for a while, the action in the front seat of the car just isn't my idea of romance (but maybe I'm old-fashioned).

Nevertheless, the original movie (which deservedly won the 1989 Oscar Award for Best Foreign Picture) is hard to beat.

My fault, but still frustrated.......2007-05-29

In searching for this title, almost all of them were sub-titled in English. I selected, purchased, only to find out that is was all in Italian. So, it's basically useless for me. Ended up renting it from a video store.

a film with a great concept....I just wish I had liked it more!.......2007-05-16

CINEMA PARADISO is one of the most well-loved and talked about Italian films, made in the last twenty years. I generally hear people speak of CINEMA PARADISO and IL POSTINO in the same breath. I was completely enamored of IL POSTINO (THE POSTMAN), so I really thought that I would be equally infatuated with this film. Unfortunately, the combination of melodrama and sleepy direction didn't sustain my attention. Though, I was completely in love with Marco Leonardi, who plays the more mature version of the protagonist, Salvatore. Leonardi is also well-known for his role as Pedro Muzquiz, in LIKE WATER FOR CHOCOLATE, the love interest of perpetual cook, Tita (Lumi Cavazos).

In CINEMA PARADISO, Salvatore (Leonardi), a well-established filmmaker recounts his formative years as a young boy at the knees of Alfredo (Philippe Noiret), a film projectionist who introduced him to films, and ultimately helped shape the course of his life. Also, Salvatore has great love for Elena (Agnese Nano), that is ultimately ill-fated.

Yes, this sounds great. Yes, I am the only who doesn't think so. It's just my opinion. Honestly, I think you should see it for yourself and decide, but I wouldn't buy a copy today, as readily as I would IL POSTINO and numerous other Italian films that deal with coming of age and romance--one example that comes to mind is Fellini's great AMARCORD. You be the judge, though.

A Love letter to Cinema.......2007-05-14

Cinema Paradiso is what I would call it "the perfect picture of all times" for anyone how loves movies, this one is definitely a masterpiece. Tornatore's best achievement. This is a movie about a movie-lover, a story of Toto who fall in love with the magical world of movies, a world that he was introduced to by his friend Alfredo, it is also a about cinema and how it is dying due to the change of time and the aggressiveness of TV. This is a love letter to movies and what it represents in our life... a masterpiece by all means; if you love movies then you must see this one either in the Director's cut or in its original version.

"The endings justify the means, (all of them)".......2007-05-14

I loved this movie. It is well done dispite the typical Italian artistic whimsical touches. The characters are all bigger than life, (whimsical at times), but loveable. The story line is very good and reveals the life style changes in this Sicilian town as prosperity overtakes poverty after WWII. It is a "Must see" movie. It is the story of rags to riches set in post war Sicily.
My only problem is that I have seen three, (Count them), different endings to this movie. The endings are all quit good, but disturbing because I liked them all and had to see the three versions to understand what really happened, or could have to the hero. Incidentally, I have not viewed the "Directers Cut" yet; I have no idea how it will end.

Phillip A. Purpura

Average customer rating:

Just a great movie
Heartwarming film that pulls at your heart strings
entertaining
I'm Glad I Didn't Listen to the Critics
Simon Birch

Simon Birch
Starring: Ian Michael Smith , Joseph Mazzello , Ashley Judd , Oliver Platt , and David Strathairn
Director: Mark Steven Johnson
Manufacturer: Walt Disney Video
ProductGroup: DVD
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A Prayer for Owen Meany
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ASIN: 0788815466
Release Date: 1999-05-18

Amazon.com

This screen adaptation of John Irving's novel A Prayer for Owen Meany was appreciated much more by audiences than by the majority of disapproving critics. Irving's books have fared only moderately well on film, and while The World According to Garp garnered critical praise, The Hotel New Hampshire was waiting in the wings to counteract the fanfare. Simon Birch is one of those nostalgic movies--determined to view the past in rose-colored hues--despite the fact that its protagonist, a dwarf named Simon Birch, is wholeheartedly unsympathetic. The film opens weepily, with Jim Carrey as the adult version of the film's main character and narrator, Joe Wenteworth (played as a youth by the serious young actor Joseph Mazzello). He's mourning at the grave of his best childhood friend, Simon Birch, with whom he had bonded instantly because both were misfits--one a dwarf, the other illegitimate. The deck is stacked from the beginning, especially when the camera dwells on Joe's luscious mom, Rebecca (Ashley Judd), who refuses to reveal the identity of Joe's father, which in turn urges Simon and Joe to embark on a quest to discover Joe's paternity. In a plot point that resembles The Scarlet Letter, the tide of fate turns on the "immoral" mom just as she's on the verge of finding true love with a decent fellow (played by Oliver Platt). Simon Birch ultimately descends into crudeness, though it asks the audience to continue to engage with its crass lead character. By the end, the film is reduced to drivel, cliché, and melodrama to tug our heartstrings into submission. All the things that should have been the film's focus--guilt, self-loathing, and redemption--remain elusive. --Paula Nechak

Description

A heartwarming and funny hit that's earned overwhelming critical acclaim, SIMON BIRCH features great performances from stars Ashley Judd (DIVINE SECRETS OF THE YA-YA SISTERHOOD, HIGH CRIMES, KISS THE GIRLS) and Oliver Platt (BICENTENNIAL MAN, DON'T SAY A WORD) in an outstanding cast! Even though Simon Birch is the smallest kid in town, deep down he knows that he was born to do something big! He's on a constant search to discover his destiny, but somehow manages to find nothing but trouble! Meanwhile, Simon's loyal best friend, Joe (Joseph Mazzello -- JURASSIC PARK, RADIO FLYER), is searching for the identity of his father, a secret his beautiful mother (Judd) has guarded Joe's entire life. Discover for yourself the undeniable charms of this uplifting and inspirational motion picture as these two share the hilarious, and sometimes tragic, ups and downs that will forever bind them together!

Customer Reviews:

Just a great movie.......2007-07-03

Several emotions wrapped up in one fine movie. Sad, happy, wasrm hearted, funny. Just a great movie with exceptional acting. An enjoyable film for anyone...

Heartwarming film that pulls at your heart strings.......2007-06-14

this is a story about two 12 year friends who have the best times together, except one is about 2 foot tall, and seen as an outcast to the town. However, Simon Birch does not let that get him down, he has faith and believes he is "going to be a hero". Through many adversities, these gruesome twosome continue to do amazing things, and entertain you throughout the whole movie. you will laugh, and cry. At times, the "emotions" get a bit thick and artificial, but overall, the story is well developed. worth a viewing or two.

entertaining.......2007-06-12

I have an old VHS copy of this film which I have watched over and over again and also have lent to others who really enjoyed it. I am glad I can add a DVD to the collection. Also have the soundtrack and the songs are great.

I'm Glad I Didn't Listen to the Critics.......2007-06-08

This movie is a charmer. Funnier than you expect, more touching than you would think, an all around "cute" movie. Maybe you don't like cute movies. Okay. Then you should listen to the critics who slammed this film. This film has become one of our family favorites, we don't purchase many films since there are so few that we want to watch more than once. We purchased this one after renting it several times. We've watched it over and over, whenever we need a little laugh. It's grown up enough for adults and clean enough for all but very young children. There are some references to "boobs" and "balls" but that's about as graphic as it gets. Buy this movie, don't worry about the critics.

Simon Birch.......2007-05-23

Very heart warming movie, with several good messages and lessons to learn for the Christian veiwer... Good movie for the whole family. Nice change from all the Sex and Violence...

The Battle of Algiers - Criterion Collection

Average customer rating:

Oldie but Goodie
Lessons of history indeed!
not sure the film is as relevant as it's touted to be
relevant
IN THE TIME OF THE ALGERIAN NATIONAL LIBERATION STRUGGLE

The Battle of Algiers - Criterion Collection
Starring: Brahim Hadjadj , Jean Martin , Yacef Saadi , Samia Kerbash , and Ugo Paletti
Director: Gillo Pontecorvo
Manufacturer: Criterion
ProductGroup: DVD
Binding: DVD

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ASIN: B0002JP2OI
Release Date: 2004-10-12

Amazon.com

Director Gillo Pontecorvo's 1966 movie The Battle of Algiers concerns the violent struggle in the late 1950s for Algerian independence from France, where the film was banned on its release for fear of creating civil disturbances. Certainly, the heady, insurrectionary mood of the film, enhanced by a relentlessly pulsating Ennio Morricone soundtrack, makes for an emotionally high temperature throughout. Decades later, the advent of the "war against terror" has only intensified the film's relevance.

Shot in a gripping, quasi-documentary style, The Battle of Algiers uses a cast of untrained actors coupled with a stern voiceover. Initially, the film focuses on the conversion of young hoodlum Ali La Pointe (Brahim Haggiag) to F.L.N. (the Algerian Liberation Front). However, as a sequence of outrages and violent counter-terrorist measures ensue, it becomes clear that, as in Eisenstein's October, it is the Revolution itself that is the true star of the film.

Pontecorvo balances cinematic tension with grimly acute political insight. He also manages an evenhandedness in depicting the adversaries. He doesn't flinch from demonstrating the civilian consequences of the F.L.N.'s bombings, while Colonel Mathieu, the French office brought in to quell the nationalists, is played by Jean Martin as a determined, shrewd, and, in his own way, honorable man. However, the closing scenes of the movie--a welter of smoke, teeming street demonstrations, and the pealing white noise of ululations--leaves the viewer both intellectually and emotionally convinced of the rightfulness of the liberation struggle. This is surely among a handful of the finest movies ever made. --David Stubbs

Description

One of the most influential films in the history of political cinema, Gillo Pontecorvo's The Battle of Algiers focuses on the harrowing events of 1957, a key year in Algeria's struggle for independence from France. Shot in the streets of Algiers in documentary style, the film vividly recreates the tumultuous Algerian uprising against the occupying French in the 1950s. As violence escalates on both sides, the French torture prisoners for information and the Algerians resort to terrorism in their quest for independence. Children shoot soldiers at point-blank range, women plant bombs in cafés. The French win the battle, but ultimately lose the war as the Algerian people demonstrate that they will no longer be suppressed. The Criterion Collection is proud present Gillo Pontecorvo's tour de force—a film with astonishing relevance today.

Customer Reviews:

Oldie but Goodie.......2007-05-26

By Far the best movie to document the algerian war. A Must See for Film Buffs

Lessons of history indeed!.......2007-05-11

This film now being touted as a 'lesson in history' (even though there is little comparason to the Iraq war)it is indeed a lesson in history.

Almost every war/civil war since the Algerian war of independence has been veiwed through the eyes of the Algerian war, even Robert Fisk during the recent Algerian civil war gave us the idea that the civil war was something of a 'continuation' of the initial F.L.N struggle. It should be kept in mind however, that this film was and always has been the darling of the far left and has little if anything to do with recent Islamist movements.

Regarding the historical lessons there are many to gather, the use of bombing campaigns against civiliam targets (a cafe in one scene) The use of females to carry bombs past checkpoints because the French would "not dare to search an Algerian woman" On the part of the French, the enclosing of entire sections of the city turning them into impoverished ghettos, torture to 'gather information', target killing of leaders asuming that this will 'quell the rebellion'

Lessons indeed, not least events that followed in Algeria, how those who fought for independence turned a country into their own personal property, a military that cancelled a legitimate election, lessons indeed not just for Algeria but for Africa and the Middle East. The same lessons have not been learned Zimbabwae being the perfect example, ex revolutionary turns dictator.

While the film surrounds the life of an ex petty criminal turned revolutionary (how very leftist!) and attention is given to the lives of ordianry people in the Arab quarter, how marriages were conducted under the terrible conditions of near seige and not least how the F.L.N. began to administer their own law within the lawless Arab quater. Little is given to the rural battles where some of the bitterest fighting took place and while many today may think there are some comparasons with the current situation in Iraq please keep in mind, this film along with Land and Freedom was the film to watch if you were a young left wing student it's hardly a blueprint of current conflicts.

An interesing film but would be far more useful if watching wishing to learn something of the struggle for independence and the post independence struggle in what is called the 'developing world', something that continues to this day.

not sure the film is as relevant as it's touted to be.......2007-05-06

If, for some reason, you are a loyal fan of Gillo Pontecorvo's 1966 black-and-white "The Battle of Algiers," then your train has definitely come into the station with this release. (The film, by the way, is an Italian one, though many seem to think it was French.)

What you are buying is the deluxe box, believe me, with all the bells and whistles: three exhaustively informative disks laden with extras, and a handsomely produced booklet.

The subtitles are available only in English, in white print. You can remove them and hear only the French, but you cannot get either French or Italian subtitles, or Italian or English audio. So I guess if you're a polyglot purist, your train has yet to come in.

As for the film itself, you're getting a mixed bag, in my view. The box proclaims it a film with "astonishing relevance today" -- presumably a reference to America's quagmire in Iraq.

Well, the film certainly captures the chaos, confusion, and simple undoability of trying to govern a contrarian people who simply don't want to be governed -- and have access to gunpowder.

One of its central merits is the way in which it limns war as an irretrievably ugly business. There are some good tense moments, but the pace is jerky overall, and from time to time gets downright tedious (it takes a strictly calendrical approach to the action). It would have benefited, I feel, from better characterization.

Also: it's hard to symphathize with anything or anybody in the film. The methods of the insurgents do not render them admirable, much less heroic. And the French: is there nothing they won't stoop to? Yes, in this film, folks, absolutely nobody has the moral high ground; unlike, I submit, our current foray into Mesopotamia, where we are at least trying to do the right thing. It is for this reason I remain unconvinced about the "relevance" today of Pontecorvo's film.

Worse, we are never really told what the insurgents are fighting for, or why. As for the French, what on earth are they going out of their way to hold the property for? Can they really think it worth the trouble. Certainly, there are very definite answers to these questions, but you've gotta bring them to the film yourself.

To sum up: After spending a few attentive hours with this film, I can definitely see while many consider it a worthwhile but not truly great piece of work. I definitely started getting bored toward the end until the film became a positive chore to watch. Parts of it struck me as confusing, inept, and even naive.

And what's with the festive Mexican cover?

relevant.......2007-04-10

It's very matter-of-fact. Documentary, relevant, grim. You'll hear the word casbah so often, you'll have The Clash in your head for a week.

IN THE TIME OF THE ALGERIAN NATIONAL LIBERATION STRUGGLE.......2007-03-29

I first saw the fictionalized French, subtitled in English, version of the Battle of Algiers in the early 1970's when I, along with other like-minded political types, were under the influence of the vanguard role that `third world' national liberation struggles against the imperialist heartland played in world politics. Moreover we were under the influence of Frantz Fanon's concept of the `cleansing' nature of such struggles on the revolutionary organization and the population, especially compared to the `bought off' workers in the West that were key to classical Marxist thought. Much water has passed over the dam since then in Algeria but it is still fair to say that the Algerian struggle for independence against the hated French occupiers was, in hindsight, still an important liberation struggle to support if not for the same reasons as in my youth.

After a recent viewing of the film what is surprising is that with due regard to differences in time, geography, political conditions and other factors the drama of this film could reflect today's reality in Baghdad, including some aspects of the Islamic political program of the insurgents. Most of the scenes in the film took place in 1957 as the Algerian National Liberation Front (FLN) initiated various actions including unsupportable acts of individual terror against civilian targets and supportable acts against military targets, a general strike that the French frantically tried to break and on-going urban guerilla warfare against the occupying forces.

Some of the issues raised in film that were capable of making my blood pressure rise then still do so today. The foreign occupation's indifference or hostility to the `natives' and their political wishes. The endless arbitrary searching of houses and persons by the occupiers in order to pacify the population. The escalation of military tactics by both sides as the body counts rise. The ready and refined use of torture by the French occupiers. Moreover, a point not appreciated by this reviewer at his first viewing was that when the seasoned (from Indo-China) professional French Army ratcheted up the ante they were able to destroy, for a time, the urban guerilla infrastructure. But in the end they had to leave, just as the Americans will have to leave Baghdad in defeat. Yes, this all seems very, very familiar.

A point about one of the central characters, Ali. The above-mentioned Fanon in Wretched of the Earth, his most famous work, that chronicles the Algerian struggle highlights the key organizational role of what is commonly called the dregs of society, the theives, pimps and other criminal elements. Marxists use the term lumpenproletariat. Ali as a self-professed and convicted con artist is just such a character. According to Fanon's theory if revolutionary forces can recruit enough Alis then a real 'purified' revolutionary organization can be formed. Naturally that assumes that an Ali, as portrayed in the film, is a true prototype of this kind of recruit. A quick glance at revolutionary history, however, belies that notion. More frequently this layer of society provides the shock troops of the counterrevolution. Moreover, this is a very unstable base on which to form an organization. There was a reason that the Paris Commune inscribed `death to thieves' on its banners. The Black Panthers here in America also learned the hard way the difficulties of recruiting (and, more importantly, holding) that layer as they attempted to emulate, among others, the Algerian experience.

Alien: 20th Anniversary Edition [Award Series]

Average customer rating:

The classic thriller-horror sci fi film has never looked better
In the pantheon of cinematic masterpieces, one of the finest
Alien - 2 Disc collectors edition
We Are Not Alone...
Absolutely a favorite

Alien: 20th Anniversary Edition [Award Series]
Starring: Tom Skerritt , Sigourney Weaver , Veronica Cartwright , Harry Dean Stanton , and John Hurt
Director: Ridley Scott
Manufacturer: 20th Century Fox
ProductGroup: DVD
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ASIN: B00000ILDD
Release Date: 1999-06-01

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A landmark of science fiction and horror, Alien arrived in 1979 between Star Wars and The Empire Strikes Back as a stylishly malevolent alternative to George Lucas's space fantasy. Partially inspired by 1958's It! The Terror from Beyond Space, this instant classic set a tone of its own, offering richly detailed sets, ominous atmosphere, relentless suspense, and a flawless ensemble cast as the crew of the space freighter Nostromo, who fall prey to a vicious creature (designed by Swiss artist H.R. Giger) that had gestated inside one of the ill-fated crew members. In a star-making role, Sigourney Weaver excels as sole survivor Ripley, becoming the screen's most popular heroine in a lucrative movie franchise. To measure the film's success, one need only recall the many images that have been burned into our collective psyche, including the "facehugger," the "chestburster," and Ripley's climactic encounter with the full-grown monster. Impeccably directed by Ridley Scott, Alien is one of the cinema's most unforgettable nightmares. --Jeff Shannon

Description

The terror begins when the crew of a spaceship investigates a transmission from a desolate planet, and discovers a life form that is perfectly evolved to annihilate mankind. One by one, each crew member is slain until only Ripley is left, leading to an explosive conclusion that sets the stage for its stunning sequel, "Aliens."

Customer Reviews:

The classic thriller-horror sci fi film has never looked better.......2007-06-12

Many sci fi films are dated by the time they are released. New technological advances and (especially) the vast increases in computer power make such sci fi classics as 2001 look hopelessly dated (not to mention the hairdos!). In contrast, Ridley Scott's Alien has a timeless look of a worn and used (one might say "used-up") technology that mostly stands up to today's standards. By going with simple sets and lines, simple interfaces and basic colours, the Nostromo looks like it could exist anytime between 1950 and 2150. Besides, the science fiction underpinnings of the story are practically irrelevant. This film is the classic closed-system horror film: the monster is loose on the ship (or house, island, whatever), there are a limited number of characters and a shortage of weapons. The monster starts killing them one-by-one. How will our heroes face up to the challenge? Will they all be wiped out or will someone figure our how to kill the monster? Will they turn on each other while simultaneously battling the monster?

In Alien, the monster is an alien brought aboard the ship in contradiction to standing orders. It looks relatively harmless at first - although attached to the face of the hapless crewman who discovered it, it seems more parasite than aggressive hunter-killer. Unfortunately, it grows and is soon large to kill and threatens the entire crew. With a total of only 7 humans (and one cat) on board, we get to know the characters well. There's the unflappable captain, the pragmatic first officer, the one that "loses it", the tough guy, etc. Scott takes a lot of time and effort to set up the group (and 1-on-1) dynamics between the crew members. If it feels slow, it's necessary to immerse us in their world and make us feel their claustophobia and fear.

As a monster movie, Alien feels very much like Spielberg's Jaws. The Alien is only seen in glimpses through most of the film, hidden in the ducts and dark of the ship (just as Spielberg's shark is hidden in the water). A speech by Ash (the science officer) in which he reveals his admiration for the alien is very reminiscent of Quint's speech admiring sharks. The 3 men in the boat hunting the shark parallels the 6 men and women in the spaceship hunting the alien. I happen to like Jaws better, but both are masterful manipulations of the standard formula, and are timeless classics.

As an historical anachronism, Sigourney Weaver is given second billing, even though she is the main character. Fortuately, films like this helped break the chauvenistic billing rules, although actresses often still get the short end of the stick in money and billing.

As Amazon.com does not group reviews by DVD edition, I will point out that I have the 1-disc version from the boxset after they started selling them individually (I think it's the "20th Anniversary" version). It contains an interesting director's commentary by Ridley Scott (who took the effort to re-acquaint himself with the film before coming into the recording studio) and a number of cut scenes and 2 unfinshed scenes. It's good value for the money, and the cut scenes are especially interesting as they give further insights into the tension between the crew members. The video looks great (on my LCD screen) and the sound is good as well (albeit through the TV's speakers, I don't have a real sound system).

In the pantheon of cinematic masterpieces, one of the finest.......2007-06-12

Someone once said, "There's a thin line between brilliance and absurdity." More than any other film, Ridley Scott's "Alien" supports that statement. It began as a low-budget project for notorious schlock producer Roger Corman, then titled "Star Beast," but somehow, along the way, everything just came together. If anyone but the great Mr. Scott had directed the film, if Sigourney Weaver had not received her breakthrough role as feminist icon Ellen Ripley, if the film had come together any other way, it might have been just what it began as: a turgid, $3-admission grindhouse flick. Instead, "Alien" wound up as one of the finest films in the history of cinema.

Released at the peak of audiences' fascination with sci-fi films at the end of the 70s, the plotline behind "Alien" is classic: a mining ship, drifting through space in the far future, reluctantly responds to an S.O.S. from a distant planet. They land on the planet and find a downed spacecraft, the fossilized body of a gigantic non-human lifeform, and within the spacecraft legions of what appear to be eggs. One foolish crew member decides to stick his face into one of the eggs, and so begins the horror of "Alien," as one-by-one the crew is picked off by an alien lifeform perfectly designed to kill. Most of the cast received their starmaking roles in this film, most notably Weaver, who is arguably the most iconic female in cinematic history. Ian Holm delivers a delectably devious performance as Ash, the ship's scientist, who isn't who he seems. The most menacing character nevers appear on-screen: the corporation for which the crew works, referred to simply as "the Company." (It appeared more prominently in the sequels, where it was given a name: Weyland-Yutani.)

Ridley Scott is the driving force behind the picture. He's made many great films, two which are among the best ever made (the other being his brilliant sci-fi neo-noir "Blade Runner"), but "Alien" is his greatest masterpiece. Through dark lighting, claustrophobic sets and camerawork, and seamless editing, not to mention some of the most realistic performances ever in a sci-fi film, Scott fashions what may well be the most suspenseful, horrific film ever made. That's why "Alien" stands above all its sequels: more than a sci-fi thriller, it's an artful, unsurpassably tense picture which captures fear like no other. It's a testament to the timelessness of the film that "Alien" remains so damned scary to this day, nearly thirty years after its release. To add the tension, there's not a lot of music in the film when compared to others like it. The score is composed by Jerry Goldsmith, and when it does appear in the film, Goldsmith's music is wonderful, at once in tune with the film and with a winningly classic sound to it.

Of course, the film wouldn't be anywhere near so scary if the titular alien was the most chilling, ghastly creature ever to grace the screen. It's truly an ingenious concoction, thanks to the brilliant and twisted mind of H.R. Giger, who designed the beast. The fact that it's simply a man in a suit doesn't matter at all - in fact, that makes it all the more frighteningly real. The final touch is the stunningly intricate, spotlessly designed, and flawlessly detailed production design by Michael Seymour.

Those who appreciate film and have put off watching "Alien," because it's a sci-fi movie, because it sounds silly, or for whatever other reason, are making an immense mistake. "Alien" is one of the great cinematic masterpieces, classic in style (one scene feels like it was taken straight out of a Hitchcock film) "and timeless in the pantheon of movie masterworks. Though its numerous are worth nothing as well (particularly James Cameron's "Aliens," a film which ranks just behind Scott's original), none rivaled the legendary original. The film is flawless and a classic, including at least two unforgettable scenes (the ending and the infamous "chestburster" scene) to match an unforgettable, truly remarkable film. In space, no one can hear you scream - a good thing for our astronauts, because Ridley Scott's masterpiece has garnered many a scream, and no doubt shall continue to do so for ages to come.

Alien - 2 Disc collectors edition.......2007-05-28

A great film just got better!
The added scenes are great and the 2nd disc is a phenomenal feast of facts about the film.
A must!

We Are Not Alone..........2007-05-23

In the older days (some would call golden days) of cinema, monster movies were huge with moviegoers both young and somewhat older, but especially with teenagers who were out on dates. Where the guys were looking for a good scare to get their girls to snuggle up close for the duration of the film, so they could show how romantic and caring they were. Generally speaking these monster movies featured creatures that were merely actors dressed in shoddy costumes because visual effects hadn't advanced enough as yet, though at the time they were the best around so everyone thought they looked good. The movies weren't really all that scary or even all that good if you really stopped to think about it, but that wasn't what the target audience was really interested in after all. In 1979, director Ridley Scott ("Gladiator" and "Hannibal") released his groundbreaking, science-fiction/monster film "Alien", forever changing the dynamic of monster movies and audiences expectations of them.

"Alien" is the story of the doomed crew of the spaceship Nostromo, who were heading back to Earth when a distress signal caused them to detour to a nearby planet. When the crew searches the location of the signal, they stumble upon a field of what appears to be eggs. One of the eggs releases its contents, which latches on to one of the crew. Believing they can simply remove the life-form from the crew member's face without trouble, the remaining crew of the Nostromo makes the mistake of bringing the contaminated crew member back on board ship. Though all efforts to remove the object failed, after a short while the life-form simply detaches from the crew member leaving him alive and seemingly healthy. Believing all is well, they set course once more for Earth; however, appearances can be deceiving and the consequences of their actions brings about a horrifyingly deadly reality, as the creature that had latched onto their friend's face was only the beginning, and what it left behind will leave them all running for their lives.

So, what's the difference between "Alien" and all of those other monster movies of the past, you might ask. One major difference would be in the quality of the practical effects and costumes used in this movie. Yes, the creature was still just a man in a suit, but this was different from all the other times this method was used. The practical effects and costumes had greatly advanced beyond those early monster movies, so that when you saw the creature on screen you thought you were really looking at a living alien monster intent on killing you.

In addition to the costumes and effects employed in the film, the story for "Alien" was so well-written, and the suspense was so palpable that you couldn't stand to wait to see what would happen next. The direction by Ridley Scott was excellent for this type of movie, as he chose to create an ominous atmosphere, relying heavily on shadows, to serve as the main source for ratcheting up the anxiety factor that great horror films feed off of, rather than going simply for the cheap thrill achieved via blood and guts and jump scenes. So when the audience does see the alien it is only brief glimpses, leaving the viewer to wonder just what exactly the alien looks like, which increases the anxiousness and fun of the entire experience even further. Another excellent choice on the part of the director was not showing too much of the death scenes, by having the pain inflicted by the monster be mostly conveyed through the various characters screams of torture and agony, causing the audiences minds to create situations and scenarios far worse than any director could come up with, a method made famous by Alfred Hitchcock. Speaking of the actors, every single one of them turned in excellent, first-rate performances, which is a true rarity in horror or science fiction films, which aided the film in becoming one of the true classics in the monster genre, setting the standard by which all other monster films should be judged. The cast member that truly shined was Sigourney Weaver, who became an instant star and one of Hollywood's most popular movie heroines, and her character is the only one to be featured in every single `Alien' movie throughout the franchise.

The movie "Alien" is by far one of the best in the horror or science fiction genre (it actually belongs to both categories), and the fact that it is still so popular with moviegoers is a testament to how excellent the film is, even to this day.

"Alien" is rated R for violence and language.

Absolutely a favorite.......2007-04-19

I've seen this film an embarrassing number of times. It's at the very top of my list of all time favorites. It is after all art, and as such deserves to be viewed again and again and again. Ridley Scott directed a masterpiece of a script by Dan O'Bannon and Ron Shusett. This is a pivotal work that raised SF / SF Horror up from the relative marsh of "B" films and anchored the genre on the higher artistic hillsides. I saw the film the first day of release in a packed theater in Detroit and like many others in the theater was so overtaken by the suspense and sheer horror that at one point had to literally walk out to the lobby for relief from it. Exaggeration, you say? Consider the context. Nowadays we take the on-screen gore and shock for granted. We're accustomed to the violence and we can predict almost every surprise, so with rare exception, there are none. But prior to 1979 and Alien, SF gore had enough ketchup in it to sauce up a super-size fries, the knocks to the head had no permanent effects and death was generally clean and relatively bloodless. Worse yet, death and pain in the context of earlier SF nearly always sounded the "aaaoogaa" horn of melodrama. Thank the writers and director of Alien for raising the bar for horrific SF drama on screen. See the director's cut if you can find it. It has one or two scenes of such dramatic realism, you'll wonder if they weren't really real, by God. This film succeeds perfectly on all levels.

Average customer rating:

The classic thriller-horror sci fi film has never looked better
In the pantheon of cinematic masterpieces, one of the finest
Alien - 2 Disc collectors edition
We Are Not Alone...
Absolutely a favorite

Alien (Two-Disc Collector's Edition)
Starring: Tom Skerritt , Sigourney Weaver , Veronica Cartwright , Harry Dean Stanton , and John Hurt
Director: Ridley Scott
Manufacturer: 20th Century Fox
ProductGroup: DVD
Binding: DVD

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ASIN: B00011V8IQ
Release Date: 2004-01-06

Amazon.com essential video

Description

Customer Reviews:

The classic thriller-horror sci fi film has never looked better.......2007-06-12

In the pantheon of cinematic masterpieces, one of the finest.......2007-06-12

Alien - 2 Disc collectors edition.......2007-05-28

A great film just got better!
The added scenes are great and the 2nd disc is a phenomenal feast of facts about the film.
A must!

We Are Not Alone..........2007-05-23

Absolutely a favorite.......2007-04-19

Average customer rating:

"If men don't trust each other, this earth might as well be hell"
Not a "whodunnit"
A movie that truly belongs to world cinema's history
Required viewing at most film schools
The Worst Movie I've Ever Seen

Rashomon - Criterion Collection
Starring: Minoru Chiaki , Fumiko Homma , Daisuke Kato , Machiko Kyo , and Toshiro Mifune
Director: Akira Kurosawa
Manufacturer: Criterion
ProductGroup: DVD
Binding: DVD

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Japanese | By Orig