Tuesday, July 31, 2012

A Thousand Words

A Thousand Words

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A Thousand Words

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"My name is Jack McCall. I'd like to talk to you, but I can't because if I say just one more sentence out loud, I'll die." Jack McCall (Murphy) works for a publishing firm and will do and say anything to close a deal. When he goes after the most sought after author, spiritual guru Dr. Sinja, he once again says anything that will get him to say yes. The Dr. sees through him and when Jack is at home that night he is shocked to see a tree pop out of the ground. After finding out that the tree loses a leaf every time Jack says a word he is forced to try and change the way he communicates. I have always been a big Eddie Murphy fan and I was looking forward to this one. I was surprised at how heartfelt and emotional this movie turned out to be. While this is a definite comedy and is very funny the real heart of the movie is the emotion that Murphy shows during his change. On that note, while I'm not saying this is an Oscar worthy performance this is his best acting since "Dreamgirls". Seems like just because it is a comedy the acting gets overlooked which isn't really fair. Murphy's performance was so perfect for this movie it took a movie that could have been very cheesy and fluffy and turned it into something so heartfelt and emotional that I actually got choked up a few times. For that to happen during a comedy is a testament to his acting. Overall, a very funny movie with a ton of heart that deserves to be seen. I really liked this one. I give it an A.



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Party Girl

Party Girl

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Party Girl

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I saw this movie for the first time right out of college and it inspired me to move to NYC. It brilliantly captures the recreational substance induced hazy world of party goers all over Soho. Mary, the ultimate party diva is forced to learn responsiblity when her godmother, Judy, gives her a job as a library clerk..."A trained monkey learned this system on PBS in a matter of hours!" Mary works. Mary shoplifts from other people's closets..."Hello Chanel!" Mary falls for her local falafel vendor. Mary gets the guy. Mary loses the guy. Mary parties. Mary learns something about herself...mostly that her shallow lifestyle will only last so long. The dialogue is crisp and funny, the characters are well developed, and Parker Posey's performance is brilliant. A very young and very sexy Liev Schreiber delivers the goods as well. This movie is filled with so much fun....the scene with "Natasha" alone is worth the price of the disc. This is a must have!



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Monday, July 30, 2012

Breaking Bad Season 3

Breaking Bad Season 3

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Breaking Bad Season 3

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I eagerly anticipated the start of season 3 of Breaking Bad. But I was nervous. Here in the U.S., we have a tendency to beat TV series into the ground, until they no longer possess the qualities that made us love them in the first place (see, for example, season 6 of The Office). I was nervous that Breaking Bad would stray from what made it my favorite show of the past few years.

And yet, season 3 has done it again...it was worth the wait, and I'm optimistic that season 3 will continue to live up to the high standards set in seasons 1 and 2. Some new villains are introduced in episode 1, and Giancarlo Esposito is back in what seems could become a dangerous and pivotal role.

I shut off cable a year ago, and get what TV I can for free through Hulu. Breaking Bad is one of only two shows that I love but can't stream for free (the other being another AMC show, Mad Men). Breaking Bad is well worth the per-episode cost. I'm really looking forward to the rest of the season.



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The Prince & Me 2

The Prince & Me 2

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The Prince & Me 2

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As a fan of the original Prince & Me this sequel has to be one of the worst ever made. Aside from the talented Luke Mably (who clearly looks uncomfortable in his reprised role as Prince Edvard of Denmark) the rest of the cast and the whole plot of the film is hideous. The actress portraying Paige (Kam Hesketh)lacks any depth and refinement that Julia Stiles brought to the role in the first film. In this sequel some ancient law prohibits Edvard from marrying Paige. Enter some poor Norwegian royal and his ditzy daughter Princess Kirsten who wants to marry Edvard and become Queen of Denmark. In the role of Zoren (The Prince's assistant) Jonathan Firth manages to retain some of the dignity that Ben Miller created, but Maryam D'Abo's Queen Rosalind looks more like a well worn socialite from the Cape and the King has suddenly transformed into a bald and bearded old man. There is no Arabella (Edvard's sister)and Paige's parents are totally miscast. I cannot understand why this follow-up was ever made since Luke Mably is the only returning cast member. This film went straight to DVD so the studio will never recoupe their losses for this turkey.



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Sunday, July 29, 2012

The Finder Season 1

The Finder Season 1

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The Finder Season 1

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Its not really challenging any new ground, but its is immanently enjoyable. Each character is just a bit quirky. Its openly sentimental, which normally annoys me, especially with religion, but somehow they pull it off.

Mostly I love the quirky. The character Willa makes a marvelous audience to Walter's oddity.
The best friend/manager, Leo is the undisguised sentimentalist, who makes it OK that Walter is more than just a little bit odd.
And then there is Walter. He's odd. Good Looking, Sexy and definitely a bit wrong.
The only forgettable character is Walter's romantic interest, a US Marshall. The character is just a cookie cutter of strong professional woman, which is, alas, not very interesting in TV. They need to inject her with something interesting - a tragedy, a sense of humor, a bitchy sarcastic mouth, something....
Its a good show. I hope the idiots at the networks don't cancel it.



The Finder Season 1

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Quantum of Solace

Quantum of Solace

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Quantum of Solace

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Some reviewers and fans of the Bond films have complained that this film is a lesser effort in the series and pales in comparison to "Casino Royale". They have missed something important in their assessment of the film. When Dominic Green says to Bond that he and Camille Montez have something in common, that they are both "Damaged goods" he has clearly put before the audience the crux of the film that is "Quantum of Solace".
The film picks up only minutes after the end of "Casino Royale" and we are presented with a very damaged and changed James Bond. As revealed in the first film by Vesper Lynd's assessment of him upon their first meeting on the train, James Bond is a man who came up from humble beginnings and was given a privileged education but never allowed to forget his low origins. This has made him a very guarded loner with a chip on his shoulder, a perfect candidate for recruitment by MI6. In his words to her later on in the film, Vesper has "stripped me of my armor." But by the end of that film he is a man scarred by the death of his love, the armor is back on never to be penetrated again. He is now becoming the Bond of legend and a man bent on revenge.
So in "Quantum" there is no reason for the old fashioned quips or much humor in this man. Yet if you pay attention the character of James Bond as played by the incomparable Daniel Craig he lets us see that there are cracks in the armor. Something of a human heart still exists in him. This is played out in the scene after the plane crash where Camille asks him about his past. Craig shows it in his eyes in the most marvelous example of his layered and subtle acting style. Craig builds and molds a deeper, darker more complex Bond than we have ever seen before, a character more true to the books than in previous incarnations of Bond.
The action in the film is superlative and stylish. The opening car chase is indeed a nail biter only surpassed by the Sienna chase moments later. This too is then topped by the DC10 aerial battle towards the end of the film. The stunts are breathtaking and propel the film at top notch speed. But perhaps the most stunning and original sequence is the gun fight in the restaurant at the Opera house. This is played without sound effect as the score of "Tosca" commands the ear and heightens the emotion of the scene. This is inspired and brilliant film making taking in account all aspects of editing, cinematography, score, and acting. And since I mentioned music I cannot leave out the incredible delicious score by David Arnold who has infused his Bond scores with the much need taste of John Barry. He captures the glorious Barry sound and builds brilliantly upon it.
All the principle players give superlative performances. Judi Dench command attention as she always has as "M". Giancarlo Giannini redeems himself and is truly touching as Mathis. Mathieu Amalic is appropriately slithery and devious as the villain Green. As Agent Fields, Miss Gemma Arterton brings a light and fun light to the film. Finally in the role of Camille Olga Kurylenko holds her own opposite Daniel Craig. This is no mean feat and she is wonderful, athletic and touching in the film.
In the end Bond does find a quantum of solace and ends the film in a telling way. A small gesture that lets us know he is now moving on but not without a tinge of sadness. This beautiful sad ending is a refreshing and moving way to end a Bond film.
"Quantum of Solace" is a fast paced film that demands attention to the small details and respect for superlative performances by all involved from the director Marc Forster to the entire cast and crew.



Quantum of Solace

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Saturday, July 28, 2012

Ghost Rider Spirit of Vengeance

Ghost Rider Spirit of Vengeance

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Something you'll notice if you read any of these reviews is that a good portion of the 'bad' reviews compare this movie to the first Ghost Rider movie. Well, I have a problem with that. I have been a long time fan of the Ghost Rider going back to the Original 70's comics. The first movie which purports to give us the origin of the Johnny Blaze Ghost Rider has next to nothing to do with the source material at all. The first movie turned Johnny Blaze into a goofball who eats Jelly Beans out of a martini glass and keeps the powers of the Ghost Rider against the will of the Devil. If you like that then you are no fan of the Ghost Rider.

Johnny Blaze was a hard drinking, tortured soul who was tricked by the 'devil' and turned into the Ghost Rider against his will. He spent the entire run of the original comic series doing everything he could to be freed from his curse. Johnny Blaze doesn't listen to the Carpenters. Johnny Blaze doesn't watch TV specials about monkeys. He's not got time for that crap.

This movie, while it does have it's own problems, plays closer to the 'real' Ghost Rider in every way. Blaze fights the demon for control constantly. He seeks an escape from the Spirit of Vengeance at every turn, but he uses the Ghost Rider to his advantage at times. THIS is the spirit of the original book brought to life. Not the campy crap-fest that the first movie was. While the writers did take some creative licence with characters, parts of the origin, and pretty much completely ignore the first film (thank god), they build a rider that is much more like the one we see in the pages of the Ghost Rider comics. This movie brings us a darker, more menacing Ghost Rider. When the Rider is on screen, he's unsettling. He revels in the destruction and death going on around him. He laughs maniacally as he uses massive mining machines infused with hell-fire to destroy his enemies, and toys with them like a cat would a wounded mouse...

The 'enemies' of the rider in the first film were epic emo-fairy failures. They are easily dispatched and offer no real challenge for the Rider. Well, the same can be said about this movie, but at least here they are outmatched by the rider because they are mere mortals facing off against a demon/angel of vengeance/justice. When the 'heavies' show up in the form of Blackout and finally the Devil, they aren't much of a challenge either, but then again they put up a better fight than the ones in the first film.

Blackout is not the Blackout from the comic, but here he is realized better than most comic book movie villains. He puts up a fight but there's never really much danger for the Ghost Rider from any of the bad guys.

Where this film falls apart is that the story is at times confusing, Cage often jumps into 'Crazy Cage' mode and ruins some scenes, and a lot of the dialog is just silly. Where it succeeds is the Crank-style mayhem that is unleashed whenever there is action going on, the visual effects of the Rider are ramped up and embrace the dark side of the Character. The Flaming Skull in this go around is LEAPS AND BOUNDS better than in the first. In every way possible the Rider is BETTER rendered here in character and appearance.

See this if you are a fan of the Ghost Rider and not the first Movie that tried to make the Ghost Rider into a Spiderman style super-hero. THIS is the heart of the Ghost Rider. Dark, Gritty, Campy and FUN! Now if they would just ditch Cage and get a decent writer to give a third movie a go...



Ghost Rider Spirit of Vengeance

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Friday, July 27, 2012

Cars 2

Cars 2

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Cars 2

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I had a very unusual experience seeing this movie in theaters.

I watched it, I had a great time, I laughed, cheered, was thrilled, and the moment the credits started to roll the people in the row behind me IMMEDIATELY started spouting off how much they HATED it. I was flabbergasted. I was sorely tempted to turn around and ask them if we even just saw the same movie? How could anyone hate something that's so much FUN?!

But after thinking about it, I could see actually why they didn't get into it. Cars 2 is the first Pixar movie where you really have to 'get the joke' of the premise, or the whole thing falls apart like a house of cards. What this movie is, is the best James Bond movie of the last 15 years (not counting Casino Royale which transcends Bond movies to be just a great spy movie), with a bit of The Accidental Spy thrown in.

I LOVE Bond movies. The crazy opening sequences, the insane gadgets, the quippy lines. And Cars 2 hit pitch perfect parodies of every Bond standard. But you could never say of any Bond movie that it's got a deep emotional core, that's not how they're made. They're made to be balls to the wall fun and thrills, and that's what this movie is. Which of course makes it the polar opposite of the original Cars. It could hardly be more different.

If you get the joke, that this is a James Bond movie with cars, it's a riot. Loads of fun. It's not deep, it's not going to tug at your heart strings, it will not make your mother cry three or four times (as virtually ever Pixar movie ever made prior has done to my mother, I take her to Pixar movies with a bucket). It's just riotous fun. And I'm amazed that people are punishing Pixar for making a movie that's just pure fun. Granted Pixar is famous for it's deep emotional stories, and I suppose people expect that sort of thing every time. Even if you make a fun and entertaining movie, if you don't do what people expect, they bite your head off for it.

I went in with few expectations cause the early reviews bashed it to pieces, and I was frankly not that big a fan of the original movie. In the first Cars McQueen spends an enormous amount of the movie whining, and I found him generally unlikeable until fully halfway through the movie. It was a good movie, with a lot of heart and a message, but not one I would describe as a lot of FUN. Mater especially, a little of him went a long way in the first movie, and I was really worried about him being the star of this movie, because if a little of him annoyed me in the first movie, this one has 10 times more of him.

And yet, he actually annoyed me LESS this time around, cause he had something to do instead of just hanging around being Mater. They struck a perfect balance in his 'mater-ness' where the Accidental Spy nature of his story is charming instead of just annoying. And even more to my amazement, Mater's unique perspective DOES actually help solve the mystery. He's not just a bumbling idiot gumming up the works, he does actually help.

I was also constantly amused at the imagination that went into Cars-ifying the world. Even little touches like the swanky party in Towkyo (not a typo! ha!), the elevators are giant pistons that come out of the floor. I didn't expect it at all but once I saw it was it was so perfect.

To sum up, I have to say, I enjoyed this movie MORE than the original Cars. Yet at the same time I'll fully agree that the original is a technically superior film in writing and character, but Cars 2 is way more fun. If you go into this with the right attitude, that you're seeing a James Bond movie with Cars, that it's meant to be pure fun and embrace it on that level, there's a lot to love.

The only reason I didn't give it 5 stars is it IS shallow. I won't say it's a perfect film on every level cause it's not. But it doesn't deserve the hate it's getting, it's just a fun movie, and there's nothing wrong with that. If it doesn't quite transcend to the levels of brilliance of The Incredibles or Wall:E, that doesn't make it BAD, it suffers only in comparison to other Pixar work, compared to anything else, it rocks. :)



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Thursday, July 26, 2012

Black Death

Black Death

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I honestly had never heard of this film before seeing a preview on Video On Demand. Being a fan of Sean Bean of Lord of the Rings fame, I gave it a try. Set in Europe during the time of the Black Death, this film has Christian knights searching out a village that has not felt the touch of the plague. To guide them they enlist a young monk who has broken his vows and fallen in love with a woman. The story involves their journey and what they find when they reach this village looking for a witch or necromancer. Well acted with great characters. This is a dark story and a wonderfully recreated period piece. This is not a feel good movie, it is gloomy and sticks with you after you have watched. This is a nice find.



Black Death

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Alice In Wonderland

Alice In Wonderland

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Alice In Wonderland

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Because of critics' reaction to Alice in Wonderland in 1951, it is written, Walt Disney actually apologized for the movie and soon after his television show became a hit a few years later, he showed it in its entirety on TV, thus relegating it to his "minor film" category. The movie has never been able to shake this image, and that is a shame. We should remember that "Wizard of Oz" wasn't a giant box office hit in 1939, and only after it was made an annual event on television did it become a classic in the eyes of the public. "Alice in Wonderland" deserves far more attention than it has ever received. The characters are wonderful. The music is humable, even singable. It's a short film that takes the viewer into a dreamland, and Disney's animated version stands up against any of the other live versions that have popped up over the years. It's time to give this movie the credit it deserves as a classic in animation. Watch it from a child's point of view, with the amazing images of a cat that disappears, talking cards, and Alice constantly growing and shrinking. And then enjoy it as an adult for the dream world into which we are all swept. And furthermore, the DVD transfer is fantastic, with as many extras as one will find on a Disney non-special edition disc. Take another look at this one and be swept away.



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Breaking Bad Season 1 [HD]

Breaking Bad Season 1 [HD]

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Breaking Bad Season 1 [HD]

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This is the best show on television and the best acting. Anyone who knows Bryan Cranston as the doofus dad from Malcom in the Middle will be in awe when seeing this. The Character of Walt White is deep, convoluted and played to perfection by Mr.Cranston. The rest of the cast is fantastic too and we're presented with some of the baddest bad guys ever. If you are a late comer toBreaking Bad, you should startfrom the beginning because though episodes can probably stand on theirown, the show is mostly about the journey ofthis nice guy kind of loser, to "the dark side." If you are a teacher or have kids, lots of opportunity for discussion - when is it justifiable to do bad things?



Breaking Bad Season 1 [HD]

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Wednesday, July 25, 2012

Thunderheart

Thunderheart

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Thunderheart

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Time over time, Val Kilmer has proven that he is not just a pretty face. He has continually impressed even the most severe critics that he is a formidable actor. THUNDERHEART, to me, is among his best performances.

There is some predictability in the plot: Kilmer portrays an FBI agent who is part Native-American. When he is sent to a reservation to investigate a crime, he begins to respect and embrace the heritage he had not previously acknowledged. What is not predictable, however, is how well the script avoids sentiment and focuses on Kilmer's transformation.

Loosely based on the actual events surrounding Leonard Peltier's American Indian Movement, and the murders of FBI agents on the Pine Ridge reservation (all of which is the subject of Peter Matthiessen's book "In the Spirit of Crazy Horse"), THUNDERHEART is a powerful examination of the surreal and frightening life on Native American reservations. Brutality is everywhere: whites against Indians, Indians against Indians, etc. Director Michael Apted does a remarkable job of tempering the violence with scenes of beauty and with images of a peace-loving tribe of people. This is a heartbreaking film at times, but there is a sense of justice in the long-run. THUNDEHEART is not a piece of hunk-actor mind candy. This is a powerful (and underrated) film that demands your attention. It is well-worth it.



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Bad Guy

Bad Guy

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Bad Guy

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Ki-duk Kim delivers an inquisitive blow to the audience with his film titled Bad Guy. Here he intends to make the audience question whether humans can get along despite differences in class, education, appearance, and other social standards that the society creates. On the surface these differences might not be what the viewer discovers, but in retrospect, or maybe even during the film, the notion of harmony among human differences might emerge in consciousness. Nonetheless, Ki-duk Kim paints a cinematic tapestry of brutality and hatred that strikes deep into the soul and core of humanity.

Bad Guy is not unlike Ki-duk Kim's other films in regards to the symbolism and the artistic expression that this South Korean director strives to visualize on the silver screen. Yet, the situation is new and the story is unique even though he returned to teenage prostitution in Samaria (2004), the English title Samaria Girl. The depicted cruelty often finds its place in Ki-duk Kim's films, may be even a reason for his popularity. However, it is in the moment of viciousness where he generates the artistic moment that crosses between what is acceptable and unacceptable. These are moments where opposite sides cross into each other's sphere like a bridge built for a moment that is destroyed in the next instant. The violence can be seen in films such as the Isle (2000) where a woman pulls up a man by a fish hook and the dog killings in Address Unknown (2001). It is in these violent moments where Ki-duk Kim reaches the furthest while trying to communicate his message to the audience.

Cleverly, Ki-duk Kim opens Bad Guy with a scene of a city street where hundreds of of people are wandering during business hour. People are shown from all walks of life, ugly and pretty, rich and poor, and among them emerges the silent anti-hero of the story Han-gi (Jae-hyeon Jo) who discovers Sun-hwa (Won Seo). They are from opposite social classes. Han-gi comes from the lower class while Sun-hwa is a member of the upper class. Han-gi is a quiet, perhaps of his servitude class, pimp from the part of the town nobody admits they are from, or want to visit unless it is for carnal pleasure. Sun-hwa is the pretty college girl most men would turn their head to look at twice who is both refined and educated.

When Han-gi's eyes lands on Sun-hwa for the first time he cannot take them of her, as she sits on a park bench. He stands there dumbfounded almost drooling all over himself while observing her from a distance. Awkwardly, he approaches her and is unable to speak he sits down next to her. Sun-hwa steps away seemingly threatened by his stare and presence, and possibly his looks. After all he has a thick and long scar running horizontally over his throat. When her boyfriend arrives Han-gi continues to stare at her. All of a sudden Han-gi walks up and kisses her right in front of the boyfriend who helplessly tries to remove him. Consequently, the situation escalates when Sun-hwa demands an apology for Han-gi's transgression, which ends with him getting a severe beating from a large number of bystanders.

Like a ghost Han-gi returns to his home in the poor community where girls sell themselves for a few meager bucks while bribing off nosy police officers with their only assets. Angry and vindictive Han-gi intends to repay the mistreatment in a Machiavellian style where he concocts a trap where Sun-hwa gets into big debt. Unable to pay off the debt she ends up becoming a slave-like prostitute where she must pay with her body and face. Silently, Han-gi continues to watch her through a one-way mirror while she begins and continues her new life as a prostitute. This of course has strong symbolic value in regards to the transparency of the lower class's view of the upper class while the narcissism of the rich blinds them from seeing the poor.

Ki-duk Kim's presentation of the theme is a very uncomfortable cinematic experience, yet he succeeds through this tragedy to make people think about the differences between Han-gi and Sun-hwa. In addition, to strengthen his message he experiments with distance between the characters through both tangible and intangible symbols throughout the whole film. In essence, the story turns into a macabre education of class struggle and differences between people where Ki-duk Kim does not hold back in his social criticism. The film is both bizarre and surreal while also humane underneath all the ugliness, as Ki-duk Kim displays his brilliant ability to create visual fabrications from his personal artistic vision that will continue to mesmerize many for a long time.



Bad Guy

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