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Breaking Bad - Complete Series Collector's Edition Tin (Exclusive to [Blu-ray]
Breaking Bad - Complete Series Collector's Edition Tin (Exclusive to [Blu-ray]
Dvd ~ Bryan Cranston

5.0 out of 5 stars Breaking Bad will go down in history as one of the ..., 6 April 2015
Verified Purchase(What is this?)
Breaking Bad will go down in history as one of the most addictive and popular shows of all time. I didn't catch wind of the show when it initially came out, but when Netflix ads of it appeared on TV, I was more curious than ever. And then I caught a glimpse of the last episode pertaining to Season 1, and I became so enticed by it that I waited until subsequent viewings commenced before watching it from the beginning.

Before I review the tin itself, I want to address some of the reasons why this show is so special to me. First of all, it has some of the most solid character building of any show I have ever seen, essentially bringing forth a regular family man in Walter White, and completely stripping him of all the ideals that he has came to know for most of his adult life, transforming him into Heisenberg. He went from being an underpaid and lackadaisical chemistry teacher to being the king of meth, and his character portrayal allows us to sympathise with his reasons for doing it, while keeping us conflicted by his methods. He is the most multifaceted character I have ever watched, and I am a film and game buff, so I know quite a number of characters in media.
Secondly, it has a great set of characters such as Jesse and Hank, who work really well of off Walt in their unique ways, Saul, who really brings a different level of expertise to the business, and Mike and Gus, who both bring the show to some of its most exciting climaxes. To top it all off, the cinematography, pacing, acting, tension and drama are superlative, and I don't think there will ever be another piece of media that will resonate with me as viscerally and intellectually as Breaking Bad does.

After watching it a couple of times on Netflix, I felt inclined to buy the full Blu Ray collection. I was stuck between the Heisenberg tin and Methylamine Barrel sets. I chose the former because there was just a lot more space for it in my collection. And I honestly wouldn't change it for any other Breaking Bad collection. The tin is so cool to look at, and the Heisenberg logo attracted me to it. It comes with some stickers that represent motifs and plot points found in the episodes. The special features are great, and there is so many hours of them (as well as some commentary on certain episodes and behind the scenes footage) , so any Breaking Bad fan should get their fix from this. I'd say the Half Measures bonus disc satisfied quite a lot of desired curiosity about the series, which made me ecstatic to see features spread among all the discs.

The last thing I want to bring up about the blu rays are their amazing 1080p quality. The images are far sharper than on Netflix, and this really works really well to the show'a benefits since the camera work, locations and compositions were so meticulous that they commanded attention from me at every moment. The blu rays also have some footage that was left out of Netflix, so it is worth getting either this or DVD collection purely based on that.

Overall, the tin is a wonderful representation of a truly special show. It has hours of features, sharp picture quality and little nuances from other collections that make it the just buy one for all Breaking Bad fans out there. I highly recommend it.

On Film Making
On Film Making
by King Vidor
Edition: Hardcover

4.0 out of 5 stars The Medium is a Message, 15 Aug. 2011
This review is from: On Film Making (Hardcover)
King Vidor's perspective in 1971 is an elaborate look into the verbiage of cinema, flowing composition, and a comprehensive guide to certain formats of cinema, opinions on film makers (even Kurosawa, John Cassavetes, Ingmar Bergman and his influence D.W. Griffith, and how he was inspired by his interlacing of "Intolerance" to map out the way he was going to employ direction in his movie "War and Peace"), how he started out in film, the pantomime days before his swimmingly easy transition to sound and technicolor and how cumbersome it was. Vidor has collaborated with many people including Bette Daves, John Gilbert (in La Boheme), Lilian Gish, Jennifer Jones, Gregory Peck, Henry Fonda, Yull Bryner (on Solomon and Sheba) and many other stellars, including his cooperation to Audrey Hepburn, who he says is probably the best female actress he ever worked with. The book cover is appropriately a King Kong logo, which has been superimposed with King Vidor and in among it says "on film making", which is a very hokey title, but it's decent for the book and content.

The book is a very interesting study of the cinema as an art form, and Vidor's advice on that attitude of cinema at the time. He says that Film Studies only really teach you the techniques of cinema, but that he wants to try and add a little bit on to that. It's quite clear that throughout time Film Studies has evolved, and that it's became a place to glean more on characters, 3D characters, scripts, audio and visuals etc. (I know because I have done it, and still plan to do it for a couple of years), but in spite of that, as an existential man having made The Big Parade (1925) (he speaks about how he tried to gear it to a great majority of people and succeeded), Duel in the Sun (1946), Our Daily Bread (1934), Hallelujah (1929) (where he discusses how he shaped the frames for the actors faces, and how it was in post-production for sound, as during that time "The Jazz Singer" had made a milestone for sound, and Vidor availed it) and his magnum opus, The Crowd (1928), to which he tried to use the, as he describes it, "perambulating camera" to bring around perspective to one characters, King Vidor is an important blend of vanguard cinema and the bulk of cinema. The profuse lighting he used, and his advice on special effects, and some of the insurmountable problems that he tried to wade through is an inspiring and possibly even cautionary tale of what happens in post production. He even wanted to be discredited on the Musical "Wizard of Oz" to which he helped out Victor Fleming during his absence, and what he thinks of the man as well. He speaks of Fleming and Capra, his contemporaries in reverent ways, which to any cinema aficionado or film buff familiar with Vidor and those other directors, it may be an essential read (I know what peaked my interest was a closer look into his film "The Crowd", but I didn't expect the book to not wholly be on the man and his films but to be more varied).

The book is also grangerized with ideas that pictorially show Vidor's work on set, and even a process background he used on "War and Peace", which by the sound of his words, marks one of his most challenging movies, and he makes this clear by saying how hard adaptations are and how the book spanned from book to script. He also speaks of how the film embraces all art forms saying how he scored films, and what inspired his scores of films, and how "The Third Man" imbued sound and "The Bridge on the River Kawai". He gives a look into documentary films, actors (including Chaplin, and how he thinks he was great in front of the camera, but not at the back), speaking of how onerous it gets with producers and compromise, and then he reflects on this with an anecdote about David Selznick.

He was a film maker, who always catered, expressed what he felt had to be said between the marriage of reality and films and illustrates this by saying "some film makers hide behind abstraction, and make pseudo-interesting openings to get you interested in the film itself" - in other words, Vidor is an old style film maker, embracing the period of newer films, and even talking about how he's pleased with the border changing its ways with sex and violence in films. Goldwyn he said, once said, (paraphrased) that cinema doesn't have any messages, which Vidor debunked.

He talks about the specs of the camera, the aperture f numbers and explains to novices how it works from the lowest being the one to let in the most light and the highest being the one to let in the least light. He talks about old cameras as well, and how his first ever one was a Brownie Camera, which he used for news reels before he entered the larger medium. He speaks about old 16mm cameras and ones that went up to 70mm.

There is a lot to get out of this book that really supply a lot to the making of a film, the rights of a director, and the box office records. Vidor says he never does screen tests, but he always tries to evaluate his films in other ways. He draws a lot of attention to the old style of the cutting room and how Griffith was the one who proved that you can omit bits out of the finished product. It's interesting because Vidor published this book 11 years prior to his death, and it feels so rigorous on the way that he accounts his films. He even mentions how he goes to festivals to learn more about film as well, even criticizing a film thinking that it lacked sufficient movement, and then realizing that this was his own way of manoeuvring the camera and staging the actors in his silent days. It's amazing how conscious he is of all this and remarkable how vivacious he seems - he's not a melancholy - he takes risks in his films as would many of his contemporaries.

The book, however, is not for everyone. It could be indispensable to film studies though, and it's a great guide to cinema itself. It really starts to get enticing for me after he speaks about the early pioneers such as Robert Paul, an insight into more history during the zeitgeist of cinema. He even speaks about the "camera's eye".

In conclusion, Vidor's book is the account of a luminary who would span a lot of decades into cinema, while pioneering some of the methodology of the medium as well. It gives hope to new generations and it edifies them about things like emulsion for images and some of the vocabulary of cinema, as well as his love for simplicity, to which he mentions how hard that is to achieve. It's without a doubt that this book is a thoroughly researched and thoroughly thought out book from a master who we can now look back on through the history of his motion pictures.

"The art form embraces all the arts, but none"
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When The Clouds Roll By (Silent) (DVD) (1919) (All Regions) (NTSC) (US Import) [Region 1]
When The Clouds Roll By (Silent) (DVD) (1919) (All Regions) (NTSC) (US Import) [Region 1]

5.0 out of 5 stars "There is always something to look forward to when the clouds roll by", 26 July 2011
Verified Purchase(What is this?)
Douglas Fairbanks and Victor Fleming bring to fruition, a crossover of both slapstick and drama, with a tongue and cheek sense of awareness that this was their intent. First of all a review on the DVD; it's a standard, moderately decent facsimile of the film that was just released last year. Alpha have done a great job at restoring this film's pristine clearness; however they could not enable fixing certain intertitles that were crookedly off screen, such as one which illustrated a plot point where Fairbanks goes to try and find his love and goes through a prison door, and so on.

The movie opens with a prelude that listed the actor, director and so forth. But this was the real nifty thing about it - the actors and so forth were resided with their own image on screen. So that starts it off to a T, and as it proceeds lets you understand that it's going to be an innocuous movie with, possibly one of the leading a-list silent stars, Douglas Fairbanks. How brilliant does it get? Especially to traverse through a movie in the archives that is not just a whimsical movie or a physically strenuous movie (where Fairbanks puts his acrobatic skills to test). No, no, no, it's different to that.

The movie has a mild undertone of racism, when Fairbanks declares that he's ready for a wife, and then a black slave is in close proximity, and he shoos her off; yeah, it's off archaic age in many respects, but it has remnants of true escapist cinema (that can be captured by Max Linder, Ben Turpin, Chaplin, Arbuckle, Mary Pickford and the list goes on) - however none of them have dared it with such an eidetic and vivid imagination. Fairbanks (who write the movie) stars as Daniel Boone Brown, a simple working man, who is used for an experiment by Dr Metz, who wants to compel him to suicide. He taints his food during a midnight feast, and then in one of the most thrilling sequences, there is a slight tempo frequency manipulation in an inimitable chase from his own dinner. Of course, this is all in his head - which is where Fairbanks conceived this outlandish notion. So his view in the real world becomes distorted, as he becomes more superstitious and is late for his own work. He hates opal rings, and he then comes into contact inconsequentially with Lucette, who is also like that. Later in the plot, he is chauffeured by a Charlie Chaplin knockoff, and he goes to a place in vassar. He conflicts in panic, when his mind gets the better off him though... and these are the best parts of the film.

Like an animal, Fairbanks is morphed into something else, and becomes in earnest to do more things. His love, drama and humor is what comprise the movie with brilliance. His screen presence, his zaniness - yet unlike Keaton, there is a narrative truly grounded in, however simple. The ending is a spectacle of miniatures, and the ending is also committed in clarifying the title "When The Clouds Roll By". When he thinks about what may happen to her as she tries to run away from triggers things off psychologically to him, and in the end it all comes to a halt, as it does in conventional story telling.

Okay, so this may not be the greatest silent feature made, but for me it definitely stands up there as one of the most definitive and wonderful ones ever showcased. Victor Fleming shows real craftsmanship in one of the scenes where the clouds truly do roll by, and his principle photography is exquisite for a movie of this caliber. He adds to the character arc of Metz, a basic yearning for response to his experiment, and gives him a semblance of diabolic schemes, but not over-excessively. The movie has a fantastic quality, and if anybody can't respond to this then I highly suggest getting a grittier movie like "Greed" (1924) Stroheim's masterwork. However, I love this and find it to be liberating and, at the risk of sounding hackneyed and self-deprecating, it is a mirror into the heart of Fairbanks, during a time when the clouds roll by! By the way, there is not much allegorical or any aesop found in the title - you'll just have to see what it denotes at the end, and for me it was a refreshing end. If this movie was disappointing to anybody (this one is subjective definitely) check out "Mask of Zorro" (1920)

Persona Poster Movie Czchecoslovakian 11 x 17 In - 28cm x 44cm Bibi Andersson Liv Ullmann Margaretha Krook Gunnar Björnstrand
Persona Poster Movie Czchecoslovakian 11 x 17 In - 28cm x 44cm Bibi Andersson Liv Ullmann Margaretha Krook Gunnar Björnstrand

5.0 out of 5 stars It's a Very Proportionate and Nicely Outlandish Otherworldly Promo for a Wonderful Film, 22 July 2011
I usually buy posters when I have fully established that a movie can stipulate repeated viewings and always bring around nuances; hey, I even just buy some posters wholeheartedly, such as pictures of actors (Chaplin, Grouncho Marx, James Dean etc.). When I was looking for this poster I was pleasantly surprised by the morphing of the two main characters and how metaphorical it is to the movie; fans of the movie will understand what the poster means and how endearing it truly is.

The people who made this poster should be applauded for their painstaking efforts as far as editing is concerned. The poster is interesting init how it really speaks volumes for the film and gives one a reinstated interest about it. For me, buying the poster made me understand the setting (Faro) that Bergman used so predominately for his features; it speaks to us about the chasms with reality and fantasy, but also challenges us to think about the emotional connection that people have with others and how it can be really harmful if it is channeled in a very, very harsh and personal way; the "persona" loves up to its title.

The poster has Liv Ullman and Bibi Andersonn, two Bergman a-list stellars from Sweden. However, the poster is not for everyone... I know that My Mum, who is not a fan of the Bergman work (she hasn't watched any), could not really understand the significance of the image and why it was so pictorially strange. However I think it's a stunning piece of work - and it's a perfect piece to sit among my innumerable posters, which I own (e.g. "Dr Strangelove", "Inception", "Metropolis", "Batman", "L'inferno", "Spyro", "2001", "Clockwork Orange", "The Illusionist", "Edward Scissorhands", "RKO studios"... etc.).

Classic Artist And Composers - Gainsborough [DVD] [2000]
Classic Artist And Composers - Gainsborough [DVD] [2000]
Dvd ~ Classic Artist and Composers
Offered by best_value_entertainment
Price: £2.47

1 of 2 people found the following review helpful
4.0 out of 5 stars A Silent Document with Music accompanying Atmosphere, 19 Jun. 2011
A sought out artist at the height of his prowess. First let me review the quality of it as a documentary; it's much more proficient in silence because, for me personally, I never like it when they use narration as part of an itinerary of places (although I think it was really well done in Mark Gatiss' Documentary and Paul Merton's as those commentaries were compact with information and replete with things that some people weren't aware of; it's every single nitty-gritty of a documentaries narration that can kind of be boring for me); but it does have a very fluid transition to "The Study of Burnock Leaves" and how it was filled in with paint and it also showcases for people the areas in which Gainsborough took his inspiration from and how he spotlighted certain areas through paintings and landscapes.

The composers are also greatly appreciated Mozart, Haydn, Antonio Vivaldi, Handel, Johann Pachel and Sernade are extolled with the honor of their music used to fill the documentary with a real spirit of the olden times and more then that of many others. My gripe with one of their tracks is Johann Sebastian Bach's "Toccata & Fugue in D" only really because I didn't think it fit the images of Mary Countess Howe... but oddly enough you soon get swept away with its use even though it does give it such a cavernous feel.

A lot of the landscapes are excellent, detailed and even stylized in such a way that it kind of suspends your disbelief about it being a painting as it subjects your eyes to the splendor of it - "The Blue Boy" almost reminded me of Brian from Kubrick's "Barry Lyndon", "Peasants going to the Market" looks almost like "Four Horsemen from the Apocalypse" giving it such a brooding style and even more then just a slight flourish of realism... the painting is so wonderful in the colour pallet and it is so simple, yet so powerful and it expresses everything in very self evident ways. We even see how Gainsborough worked up into his ranks as an artist when they show us the composition of "Henry Frederick Duke of Cumberland" - he paints him with poise, an aplomb way and manner, yet with such a gritty background and with such as the detail can show us, a rather melancholy flavor; his images never evoke the happiness of the period, but, however, it always showed the understanding he had with craftsmanship in a time where they had no photographic emulsion.

Another amazing little part to the documentary is how chronological it really is - it's comprised of images like "John Kirby Thomas" to the regimental period he was involved in (this one is an absolute marvel) to "The Wooded Landscape" to "The Harvest Wagon" with such an extension emphatic to "Woman with a Rose" to "The Wagon with a Landscape" to "John Viscount Kilmorey" to "Benjamin Truman" where you see he's integrated the landscape more elaborately into the frame and as it evolves you see his style modifying slightly especially near the end when you see how all this work has became his life in essence...

My favorite portrait in this DVD is a tie between "The Girl with the Pitch", the one with innocuous dogs near the end and "The Horseman with Village and Travellers" a landscape he composed in 1770. However, it's my sentiment

I would say that if you are looking for something that has a bit more information on the man then you most likely will not find it here. However, if you are a dilettante in art and wish to look through these archives feel free to buy it (although I feel personally it's a little extortionate).

Seafarers [DVD] [2008] [Region 1] [US Import] [NTSC]
Seafarers [DVD] [2008] [Region 1] [US Import] [NTSC]

4.0 out of 5 stars A Very Arresting Look at The Kick Start for a Master, 22 May 2011
Verified Purchase(What is this?)
"The Seafarers" is a promo movie that foments The Seafarers and also glistens on some of Kubrick's premature camera techniques that he would use much more carefully in his string of 13 movies afterwards.

Kubrick accentuates objects/settings like Ships, Mailing Rooms and even shows the dolly shot that would become a precedent in his movies as a fully fleshed out auteur. Some of the frontal shots and facial shots of people are quasi-Kubrick in it that they do not emote as much as stare (which considering that this movie was absent of very little direction as a documentary, it's quite avant-garde that Kubrick would force such a condition of themed motifs that would then enable him to create the parallel human characters in 2001: A Space Odyssey). There are scenes that take place during The Seafarers break time and one of the most recognizable things for Kubrick fanatics is the deck of cards that are being handled out during a game that keys off the memory of "Barry Lyndon" which would be 22 years subsequent that.

The gripe I have (more specifically with the DVD) would be how is how much consumerism that one does to get this movie for £36! Of course I was having great doubts about buying and I deferred buying it for a while until the opportunity arose that I felt confident enough in buying it. The running time is very short, but they give you a good commentary from Roger Avary (Screenwriter for Pulp Fiction) and Keith Gordon who both go into every nicety with great eloquence on Kubrick's reluctance for these old movies to ever be seen, the similarities, the recognition he got from these movies, their sentiments on why they admire this movie, not for it's purpose, but rather for its historicity. It also includes interviews from one of Kubrick's daughters concerning his movies, how they affect her, how she feels about how it communicates his personality, personage and stories.

So in conclusion: This movie lacks the substance of a Kubrick movie; but it has a great fastidious visual style and Methodical Camera Movements that gives this movie an extra edge. I wouldn't recommend buying it due to its price, but I would recommend it if you're a large aficionado of Kubrick and want to look into the entrails of his beginning (also it's coloured without technicolour, which Kubrick would then for the first 10 years of his career use Black and White which goes to show because it pervaded through his movie much better then the colour filter that is this movie).

The Good, The Bad, And The Ugly [DVD] [1966]
The Good, The Bad, And The Ugly [DVD] [1966]
Dvd ~ Clint Eastwood
Offered by Trixville Trading
Price: £3.76

4.0 out of 5 stars The Spaghetti Western Genre Merges, 16 Aug. 2010
When I bought "The good, the bad and the ugly" I knew it was going to be good. I was undoubtedly attached from the beginning. And as well as the scenery, the mood and the western theme, it has brilliant actors and characters to coincide with those aspects. Well, of course Clint Eastwood plays "Blondie" (the man with no name) who goes on a journey to find $250,000 that he claims is in a graveyard. He also kills bad guys, and sometimes if he's authorised gives them to the authority of the law. Eli Wallach plays "Tuco", the ugly! He's the guy that's defied all the laws in his state by killing people, having a huge race aversion... and well stealing things. "Lee Van Cleef" portrays "Sentenza" (A.K.A Angel Eyes), who is just plain bad. No explanation, just bad. He's looking for money, as well. But in the process he's trying to find "Jackson" so that he can be sentenced to death. But he himself is not the most innocent of characters.

The movie is a masterpiece; Sergio Leone knows that for it all to work that the core focus has to be enigmatic - there has to be a certain mystique to the piece which of course can work well with Eli Wallach's crude and rather insensitive demeanor, along with Lee Van Cleef's thirst for money; and even though these characters are more central, this ultimately leads, for me, that The man who steals the show being Clint, primarily because his character doesn't say anything - He just does what he has to do to survive and with that said: Get his way around. He's so unassuming, unrelenting and unreserved in his approach to swindling, yes, but having the intelligence to keep on guard.

There is a false morale - there is no good - out in the west good is almost inconceivable, but Blondie always redeems himself at the weirdest of times, like when he saves Tuco from being killed, they both go out of the state in search of money. They both hate each other though, so they try to learn to get along. Blondie has to work with people he dislikes and then get what he desires strongly for. "There are two types of people: One whose guns are loaded - And one's who dig. You dig!".

The camera always subjects the vantage point through the people and their actions, where this makes the movie more engrossing because suspense in Westerns to me now is very rare and when I watched this movie along time ago, albeit I was conducive with the outcome, I still felt that Ennio's score orchestrated the real grit to it all. When Blondie is getting pretty badly beaten, the camera is almost panning us into the horizon of it all making us feel nauseous and making us feel empathetic - and then that all becomes oppositional in approach as perceptively everything is pretty subliminal, not in a very subliminal usual way, but subliminal in the sense that everything is not what it seems.

The background score voices so much things. But it sometimes gets tedious and predictable when they break it into segments. But it works so well, and Morricone's score has a very embracing atmosphere and takes on an entity of itself, so no need to complain there! It implies all of the emotive that Clint's character obviously obtains. But, of course this has already been reviewed to death, but I just decided to put mine on here. This was just a short review on the movie.

Batman Begins [Blu-ray] [2005] [Region Free]
Batman Begins [Blu-ray] [2005] [Region Free]
Dvd ~ Christian Bale
Offered by b68solutions
Price: £5.89

0 of 4 people found the following review helpful
5.0 out of 5 stars An Essential Batman film that shall remain eternally necessary, after Schumacher's mess, 13 Aug. 2010
Now, admittedly, this Batman movie never grew on me. Nor did it ever occur to me that it was as great as people said it was. I still feel personally that Batman 1989 is a superior film, as it stuck closely to the comic that it was adapted from, Michael Keaton portrayed Batman with total excellence, unassumingly as Bruce Wayne and we feel the subtle implications that he is Batman, as well as the reconciliation of that.
But after a few more times of watching "Batman Begins", I noticed something fresh and new about it. This wasn't a comic book adaptation. This shows the mythology in the Batman character we know and love. This movie represents it brilliantly. I love Scarecrow. I don't think Bale is suited as such for the role, but he does a damn good job showing Bruce as the warrior, how he slowly emerges the fear of Bats and alternatively makes it a symbol of his heroism as Batman. That's intelligent.

The cast were great. Michael Caine, is, in my opinion a very good butler. Although, not like Michael Gough, in terms of the butler sticking closer to his master, Michael's got more involved in Bruce's decisions and take on's that he does in the overall movie.
How Bruce's family legacy is torn apart after coming back 7 years of leaving Gotham City, got me really involved. You can feel the anger and the problems he faces. But honestly that's my main gripe. He's not a typical Batman in that respect. But I only really comprehended through the interactions in the movie. Everything is analysed - But that doesn't bother me as much. But it is "Batman Begins" and lives up to it's name big time. Then his problems come back to face him, when he tries to take down a cooperation of people who use high octane fear drugs to make them fearful of their worst nightmares - Which Cillian Murphy, who plays Scarecrow does very well in his performance of doing that. Liam Neeson's good too, playing as "Rahs Al Ghul" who tries to convince Batman that evil has to be killed, and not to be necessarily jailed, which Bruce keeps one rule - He doesn't kill people.

My overall opinion in this movie is that it's good, but not a typical comic book adaptation. I will always love Tim Burton's movies (That's also my same opinion on The Dark Knight, although I know that Heath Ledger perfected Jack Nicholsons role, as well as keeping the value of his character remaining, so that's incomparable frankly!). I recommend it highly!

Dracula [DVD] [1958]
Dracula [DVD] [1958]
Offered by Den's DVDs
Price: £22.99

4.0 out of 5 stars If it wasn't for Bela Lugosi, Christopher Lee would have epitomized Count Dracula, regardless!, 12 Aug. 2010
This review is from: Dracula [DVD] [1958] (DVD)
But regardless, this is a very good movie. I love that it's a different interpretation of Dracula, and practically gave it a new name. Peter Cushings is just as good as Christopher, portraying "Dr. Van Helsing", who knows of the terror that Dracula - Terrifying mood and significantly more bloodier than the original that spawned it. That's awesome! You can tell Dracula doesn't play games in this one. I know he didn't in the 1931 version, but what makes this so brilliant is how fast paced it is!

Dracula is in search of blood. Similar to that of what's done in the Novel (where he goes to london). He wants to prey on anything that get's in his way - and by god, he does that with style. I was actually surprised at how frightening this was, even though now a days (like Dracula 1992) which can do thing's better technically than the Dracula movie before it ever could, this was amazing at captivating the mood and atmosphere. Michael Gough plays "Arthur" whose sister is very sick. We then get the knowledge that she is slowly evolving into a vampire! Who will take care of anybody, as long as it's at night when the moon is shining.

Dracula isn't finished though. He wants everything and anything dead or to be the genesis of a new vampire. Man, I just loved this. So, you might be wondering why I gave it 4 stars? Because it's not that long a movie. When you get like so involved, immediately out of nowhere it finishes. However, much things happen in that time. And I look forward to seeing the sequels that were produced afterwards. But for now: Creepy, Atmospheric and lives up to the name Dracula for sure! Christopher Lee made a career after this in the acting business, and I'm not surprised why.

Amusement [DVD]
Amusement [DVD]
Dvd ~ Katheryn Winnick
Price: £5.28

0 of 1 people found the following review helpful
2.0 out of 5 stars ... What to say, but misleading., 12 Aug. 2010
This review is from: Amusement [DVD] (DVD)
I will say, granted, that the picture on the front of the cover makes this look worthy of watching. But the reality of replay value with this is really slim. It's got some good acting in it, but there's nothing ground-breaking or spectacular about it, and generally to me is a mediocre film.

It centres around sickness and psychosis of a person, who kills people. That's really it. The difference is though, that this person wants to kill these two girls he went to primary school with due to the fact that they didn't find it funny that he had killed an innocent animal. Okay, I'm sorry, this is not an easy movie to sum up. It is definitely an OK horror movie, but nothing more than that.

I think that it suffers from too much predictability.

Overall, I don't really recommend it as such, but I think you should give it a watch, for those die hard horror movie fans. But for me, the specificity of it was my disappointment at what they could have made brilliant, total garbage.

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