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Britgeek here.

Welcome to one of two DVD and Blu-ray review columns this week, where I give my two pennies' worth on the latest movies to hit home entertainment formats in the UK. The general UK column will return next week. Those following me on Twitter will know that I've been saying that for a good three weeks now, but various health-related issues reared their ugly heads and unfortunately threw a few spanners in the works. I appreciate your support.

My thanks as always to those who continue to support my efforts in writing the AICN UK content by ordering various releases through the Amazon links below. But most of all, thanks a lot for reading.



JURASSIC PARK Ultimate Trilogy (Blu-ray)


Available on Blu-ray now

If there was ever a greater argument for the use of practical effects over CGI than Steven Spielberg's JURASSIC PARK, then I'd sure like to see it. The animatronics are as astonishing as ever on Blu-ray. Having said that, the digital effects hold up rather well, so the 1993 original really doesn't look terribly dated.

What is there to say about JURASSIC PARK that hasn't already been said? It's an utterly spellbinding movie experience; a true spectacle. The discoveries of the characters as they journey through the titular park on Isla Nubar are discoveries shared by the audience, an experience akin to walking through a theme park that has been brought to life by the magic of cinema. The diegesis of JURASSIC PARK reflects everything I felt the first time I watched it and continue to during each and every viewing. The eyes of the three doctors – Alan Grant, Ellie Sattler and Ian Malcolm – meet real dinosaurs within the breathtaking fiction of the film, while mine meet incredible special effects and animatronics.

This three-film set is worth it purely for the first film alone, but that's not to disregard the sequels. Although THE LOST WORLD: JURASSIC PARK isn't a patch on its predecessor, it's still a highly enjoyable action film with plenty of interesting ideas and exciting set pieces, whereas the former was more of an adventure movie. I consider JURASSIC PARK III to be the weakest of the trilogy, and by quite a way, but its story is still engaging and it did try to be different.

I know many fellow fans of the franchise who appreciate the first sequel more than the original, and I also know of folks who enjoyed JURASSIC PARK III a lot more than THE LOST WORLD. Whatever your stance on the trilogy, you're sure to find something to enjoy with this new Blu-ray set, which comes in three editions that vary aesthetically, all of which come loaded with special features, such as a fantastic new documentary.

The image above shows the standard box set, while below you can see both the limited edition tin Collector's Edition, which comes packaged with all of the above, plus a rather swanky-looking model of a roaring T-Rex standing in the iconic wooden gates of Jurassic Park, and a certificate of authenticity.





-     Return to Jurassic Park: an all-new hour-long documentary

-     Archival Featurettes: The Making of Jurassic Park; Original Featurette on the Making of the Film; Steven Spielberg Directs Jurassic Park; Hurricane in Kauwi Featurette

-     Behind the Scenes: Early Pre-Production Meetings; Location Scouting; Phil Tippett Animatics: Raptors in the Kitchen; Animatics: T-Rex Attack; ILM and Jurassic Park: Before and After the Visual Effects; Foley Artists; five storyboards; Production Archives (photographs, design sketches, conceptual paintings)

-     Theatrical trailer

-     Jurassic Park: Making the Game



-     Continuation of the brand new documentary (Finding The Lost World; Something Survived)

-     Deleted scenes

-     Theatrical trailer

-     Archival Featurettes: The Making of The Lost World; Original Featurette on the Making of the Film; The Jurassic Park Phenomenon: A Discussion with Author Michael Crichton; The Compie Dance Number: Thank You Steven Spielberg from ILM

-     Behind the Scenes: ILM & The Lost World: Before & After the Visual Effects; Production Archives (Production Photographs, Illustrations and Conceptual Drawings, Models, The World of Jurassic Park, The Magic of ILM, Posters and Toys); 12 storyboards



-     Return to Jurassic Park: The Third Adventure: the third and final part of the new documentary

-     Archival Featurettes: The Making of Jurassic Park III; The Dinosaurs of Jurassic Park III; The Special Effects of Jurassic Park III; The Industrial Light & Magic Press Reel; The Sounds of Jurassic Park III; The Art of Jurassic Park III; Montana: Finding New Dinosaurs

-     Behind the Scenes: Tour of Stan Winston Studio; Spinosaurus Attacks the Plane; Raptors Attack Udesky; The Lake; A Visit to ILM (Concepts, The Process, Muscle Simulation, Compositing); Dinosaur Turntables; Storyboards to Final Feature Comparison; Production Photographs

-     Theatrical trailer

-     Audio commentary with the Special Effects Team



MOTHER'S DAY (Blu-ray)



Available on Blu-ray and DVD now

Darren Lynn Bousman has been a busy bee since Lionsgate gave him the benefit of the doubt and handed him the directorial reins of the SAW franchise with the first sequel, which was adapted from his script, THE DESPERATE. Since then, he directed a further two sequels, before helming his passion project REPO! THE GENETIC OPERA. Fast forward a few years and he's currently in production on Jersey Devil monster movie THE BARRENS, has supernatural horror 11-11-11 due for release this winter, and MOTHER'S DAY, his vastly different remake of Troma's 1980 film, is now available on DVD and Blu-ray in the UK. No one could accuse Bousman of resting on his laurels, that's for sure. And while we are yet to see his latest two films, MOTHER'S DAY is by far his best work to date.

A family of criminals on the run crashes a house party at their former residence and terrorise those inside, but things take a far more sinister turn when their mother arrives and takes charge of the situation.

Compared to the original, Bousman's MOTHER'S DAY is a different animal. It's a brutal home invasion thriller with themes of horror, and one that is played absolutely straight, with Scott Milam's script opting to drop the social satire aspect that was prevalent in the original.

As a counterpart to the director's previous, more infamous work, MOTHER'S DAY is far more character-driven and intense than a portrait of blood and guts, although it certainly has its fair share of gory moments.

Extras: The trailer, B-roll footage and interviews with executive producers Lloyd Kaufman (Troma Entertainment President) and Charles Kaufman (director of the original film), cast members Rebecca De Mornay, Jaime King, Patrick Flueger, Warren Kole, Briana Evigan, Matt O'Leary, Shawn Ashmore, Lyriq Bent, Richard Saperstein, and stunt co-ordinator Bobby King.



STRAW DOGS: Ultimate 40th Anniversary Edition (Blu-ray)



Available on Blu-ray now

Keeping with the home invasion theme, making its debut on the format is Sam Peckinpah's controversial classic, STRAW DOGS, which, of course, has recently been remade. But let's try and put that behind us as we reminisce about this stunning film, and how fresh it looks on Blu-ray as we mark its 40th anniversary.

If you're not familiar with the film, it stars Dustin Hoffman as David Sumner, an American mathematician who moves across the pond to Cornwall, England with his wife, Amy (Susan George). Some of the locals take kindly to the outsider, while others appear not to. This ambiguity simmers along until a horrific prolonged rape scene, and reaches boiling point in the final twenty minutes, when Hoffman's character just about explodes and undergoes a whatever-it-takes approach to defending his home from his neighbours, with very violent results.

For me, the image of Hoffman wearing broken glasses is one of the most iconic in cinema. It's symbolic of a man's descent into crogmag-non instinct; that completely stripped-down faculty that stays with us no matter how much we and society move on or evolve.

Whether you've seen it before or you haven't, I heartily recommend that you mark the 40th anniversary of STRAW DOGS by picking this disc up. It's surprisingly violent for a film of the time and holds up just as well as it did back then, which is a credit to Peckinpah's sheer brilliance as a film-maker.

Extras: An audio commentary with Peckinpah biographers Garner Simmons, David Weddle and Paul Seydor, and another with the director's close friend and associate Katy Haber; isolated (Oscar-nominated) score by Jerry Fielding; interviews with star Susan George, producer Dan Melnick and Garner Simmons (author of PECKINPAH: A PORTRAIT IN MONTAGE); Before and After: restoration comparisons; stills galleries; 1971 on-location documentary; original US theatrical trailer; TV and radio spots; and a selection of other morsels of interest:

-     STRAW DOGS and the Censors

-     The Peckinpah-Pinter letters

-     Sam and Dan correspondence

-     Why Call the Film “STRAW DOGS”?

-     1971 Dan Melnick BBFC letters

-     1971 The Times review and critic outrage

-     1972 New York Times articles

-     1972 BBFC defence against local authority banning

-     1999 BBFC home video statement

-     2002 BBFC home video statement

-     Uncut feature from December 2001

-     Consider This a Bad Review

-     Deleted “Pub Scene”

-     Film facts and trivia






Available on Blu-ray and DVD now

I went into HOLY ROLLERS expecting a comedy. Not because of Jesse Eisenberg's pre-THE SOCIAL NETWORK ties to such films as ZOMBIELAND, but because of the title and plot. A movie about a Hasidic Jew recruited into an international drug smuggling operation, and one called HOLY ROLLERS no less? That sounds like a comedy to me, not a coming-of-age drama, which it actually is, despite a first act that tries to squeeze a few cheap – and weak – laughs from Eisenberg walking around with side curls and a big black hat.

It comes as quite a surprise, then, that HOLY ROLLERS takes a rather dark turn once Eisenberg gets wrapped up in the drug ring courtesy of his wayward neighbour, smuggling pills from Amsterdam to his native New York City. It doesn't take long for him to seemingly become a master of his trade, however, and he's soon out on the streets recruiting potential mule-colleagues in his community, and trying his hand at making business deals. This is where the film falls down.

It's hard to believe that Eisenberg's character could be sheltered enough to be as naïve as to trust in his neighbour's word that the pills are medicinal. For as long as it takes him to realise that he's a drug mule, it seems like he undergoes an overnight transition from sheepish rabbi-in-training to Tony Montana's apprentice, and before you know it he's fleeing from the police.

As outlandish as the plot may sound, it's actually based on true events, which makes this a highly interesting story that has been ham-fistedly told.

Extras: Audio commentary with director Kevin Asch and stars Eisenberg and Justin Bartha; deleted, extended and expanded scenes; a UK-exclusive interview with Eisenberg; and another with both Eisenberg and Bartha.






Available on DVD now

1992's TOKYO DECADENCE is a dark and often ugly journey across the seedy underbelly of Japan's capital city. The film follows Ai, a timid young woman who joins a prostitution service that specialises in sadomasochistic sex acts. Reluctant to partake in each and every perverse fantasy she is hired to realise, she plunges herself into a cruel world of depravity, and yet we never discover her reasons for doing so. As she soldiers through long scenes of humiliation, submission and dominance, it appears as though only she is to blame for her physical and mental drudgery. She is a victim, but one of her own becoming.

It's a strange film, still relatively explicit in 2011, and one that has absolutely no aspirations of eroticising its sexual content. It's almost artistic, yet you can only sit and admire its cinematography for so long before the unnerving variety of near-torturous sex scenes begin. TOKYO DECADENCE certainly isn't for everyone, but it's very accomplished in its intent to explore a character who enters what is, effectively, an alien world.

Extras: A selection of trailers for other ArrowDrome releases.







Available on DVD now

Though we now live in a time when film goers hop online to furiously debate the authenticities of such films as CATFISH and I'M STILL HERE, Japanese film-maker Shohei Imamura broke the fourth wall over four decades ago with his psuedo-documentary A MAN VANISHES, which tries to piece together the mystery of a man's very sudden and unexpected disappearance.

It's not your typical talking heads doc, however, as soon the interviewees share the screen with those asking the questions. As revelations are uncovered that portray the missing person as both a womaniser and someone who embezzled money from his employers, his fiancée finds herself falling for the director of the film, and the focus of the cameras change from interviews to a kind of voyeurism as the relationship between the woman and film-maker grows, creating an interesting drama with much more of a narrative than the preceding parts of the documentary.

At 130 minutes,  A MAN VANISHES is a long film and one with a first half that isn't compelling enough to sustain such a running time. But once the story begins to twist and turn and almost morph into something new, it makes for a gripping – and unique – viewing experience, even to this day.

Extras: An interview with director Imamura, the theatrical trailer, an interview with writer Tony Rayns on the film, and a booklet featuring rare archival images.







Available on Blu-ray now

Aside from DEATH PROOF, JACKIE BROWN is most likely Quentin Tarantino's littlest seen film. As ingrained in pop culture as PULP FICTION is, you never hear anyone quoting the fiery dialogue of JACKIE BROWN. In fact, one scene in particular sees Samuel L. Jackson referencing a line from Jules Winnfield, his character in the aforementioned film. It's an unfortunate irony as JACKIE BROWN deserves as much attention as RESERVOIR DOGS, PULP FICTION and INGLOURIOUS BASTERDS, because, although a very different film from his first two, it's still an excellent crime drama with a first-rate cast, and his most mature effort to date.

Tarantino should always be applauded for giving actors – new and forgotten – opportunities. He did it in PULP FICTION and did it again in JACKIE BROWN, giving top billing to Pam “FOXY BROWN” Grier and Robert “MEDIUM COOL” Forster, two fine, experienced performers who had been overlooked over time, only to prove their worth before the camera in spades.

The film has now made its Blu-ray debut, so if you are one of those self-professed QT fans who is yet to see this Elmore Leonard adaptation, then you know exactly what to do.

Extras: Critics Corner – Breaking Down JACKIE BROWN: A number of critics, led by Elvis Mitchell, discuss the film; JACKIE BROWN: How It Went Down – documentary; A Look Back at JACKIE BROWN – Interview with Quentin; Chicks With Guns: the entire Chicks Who Love Guns video from the movie, with an introduction by Tarantino; six deleted and alternate scenes, with a QT intro; Siskel and Ebert's AT THE MOVIES review of JACKIE BROWN; JACKIE BROWN on MTV: a promotional spot and 15-minute interview with Tarantino from December 1997; Marketing Gallery: posters, three trailers and eight TV spots; Stills Galleries: production stills, behind the scenes stills, location scouting, production design sketches and logos, memorabilia, posters from Pam Grier movies, posters from Robert Forster movies, soundtrack covers from Pam Grier movies; trivia track; soundtrack chapters; trailers from films starring Grier and Forster; and a selection of radio spots from Grier's pre-JACKIE BROWN filmography.






Available on DVD now

Orgies ahoy! '70s smut is in full force in THE CHEERLEADERS, a softcore sex comedy that pits various scantily-clad 18-year-old girls against a rival high school football team in the heat of passion.

As outlandish plots go, THE CHEERLEADERS takes the biscuit. The pompom-bearing females use their assets to their advantage as they scheme to exhaust their team's opposition via excessive sex, in a raunchy bid to make the players unable to compete at their best. Outrageous? Absolutely, but it's also fairly funny in all its rampant ridiculousness.

Extras: Aside from the trailer and a radio spot, this release also comes packaged with a bonus second disc featuring the sequel, REVENGE OF THE CHEERLEADERS.






Available on Blu-ray/DVD now

Another Shohei Imamura release from the great Masters of Cinema label comes in the form of 1983's THE BALLAD OF NARAYAMA, a remake of the 1958 film of the same title and an adaptation of Shichiro Fukazawa's novel, NARAYAMA BUSHIKO.

Set in a small farming community that rests in the shadow of Mount Narayama, 69-year-old Orin must make preparations for her silent ascent up the mountain to mark her 70th birthday. It is a custom of the village for those who reach that age to travel to the top of Narayama and die alone of starvation. Of sound health and mind, the bulk of Orin's final preparations involve tying up loose ends with her family.

THE BALLAD OF NARAYAMA is a peculiar film. It's beautifully shot (and looks stunning on Blu-ray) with fantastic natural imagery and a darkly comic tone, and yet is, at times, quite disturbing. Between a man having sex with a neighbour's dog, a family being buried alive for stealing vegetables, and Orin's bid to help her son lose his virginity, it's an unusual story, yet the events it depicts aren't considered particularly unusual in the community. There's something tribal about the villagers and it's an aspect that is often both unsettling and unpredictable.

THE BALLAD OF NARAYAMA is yet another masterwork from a film-maker who, as highly regarded as he is, still deserves so much more attention for his efforts. Fortunately, we have Masters of Cinema to thank for touching this Palme d'Or-winning film up and putting it out there in this excellent Dual Format Edition.

Extras: An interview with scholar Tony Rayns on the film, two teasers, two trailers, and a booklet featuring rare promotional material, stills and a producer's on-set diary.






Available on Blu-ray and DVD now

Hitler's fascination with the occult is taken to the extreme in BLOOD CREEK, a gruesome supernatural horror that revolves around a Nazi scholar (Michael Fassbender) who was sent to live with a German family in the States to uncover Viking runestones, which were said to lead to unlimited power. Fast forward five decades later and medic Evan Marshall (Henry Cavill) plunges into a blood-soaked world of mystery when his long lost brother Victor (Dominic Purcell), presumed dead, suddenly returns from obscurity and asks for his sibling's help. Brandishing shotguns, the brothers arrive at the farm where the German family lived all those years ago – the very place Victor was held captive for ten years – and become embroiled in a deadly battle against the Nazi professor, now a green-skinned, Pinhead-esque demon bent on finishing his quest for supreme power.

The plot is paper-thin and the characters are wafer-thin, but it still manages to be a fast-paced and mildly entertaining horror movie with a few creative scenes of destruction. Rumour has it director Joel Schumacher and his assistant butchered what was apparently a great original script. If you're looking for a really good Nazi occult movie, however, check out New Zealand's THE DEVIL'S ROCK, the best Kiwi horror film since Peter Jackson's BRAINDEAD.

Extras: Just the trailer.






Available on Blu-ray now

Another legendary film is revitalised on region-free Blu-ray as J. Lee Thompson's  THE GUNS OF NAVARONE arrives on the format in a glorious new transfer.

It's World War II, and the Germans have concocted a plan to align themselves with Turkey by bullying them into joining the Axis. They intend to do so by massacring 2000 British soldiers stranded on the island of Keros in the Aegean Sea. Royal Navy rescue attempts are futile because of two titanic German cannons positioned on Navarone, a nearby island, so it is up to the daring of a diverse group of experienced soldiers to make their way to the island and destroy the guns.

THE GUNS OF NAVARONE is an epic adventure and one of the finest men on a mission movies ever made. The excellent cast, which includes Gregory Peck, David Niven and Anthony Quinn, lends terrifically well to deep, defined characters. The film definitely has its fair share of exciting action sequences, but it's the interactions between the characters that really stand out and make it the blistering slice of war cinema that it is.

Extras: The Resistance Dossier of Navarone: an interactive dossier that gives you access to various behind the scenes features and textual supplements; two audio commentaries, one with film historian Stephen J. Rubin and another with director J. Lee Thompson; three documentaries: Forging The Guns of Navarone: Notes from the Set, An Ironic Epic of Heroism, and Memories of Navarone; six featurettes: Epic Restoration, A Heroic Score, Great Guns, No Visitors, Honeymoon on Rhodes, and Two Girls on the Town; a narration-free prologue; a brief message from producer Carl Foreman, which was shown at the Sydney, Australia premiere; and an option to play the film with the original roadshow intermission card, which is a nice touch to say the least.



Stay tuned for another big fat review column later this week!






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  • Nov. 15, 2011, 10:29 a.m. CST

    FIST___Some REAL News -- Untitled Douglas Trumbull Project

    by Michael Lunney

    From bleedingcool and IO9---- So, as Silent Running arrives on Blu-ray today, what better time to bring news of a new Douglas Trumbull film, and it sounds like a very exciting one. Douglas Trumbull, who did the special effects for (deep breath) 2001, Close Encounters of the Third Kind, Star Trek: The Motion Picture, Blade Runner, and Terrence Malick's recent universe-bending Tree of Life, is reportedly working on plans for his third directorial effort. Trumbull explained the sort of technological innovation he'd like to bring to the movie, and what sort of film it will be: I'm shooting films right now at 120fps in 3D and I know that the result is absolutely stunning but very few people on this planet have actually seen that, yet. I have a very challenging process ahead of me to start demonstrating this and doing at least one film that I want to make. I have several films lined up but I've got one in particular that would lend itself to this. It's a big space adventure movie. And I've got to make the movie and show it in this process and convince people that there's a very big audience that wants to see this kind of tremendous technological, creative, visual leap forward to much higher quality. He also explained some of the questions that the movie would likely consider: Well, not so much an ecological bent as much as a survival bent. Having to do with reaching for the stars and why we would have to go to the stars. Are we using up this planet at such an exponential rate with population growth and the depletion of the resources that we're going to have to leave the earth?

  • Nov. 15, 2011, 10:42 a.m. CST


    by DonLogan

    Harry: So what's going on movie-wise in the UK right now? Britgeek: Well, Tin Tin is massive right now, Weekend opened last week, Sket has been out a couple of weeks, The Inbetweeners Movie is still breaking records & Paddy Considine's directorial debut is showing. Harry: So we'll be getting some reviews then? Britgeek: Nah, I'll plug the Jurrassic Park blu-ray instead. That should be an accurate insight into UK film.

  • Nov. 15, 2011, 10:46 a.m. CST

    What you said about Straw Dogs--

    by Michael Lunney

    It's surprisingly violent for a film of the time... But films were just as violent but better made than they are now. Which makes for your ridiculous assessment. Wild Bunch, for example?

  • Nov. 15, 2011, 11:01 a.m. CST

    American writers are doing britgeeks job

    by Mike

    So rarely any mention of any upcoming british films. Could choose to talk about iron lady, shame, coriolanus, woman in black or even briefly mention about the doctor who movie but no britgeek likes to plug american movies that are coming out on dvd. It's a good thing other writers on aicn are informing us about british movies.

  • Nov. 15, 2011, 11:14 a.m. CST

    Unfortunate tech issues

    by Adam Stephen Kelly

    with the editor have meant that these review columns are being posted a couple of weeks late. Obviously this is no one's fault and technology is to blame. I have been unable to report on the latest UK news because of these issues. Once said problems have been resolved, I'll be able to bring you the news as it happens. At present I cannot post my own content.

  • Nov. 15, 2011, 11:54 a.m. CST


    by Rob


  • Nov. 15, 2011, 12:19 p.m. CST


    by AsimovLives

    You remind me of a reaction a friend of mine had to that scene. He almost vomited blood in how furious he was!

  • A breaking point is a different thing. It's when somebody breaks, like in torture. A tortured breaking point is when he fianlly gives up and can't stand it no more and does what the torturer demands. That's a breaking point.

  • Nov. 15, 2011, 12:33 p.m. CST


    by Rob

    It was horrible. To make matters worse, I walked directly from JP3 into FINAL FANTASY: THE SPIRITS WITHIN Not a good movie day.

  • Nov. 15, 2011, 12:40 p.m. CST

    Yet again, Asimov, you're know fuck all about what you're talking about.

    by SierraTangoFoxtrotUniform

    The breaking point is when someone breaks under pressure or stress. As far as what they do after, that's irrelevant. They could either hunker down and whimper or do the exact opposite and go berzerk. That doesn't matter. The "point" part of the phrase is a pretty big clue.

  • Nov. 15, 2011, 1:30 p.m. CST

    *you know

    by SierraTangoFoxtrotUniform

  • Nov. 15, 2011, 1:55 p.m. CST

    JP3 is what happens when you start shooting a movie without a script.

    by hank henshaw

    The whole movie was improvised, and it shows.

  • Nov. 15, 2011, 2:33 p.m. CST

    This column badly needs improvement

    by bigtime_charly

    I don't come to AICN for some by-the-numbers DVD reviews. What was going on with that Jackie Brown review? It read like you were just typing empty platitudes without thinking about what you wanted to say. Not one insight or original thought in the whole review. Not to mention Harry already covered these titles in his own DVD column. Come on mate, this is a great opportunity to talk about exciting UK film or to interview new British talent. Don't waste it on vacuous Jurassic Park DVD reviews. Thanks.

  • Nov. 15, 2011, 4:01 p.m. CST

    Chop not...

    by dmwalker

    The UK release of STRAW DOGS may have extras but it's sourced from a print and looks like shit. Import the UK dvd for peanuts, pick up the Criterion dvd (oop?) for some different extras and be happy with your far superior HD transfer.

  • Nov. 15, 2011, 4:04 p.m. CST

    two for two McGoo

    by Adam13

    Actually, Straw Dogs, while not uniquely violent for it's time, was unusually so. Reading the reviews of the day, it was obviously controversial for it's brutal content. And it was definitely in violence overdrive for a mainstream film. So you're off base there. And claiming it was just as violent as today's films? That's purely asinine. I just watched "I Saw the Devil" and -- yeah, that's asinine. So you start with an obnoxious, hi-jacking post that's a big fuck-you to the columnist, who, whether or not you liked the column, obviously put a fair amount of work into it. Then you follow up with more sweeping, overbearing and uninformed commentary. Batting 1.000 so far.

  • Nov. 15, 2011, 4:57 p.m. CST


    by Michael Lunney

    What an asshole you are. I saw Straw Dogs when it first came out, and it generated controversy for it's misogyny with a woman enjoying her rape. There were most certainly more violent films than this at the time. If you were alive then, you would know. Which reviews of the day did you read, rather than seeing the film when it was first released, dope. What a fucking mouth breathing fuckhead you are. Go fuck yourself.

  • Nov. 15, 2011, 6:03 p.m. CST

    3 for 3!

    by Adam13

  • Nov. 15, 2011, 6:08 p.m. CST

    I was 6 when Straw Dogs came out,

    by Adam13

    But I think that counts as alive. I probably saw it in 1978 or or '79, but I'm well aware of the film's history. Of course there were more violent films. That's got nothing to do with it. You said it wasn't violent in its day. It was. By the way, vitriol does not an intelligent response make. But keep trying. You obviously know a lot of the shorter words.

  • Nov. 15, 2011, 6:38 p.m. CST

    adam13 - keep it up asshole

    by Michael Lunney

    You have to misquote me - to prove you are an idiot? I already knew that. I said it wan't violent in it's day? What an asshole. I said, again, using all the words: But films were just as violent but better made than they are now. I questioned the statement: It's surprisingly violent for a film of the time. This is obviously the statement of someone who didn't see the film, at the time it was released. I NEVER said, as you claim in your pathetic misinterpretation, that it wasn't violent in it's day. I wasn't suprised by the violence, I did not find it surprisingly violent, and I saw it at the time. Another Peckinpah film, The Wild Bunch, which predated Straw Dogs, to NAME JUST ONE OTHER FILM, was more violent, for example. I am also not surprised that an idiot like you doesn't know how to read and comprehend. Again, go fuck yourself. Sir. Maybe when you saw the film when you were only 10 or 11 it made you permanently stupid. Alive but brain dead.

  • Nov. 15, 2011, 6:49 p.m. CST

    oops- I meant 13 or 14 - even worse

    by Michael Lunney

  • Nov. 15, 2011, 7:08 p.m. CST

    The violence of STRAW DOGS

    by Adam Stephen Kelly

    The film was banned for its combination of violence and sex. In its final act, a man's foot is blown apart by a shotgun very realistically - not the most common of sights in 1971.

  • Nov. 15, 2011, 7:18 p.m. CST


    by Michael Lunney

    It wasn't banned where I live. I would have edited what you said, removing the word surprisingly, or asked you to clarify...which you just did. Thanks. This site needs a good editor. Your intent was clear to me, it just needed a little polish. I supported you with the Benard Herrmann tribute by the way. Weirdly, in the background as I am making my dinner, on TCM there is a special on Spielberg's relationship with John Williams. Spielberg just used a clip from Vertigo, with Herrmann's brilliant music, to illustrate a point about how he could listen to the music without seeing the film, but he could not conceive of watching the film without the music. Herrmann, indeed was the best.

  • Nov. 15, 2011, 9:43 p.m. CST

    "From the director of Saws II, III and IV"

    by Nasty In The Pasty

    Wow, now THERE'S a ringing endorsement! Why not "from the director of Hollow Man 2"?

  • Nov. 15, 2011, 11:27 p.m. CST

    McGoo, I was referring to what you said,

    by Adam13

    not what you think you said. You quoted Britgeek's statement "it's surprisingly violent for a film of the time" then called that statement a "ridiculous assessment." That's not "questioning" what he said, as you claim; that means, by clear implication, that you don't think it was "surprisingly violent for the time." That's not an interpretation. That's what you said. Whether that's what you believe or not is another question. But that's what you said. Then you said, "But films were just as violent but better made than they are now." This means that films were just as violent in 1971 as they are now, a patently foolish statement. I'm not sure what you meant to say, only what you said. I'm also not sure what seeing a film when it was released has to do with knowing how violent it is, or even how violent it is compared to films of other eras. If you've seen a lot a films from different periods and have a general interest in film history, these comparisons are not difficult. At any rate, I only initially commented on what you said because it was inaccurate and obnoxiously put, not on you personally. You started calling me "asshole," "idiot" "fuckhead," etc. I admit I was a little annoyed that you so self-righteously took Britgeek to task with a silly statement, after posting first and basically telling him his column was a piece of shit and YOU had "some REAL news." (By the way, am I quoting you enough?) Whatever. I suspect now that you simply didn't express yourself with enough thought in your post, resulting in some statements that weren't what you intended. You certainly didn't say what claim to have said--or perhaps even believe you said. I suppose it was cruel of me to jump on you, but think twice before you tell others their writing needs "a little polish."

  • Nov. 16, 2011, 2 a.m. CST

    adam13 wins the Talkback!

    by phantomcreeps

    But I do like McGoo too!

  • Nov. 16, 2011, 3:47 a.m. CST


    by strykebr

    Wow look at the comparison photos on dvdbeaver, or read the top 3 comments on Amazon absolutely crapping on it but in this review he wants to talk about how "fresh" it looks

  • Nov. 16, 2011, 5:25 a.m. CST

    The reason there is no UK news in this column is...

    by Adam Stephen Kelly

    because it's the UK DVD/Blu-ray review column. Duh!

  • Nov. 16, 2011, 6:39 a.m. CST

    welcome to the choppah, magootwo and stfu troll bashing show

    by the_man_with_two_brains

    Can't comment on stfu, but as for the other two supposedly older members on this site it’s a perfect demonstration of how brave someone can be when attacking other users of this site. Personally after reading the Immortals talkback yesterday I’m starting to get a little bored of it. I can guarantee one thing none of them would be able to demonstrate such bravery face to face. I grew up fighting bullies for my friends (because I could) and I would like to trade something other than words, however I suspect the ‘trade’ would be very one sided. I’m not demonstrating virtual bravery for the sake of it and because not one of you lives in the UK there’s really not much merit in calling you out but if any of you fancy visiting the grim but beautiful north of England let me know and I’ll give you my address.

  • Nov. 16, 2011, 8:12 a.m. CST

    adam13 -

    by Michael Lunney

    I accept your apology

  • Nov. 16, 2011, 1:48 p.m. CST


    by Adam13

    And I yours.