Amazon.co.uk Review
In Saving Private Ryan, Steven Spielberg depicts the D-day landings with a realism lauded by veterans. The Big Red One depicts the D-day landings, too, and it was made by a veteran. Writer-director Samuel Fuller, who served in the First Infantry Division from North Africa to Czechoslovakia (including the Normandy landings), made a career out of swift, punchy B movies, such as Pickup on South Street and The Naked Kiss. The Big Red One became Fuller's nod to A-movie filmmaking, yet it has the solid, matter-of-fact perspective of the ground-level infantryman. The episodic action ranges all over Europe, as a tough squad of American GIs (including Mark Hamill and Robert Carradine) follow their hard-bitten sergeant (Lee Marvin, at his best) and try to stay alive. Filmed mostly in Israel, the film delivers on the requisite war-movie conventions and tough-guy humour but also introduces notes of poetry. Fuller's D-day doesn't match the pyrotechnics of Spielberg's version, but it creates power from the simple image of a dead soldier's watch, ticking away in blood-soaked surf. A fine and memorable picture, The Big Red One might have been even greater had it been released in Fuller's full-length cut--someday perhaps a restoration will allow the director's vision to be seen for the first time. --Robert Horton
Customer Reviews:
Great.......2007-08-01
This film is fantastic. It's not quite Saving Private Ryan or Band of Brothers, but I don't think it's about the same thing. Obviously it's about the second world war, but the way it goes about doing it is different. There are many powerful moments, especially the end one, and all the actors are brilliant, Mark Hammil being better than he was in Star Wars.
At first it seems a little disjointed and sketchy, but that's the way it was meant to be filmed, and when you get into it it really is one of the best war films ever. Seriously. You need to watch this.
5*.......2006-05-29
great film ,all the way from north africa to the horror of the camps.very believable and the actors are true to the war (i was there ) bit weak at the end ,however very enjoyable .
Absolute rubbish.......2003-08-05
If you are thinking of buying this movie - don't bother. It is disjointed, boring and there's minimal decent action in it. The worst thing is that unlike the excellent Band of Brothers or Saving Private Ryan, there is no attempt by the film makers to get the audience to bond with the characters in the movie. I found it superficial and just a hotch potch of different bland action sequences. Give it a miss!
Has no one heard of suspension of disbelief?.......2002-11-29
This film is very true, in the way that great art can be true. It is not, admittedly, GREAT film making, yet it does, especially given the period within which it was made, tell many truths about both warfare and the Second World War in particular. We have been spoilt since the late eighties by a stream of realistic war films, which should nevertheless not prevent us from enjoying The Big Red One. With what now seem like school play production values when compared to such as Full Metal Jacket, incedentally filmed at Bassingbourn, Cambridgeshire, and the Isle of Dogs - before development, realistic it is not, yet it is one of the most truthful depictions of warfare yet made.
Neither worst nor best........2002-05-14
This offers nothing new to war films, but is better made than most. It has some surprising moments, and captures the mixture of black humour, grimness and downright misery of infantry soldiery. A main point of interest is that both the star and director were veterans of the Second World War, and this shows.
It's production values aren't the best, but it was made in 1980 and is on a par with most films from the period. If you're a war film fan, then this is worth buying if you get a good deal on VHS, but unless the picture is sharpened, the sound is re-mastered and there are some great extras, it won't make a good DVD.
Amazon.co.uk Review
The fractured Europe post-World War II is perfectly captured in Carol Reed's masterpiece thriller, set in a Vienna still shell-shocked from battle. Holly Martins (Joseph Cotten) is an alcoholic pulp writer come to visit his old friend Harry Lime (Orson Welles). But when Cotton first arrives in Vienna, Lime's funeral is under way. From Lime's girlfriend and an occupying British officer, Martins learns of allegations of Lime's involvement in racketeering, which Martins vows to clear from his friend's reputation. As he is drawn deeper into post-war intrigue, Martins finds layer upon layer of deception, which he desperately tries to sort out. Welles' long-delayed entrance in the film has become one of the hallmarks of modern cinematography and it is just one of dozens of cockeyed camera angles that seem to mirror the off-kilter post-war society. Cotten and Welles give career-making performances and the Anton Karas zither theme will haunt you. --Anne Hurley
Customer Reviews:
A masterpiece of movie making and story telling from Carol Reed and Graham Greene.......2007-08-26
Everything about this movie works. If anyone wants to see how a movie should be directed and edited, or a screenplay written, or complex characters acted, or a film photographed, this is the one to flip in the DVD machine.
Holly Martins, a down-on-his-luck writer, shows up in post-war Vienna looking for his old friend, Harry Lime. But he's told Lime died in an accident, the military tell him to go home, and he's attracted to a mysterious woman he sees at Lime's grave. He sticks around, gets different stories about Lime, but finally understands Lime was an unscrupulous black marketeer, dealing in adulterated drugs among other things. And he realizes that Lime is alive.
Carol Reed was at the top of his form with this movie. His partnership with Graham Greene (they had collaborated the year before on The Fallen Idol and would again in 1959 with Our Man in Havana) is unusual in that both were heavyweights in their fields.
Joseph Cotten as Martins strikes just the right note of charm, inquisitiveness and weakness. He's the kind of a guy who would most likely follow the strongest person around, and that has been his old friend, Lime. And what a great voice Cotten had. Orson Welles, who could be so hammy, reins it in here. He doesn't have a lot of screen time, but his character dominates the movie. And the two work perfectly together. Welles' cuckoo speech has been mentioned so many times in so many places that it has lost much of its charm for me. It sounds to me now more like an alienated high school kid's idea of philosophy. But Lime's discussion of all those little dots goes to the heart of his character. The interplay on Cotten's and Welles' faces as they discuss how easy (or how difficult) it might be to get rid of Martins on the ferris wheel is masterful, and so is Welles as he teases out of Martins what Martins may have told the military police. Alida Valli as Anna is terrific as a woman who loves Lime but has no illusions left. I suspect Trevor Howard took the role of Major Calloway because he wanted to work with Reed and Greene. In 1949 he was a major star in England, with Brief Encounter under his belt. I've always liked him, even in most of the later lousey movies he signed up for.
And the look and sound of the film...glistening, damp cobblestones at night, bombed out buildings, off-angle camera shots, harsh nightime lighting and deep shadows. The chase through the sewers with only the sounds of rushing water and footsteps. The first glimpse of Lime, nothing but deep shadows in a doorway and then a pair of shoes of someone unseen standing there. The sound of the zither playing the main theme over and over.
The ending is one of the most understated and powerful I've ever seen. Lime has been shot in the sewer by Martins. Martins and Calloway leave the funeral in a jeep to catch his plane home. Anna ignores them and leaves the cemetery on foot. The jeep passes Anna but then Martins asks Calloway to let him out. He obviously has feelings for her. Martins leans against a cart on the side of the road as Calloway drives off. The camera doesn't move. Anna, in the distance, walks toward him. Without looking at him she walks straight past, and past the camera. Martins lights a cigarette, looks after her, then tosses the match away. And that's it.
This Criterion edition is just as superb as the movie, and the extras are worth watching. I couldn't tell any appreciable difference in the film transfer quality between the two Region 1 Criterion releases, but this two-disc version has some excellent additionl extras.
huh?.......2006-10-25
the reviewer who decries welles' ferris wheel speech is totally off base. i can't think of a line in the movie (or in literature elsewhere) that more slyly or succintly sums up the seductiveness of evil and corruption. he essentially turns evil into beauty (art), asserting that beauty is built on the ruins of evil. his lines here are bright spots in an otherwise banal, lumbering movie that gets undue ardour because of its zippy zither score. personally i find the rest of the movie rather dull and unmemorable, and i'm not surprised that the director protested the inclusion of these lines. it puts the rest of the movie to shame.
One of the Best Classic Films made!.......2006-06-13
ihave to admit that this version can not be given four stars becasue it has been reduced by five minites, something i am very against.
The film itself is about an american, Holly Martin who comes to Europe to start working for a friend of his that he hasn't seen in years. Upon arriving he is told that his friend Harry Lime has been killed in a car crash and had dubious links with the black market and the illegal sale of atered down penicillin. At first, he stays to prove Harry innocent but finds too many questions about his friend, including whether he is actually dead!
The title comes from when Harry was supposed to have been killed. When asked, he is told that two men - both Harry's close friends and business partners - carried Harry's body off the road. When he asks an eyewitness, Holly is told that there was a third man.
the film is a masterwork and typical of director Carol Reed. a great film noir with an excellent cast. the fact that it is in black and white add rather than detracts from the piece that is so rooted in an exceptional time in history that it has become more a historical reference, rather than a dated film.
and wat did they produce?the cuckoo clock...........2005-07-19
This is by far one of the best flms i have ever seen. i can't recall the amount of times i have seen it, and each time i have noticed an0ther detail that explains the film a little bit more to me. beautifully shot with the famous orson welles speech at the fairground (watch out for it if you haven't heard or seen it)this is a masterpiece to be frank. the plot is brilliant and i grab such sympathy for both main characters though i know i should'nt because the expressions and language draw me in. this is a fantastic film, nothing like a crap modern bloodbath thriller, this shows they new how to direct and act then. watch it and don't miss out on this wonder.;)
archetype of film-noir.......2005-06-10
Film-noir definition was born with 'The Third Man'. It's brilliant in every aspect: cinematograpghy beautiness, timeless script, the best actors,... .
I couldn't find a flaw in this one, and believe me, I am some sort of annoying regarding my views to films.
I am proud to own it.
Amazon.co.uk Review
A classic auto-racing movie starring Steve McQueen, Le Mans puts the audience in the driver's seat for what is often called the most gruelling race in the world. McQueen plays the American driver, locked in an intense grudge match with his German counterpart during the 24-hour race through the French countryside even as he wrestles with the guilt over causing an accident that cost the life of a close friend. McQueen is his usual stoic magnetic self, and the racing sequences are among the best ever committed to film. A solid character-driven story combines with raw visceral power to make Le Mans a rich tapestry of action and thrills. --Robert Lane
Customer Reviews:
"THE" racing cars movie to own... LE MANS IS IT!!!.......2007-10-18
If the race itself was'nt the biggest one in the calendar as far as endurance and resistance goes...
If the period chosen to shot the film was'nt one with the most spectacular racing cars ever...
If the film did'nt make every possible effort to concentrate on racing and damn the rest!
Still it would be the film to own about racing cars...
FERRARI and PORSCHE are the true protagonists of the film but McQueen is very credible and does his usual best...
As someone has said a film for the boys... and young at heart.
RECOMMENDED FOR CARS/RACING/SPEED LOVERS...
ADB
Quite possibly the slowest film ever made.......2006-07-15
But all the better for it. Ironic considering the subject matter, but these paradoxes have a habit of working. Such is the case here. Le Mans is a classic. I'm not sure if I could say it has a story as such, but a multitude of small stories based on individual relationshps. Excellent performances are given by the entire cast, despite the relatively sparse dialogue. And that is a real compliment -to be believeable with little dialouge is far harder than with a volumnous script.
One thing that Le Mans does is provide quite an interesting, and realistic snap-shot of GT racing in the early 1970s. It is superbly shot, sensibly directed, with some spectacular footage (and crashes). Very good. The DVD doesn't have many extras. That doesn't particularly bother me, as I rarely bother, though some of you might be a little disapointed. A few would have added the icing on the cake.
The picture is a little grainy, but has beeen captured well for the DVD, and adds to the period feel anyway. The sound is excellent, though the levels could do with a little bit of a boost. Minor quibble. It feels real, because to a large part it was, and as such, is a mandatory purchase for any motor racing fan. Some see it as a boys own film -it's not though. There's more depth to it than that. It's not expensive either, so it's well worth aquiring.
A film for the boys..........2005-11-30
Is there a better film made about motor racing? I doubt it. Due to it's age, it is a fascinating snapshot of the period of LeMans racing before daft chicanes where put into the Mulsanne Straight, and racers were real heroes putting their life on the line. Forget all about the weak love interest story that pops up now and again, this is a high octane fuel, retro cool, boys movie. None of the actors in the film actually speak anything for the 1st half an hour or so, (the cars engines do the talking) until McQueen at his 1st pitstop mentions to his co-driver "watch out for the red Lola". The sound of the Porsche 917 and Ferrari 512 engines has to be heard to be believed. The sight and sound of the leading longtail 917 heading past maison blanche as the camara pulls back just after the start of the race, is awsome. McQueen is of course peerless whose style and screen presence defined an era. By the end of this film you will want to be Steve himself, just don't try to emulate his driving in your Mondeo! Slip the disc in the player, turn up the volume and send the partner down the pub. This film is so cool it hurts.
Great Movie.......2005-08-12
Forget the dialogue, but, this dvd is great! The cars are awesome, the camera work is great and it's a must for historic racing fans. I bought this dvd after reading the other reviews and I was not disappointed. I am very tough to please so only 4 stars, but only because I'm being really picky. It's a classic.
Legendaey.......2005-07-31
THE best motorsports movie out there. Can't stop watching this over & over again, the revised sound and wide-screen available on DVD really give it the final touch of perfection - especially that scene when all the engines fire up (as featured on the BSkyB ad). Shame Steve can't witness that this - one of his least successful films, and the one which forced his own production company SOLAR into liquidation due to cost over-runs actually turned out to be an all-time classic. Wifes and non-car fans are non-plussed obviously due to lack of "story" beyond the struggle of the drivers, but hey ho, can't be all things to all people. BUY THIS. Then buy it again.
Customer Reviews:
UNFOCUSED AND TEDIOUS.......2008-01-15
It is hard to believe that this film was regarded as a video nasty back in the 1980's, it is a childish and unfocused mess shot in Italy and New York. The film opens with some promise and it has to be said the special effects are excellent but the film quickly sinks. The director loses control, is it meant to be a horror or a spy thrilller or something else?
There is thankfully very little violence apart from the body ripping scenes (hence the 15 certificate) and one wonders if this film might have been aimed at teenagers upwards. The dubbing is poor too.
Watch it only for the excellent but all to brief special effects.
Great targetting.......2006-10-14
I love it when then writers of the dvd cases know exactly who their target audience is. Check this-
"Who is harvesting these alien hell-spores? What is their connection to a doomed mission to Mars? And most important of all, how many actors will die screaming in massive explosions of blood, guts and gore?"
Having read that, you're either heading for the checkout or rapidly moving on elsewhere.
Moving on myself, as one of a few extras (including a DVD-ROM accessible graphic novel version, but don't -and I mean don't, it's awful- waste your time with it) is a good interview with writer/director Cozzi who explains why it suddenly turns into a James Bond style thriller for the middle section, and casually insults his leading lady. The film itself was, almost unbelievably, once banned in the UK as a video nasty. I mean, what's a few exploding strap-on torsos filled with animal blood and offal between horror fans?
Other than that it's a passable time-waster but don't expect anything more that.
Customer Reviews:
A fine movie for those who like small, quirky films with unusual and appealing lead characters.......2006-12-03
If you like sweet-natured movies with unlikely lead characters, particularly when they find themselves breaking out of old habits, you should like the German film Schultze Gets the Blues. It's the first film from director Michael Schorr and he brings it off with style.
Herr Schultze (Horst Krause) is a heavy set man, probably in his late fifties, who with two friends has been eased into retirement at the commercial salt mine he has worked at for years. Calling Schultze portly would do poor justice to his sizable belly. He's not flabby; he's earned those inches through hard work and plenty of beer. He lives alone and has never thought much about fancy ideas like life. Now, he takes afternoon naps, drinks beer with his two friends, washes his garden trolls and continues to play the accordion at polka parties. He's a slow moving, slow talking, deliberate man. Life is just there, nothing is happening in it, and Schultze is slowly being bored to death without realizing it. He just continues to take each day at its own pace.
Then one night he turns the radio dial at home and suddenly hears a fast, strange style of accordion playing he's never heard before. He's come across a broadcast of Louisiana zydeco music. He listens, puzzled. He turns the radio off and starts to go back to bed, then turns and switches the music on again. He listens some more. He tries to figure out the music he's listening to. He turns the radio off again, heads back to bed, but then stops and puts on his accordion. He picks out the tune, then plays it faster and faster, trying to match the zydeco beat. Herr Schultze doesn't know it yet but he has just changed his life.
Before long Schultze is playing his zydeco song before puzzled polka audiences. He finds a recipe for jambalaya and cooks it for his two best friends, who've never had such a spicy dish before. Schultze smiles approvingly as they keep eating and drink more beer. He gets part time jobs to earn money for a trip to bayou country in the States. And he wins a contest which will give him enough money to go to his town's sister city in America, New Braunfels, Texas, to compete in a music festival. Schultze gets there, listens to the others and realizes he's out of his league. Instead of going home to spend more time polishing the garden gnomes and taking naps in the afternoon, he buys a small blue boat with an enclosed cabin and sets out from coastal Texas into Louisiana bayou territory. Schultze can speak probably no more than a dozen words of English. He also is one of the most sincere, innocent and non-threatening people you'll ever meet. Schultze meets people he never thought of meeting yet somehow always wanted to. Old men playing dominos in a friendly bar in Moulton, Texas. A Czech band made up of cheerful Americans on the Texas gulf coast. Middle-aged cajuns dancing to a zydeco beat in a bayou bar. A woman and her daughter on a boat who give him a glass of water and invite him to stay for a creole lunch of crab and shrimp. The postcards and pictures he sends back to his friends bemuse them. Schultze also finds a contentment that we share with him.
The movie takes its time. There is no flashy cutting. The director isn't afraid of setting up his camera and simply letting a scene unfold. The first half of the movie when Schultze is at his home can sometimes seem as slow-moving as Schultze himself, but stay with it. Once you get into the rhythm of the movie, it works. There is little dialogue, especially when Schultze gets to Texas, just the efforts of a well-meaning man to be understood, and of the efforts of well-meaning Texans, Creoles and Cajuns to understand him. The movie has a dead-pan sense of humor about it at times. It can be poignant but it's not sad. And even the ending is not too sentimental. The movie is well photographed, especially the long, gray days in Schultze's home town and the lush, bayou landscapes that make up the last half of the film.
The DVD transfer is just fine. The only significant extra is a commentary, in German with subtitles, by the director. For those who like quirky, small-scale films, Schultze Gets the Blues fits right in with two other fine movies, Bagdad Cafe and The Man Without a Past. All three are worth having.
Not really for German learners.......2006-02-17
If you are purchasing the movie strictly to increase your German vocabulary, this may not be the best choice for you. The entire flick proceeds with minimal dialogue, and the last part of the film is mostly in English - with Schultze stumbling to make himself understood. If you approach it as a commentary on life and retirement, and are willing to augment the missing details with your imagination, you will probably like the production.
German Zydeco With Warmth.......2005-11-14
Schultz, a salt-miner in Germany faces retirement and begins concentrating on his beloved accordion. The first half of the film revolves around Schultz and his small town with friends and family representing a truly accurate vision of what rural Germany is like. The dialogue is sparse and the shots are long, but it sets the pace for a truly believable human experience. Schultz discovers zydeco and to his bemused friends finds a new passion. He becomes so good; they send him on a trip to America to compete in a Texan music festival; an event that might test his own confidence. The second half of the film mirrors the laid back life style of the rural South; not too different from Schultz’s German life. There are minor characters everywhere. The humor is droll and understated, but that is the magic of this production. The warmth of both German and American citizens Schultz meets is a wonder to watch. The surprise ending is poignant and the fusion of the old South and Eastern Germany has never been better represented (if ever).
Playing the accordeon.......2005-10-11
The Berlin wall came down and Schultze, an East German, decides to travel to miraculous America and find the roots of the Zydeco music. An unlikely person to succeed in so great a venture, he is a miner, sentenced to early retirement, spending his days fishing and dreaming of a change. A quiet yet curious character, Schultze receives an invitation to play at the annual wurstfest and travels to New Braunfels, Texas. Nothing spectacular happens in this movie, yet the incredible takes by Axel Schneppat pick up Schultze's the quest for the unknown in a moving and very sensitive way, seemingly unimportant events are carefully and lovingly highlighted. Once in New Braunfels, he meets a Polka community that seems to have been conserved in the past, he is indeed a stranger amongst strangers, not able to return to the generation of his great-grandparents who took their customs across the Atlantic, preserving them until they seem mummified and stale as in a time machine. And yet: speaking almost no English he has his music to communicate with the musicians of the land of the blues, he needs no words to find new musical horizons. A happy man, indeed, he builds up courage, he opens up and moves on, maybe one day he will arrive, but where, when and why are not important. As ever, the path is the goal. See this movie on a quiet day: it will stay with you, make your day less hectic and help impart an understanding for the simple pleasures of life.
Amazon.co.uk Review
The fractured Europe post-World War II is perfectly captured in Carol Reed's masterpiece thriller, set in a Vienna still shell-shocked from battle. Holly Martins (Joseph Cotten) is an alcoholic pulp writer come to visit his old friend Harry Lime (Orson Welles). But when Cotton first arrives in Vienna, Lime's funeral is under way. From Lime's girlfriend and an occupying British officer, Martins learns of allegations of Lime's involvement in racketeering, which Martins vows to clear from his friend's reputation. As he is drawn deeper into post-war intrigue, Martins finds layer upon layer of deception, which he desperately tries to sort out. Welles' long-delayed entrance in the film has become one of the hallmarks of modern cinematography and it is just one of dozens of cockeyed camera angles that seem to mirror the off-kilter post-war society. Cotten and Welles give career-making performances and the Anton Karas zither theme will haunt you. --Anne Hurley
Customer Reviews:
Sort of beautiful in its own dark and dysfunctional way.......2007-01-14
You look at this film, especially the cover, and you think quirky comedy. Will Ferrell's in it, so you know it has to be a comedy. Well, it is quirky, but Winter Passing is not a comedy; it's actually a pretty bleak, depressing film. Seemingly by design, the film defies your attempts to get your mind around what is going on. Reese, the main character, is a complex, bitter young woman who seems about one disappointment away from killing herself. The kitten scene, which you may have heard of, was especially off-putting to me. I can see how it fits into the movie as a whole, and it's actually a pretty basic, simple scene, but this animal lover didn't see it coming, found it pretty heartbreaking, and struggled to put it behind me as the story progressed. Had I known about this one scene, I doubt I would ever have watched this movie. I'm not trying to turn anyone away from this movie when I say this, though, because this really is an excellent, compelling film.
Great characters make for great films, and Winter Passing has three, almost four, of them. None of them are exactly normal, though. The aforementioned Reese (Zooey Deschanel) is a down-and-almost-out actress/barmaid in New York going nowhere fast. Looking at her, you would never know she was the daughter of two prominent writers, neither of whom she has seen in years. She didn't even go home for her mother's funeral. Her father, Don Holden (Ed Harris), is something of a recluse who disappeared from the scene a while back. Reese really has no plans of ever going home to Michigan again - not until, that is, a literary agency offers her a hundred grand for the letters her parents exchanged early in their relationship. Reese doesn't exactly jump at the money, initially telling the literary agent to go jump. Later, though, as she further succumbs to her depression and thinks about how much cocaine and cigarettes a hundred grand would buy, she changes her mind and catches a bus bound for the Wolverine State.
Returning to the home of so many bad childhood memories, she is met at the door by a stranger, a pretty strange stranger in the form of Corbit (Will Ferrell), a quiet and somewhat childlike "rocker" who once played in a Christian rock band but now acts as a bodyguard of sorts for her dad. Shelly (Amelia Warner), a former student of her dad's, also lives there, sort of classing up the joint with her accent and doing the cooking and cleaning for Corbit and Reese's father, who has now taken up residence in the garage out back. The acclaimed writer (played brilliantly by Ed Harris) is really a broken man: long, unkempt hair, a glass of liquor perpetually in his hand, unwilling or unable to feed or take care of himself, and writing very little. This whole, bizarre living situation does nothing to improve Reese's outlook on life, which leads to conflict with her father and with Shelly. It's basically dysfunctionality squared, leading up to some real emotional fireworks after she discovers exactly how her mother died. Reese originally came to find the set of letters her mother left her, but she ends up staying several days and discovering a lot of more important things about her father and herself. Some emotional issues do get resolved between the main characters, but this isn't exactly the feel-good movie of the year. I would not advise anyone to watch this movie if they're already feeling depressed.
I personally think this is an excellent, albeit unconventional, film, and I'm a little surprised that it doesn't have a higher average rating. Obviously, the film is probably too dark and weird for some people, and others may just be mad because they expected it to be a comedy, but it's really quite a touching film in its own way, and it has a lot to say about life in general. Will Ferrell, I must say, really shows his acting chops in his out-of-character performance as Corbit, Zooey Deschanel seems to be seizing the troubled young woman reins once wielded by Wynona Rider, and Ed Harris is simply superb in his portrayal of the alcoholic, shambling, broken father. The atmosphere and flow of the film really fit the conditions and characters, the writer and director never sell out or overexploit the melodrama borne of the characters' relationships, and the ending doesn't overextend itself across the bounds of believability. Wild Passing is a difficult film to describe; you really have to experience it for yourself.
DVD Review:
- The Eagles - Farewell Tour Part One [2004]
- The Eagles - Hell Freezes Over [1994]
- The Jimi Hendrix Experience - Live At Monterey [1967]
- The Jimi Hendrix Experience - Live At Monterey [HD DVD] [1967]
- The Last Waltz [1978]
- The Pink Floyd And Syd Barrett Story - The Definitive Edition
- The Rake's Progress [1996] (REGION 1) (NTSC)
- The Rolling Stones - The Biggest Bang [2007]
- The Verve - This Is Music - Singles 1992 To 1998
- The Who : Amazing Journey - 2 Disc Collectors Edition [2007]
DVD Review List
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