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| 1. The Perfect Weapon Director: Mark DiSalle | |
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Reviews (21)
There is no doubt that Jeff Speakman is a complete martial artist and a good actor who really knew how to express fight sequences in a manner that would catch the attention of the audience. His moves are fluid Continuous and powerful and he has done great justice to the spirit of the late dynamic founder of Kenpo Karate Grandmaster Ed Parker. I wish Jeff Speakman all the best and pray that he continues making such movies to show the world what is a real down to earth Martial art(In other words Kenpo karate) Thank You V.Ram Kumar 2nd gup Red Stripe Belt Tae kwon do(Korean Karate) Chennai,India.
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| 2. No Retreat No Surrender Director: Corey Yuen | |
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Reviews (32)
This film works on so many levels I can't list them all. NRNS tackles issues such as father-son conflicts, long distance relationships, the effects of moving on a teenagers life, the role of martial arts in society. Every time you watch this movie I guarentee that you will find a comedy editing error, a hilarious facial expression, a continuity mistake...the possibilities are endless. So lets examine the movie...where to start?? Possibly with Van Damme who dispays some of the finest acting of his illustrious career in this film. Jean Claude is so fast in the last fight scene he actually appears to teleport. Or possibly with the real star Kurt McKinney who has the greatest array of sleeveless tops in the business. Then there's a host of others RJ the comedy black side kick, who can transform into a white guy whenever he has to do a break dancing routine, or Kim Tai Chong who puts in a brave performance as Bruce Lee, overcoming the handicap that he looks nothing like Bruce. In short this is a work of genius that we will likely never see again in our generation, although my friends and I are looking.
It hasnt been restored or digitly remastered to well :( but I found it in the cheapie bin for $8 Australian, and seeing as how I remembered seeing it years ago, and also recalling it was Vanne Dammes first movie... I had to get it! The quality is not great. The sound is 1.0 and terrible. and there is no bonus features...well, except trailers to NRNS 2 + 3 plus King of the kick boxers... but I dont consider trailers any kind of bonus. After seeing the movie again, and refreshing my memory.. I gotta say... the acting is not great, the movie is pretty well dated, and the plot goes from one thing to the other with no preperation ... but theres just somthign about the movie thats terrific! Jason is a kid from L.A who's father is a Karate intstructor. His father is asked by a group who are trying to take over all martial arts training dojo's to front for orginized crime.... that bit is kind of corney to me... then Vanne Dammes charactor prooves that Jasons father is no match for him. and the buisness is closed down , and they move to Seattle. Jason is a Bruce Lee fanatic, and learns that Bruce Lee is buried in the Seattle area.... and after a confrentation, he asks for Bruce Lee's help! And wullah, Bruce Lee's ghost comes to train Jason! And Jasons martial arts skills improve from beeing taught by the best! A great thing about this movie that I have to mention is the way the plot goes from one thing to the other without previous information, but yet, either accidently, or ingeniously able to let you know straight away what has happend! like for exsample, Jason has a girl freind, and he speaks about what they did and how they met previously, without you witnessing any of it... but yet, you understand what had happend before hand very easily! I dont know if there was a great number of deleted scenes? or unshot scenes? But it works out very intresting, and easy to follow and figure out what has been happning! Which like i said, the creators where either geniouses, or accidently did that without knowing?! The movie is good IMO. And its also the first movie Jean Cluade Vanne Damme appeared in I belive? I dont know why its not available on DVD yet for regoin 1, but its on region 4! I honestly beleive this is a movie that should be remade! I think with todays advancments, this movie beeing made again would really be worth it, not to say theres anything wrong with this version, but I reckon it would be a movie that should be seen again, and the things that could be done for it would make it incredible! I think so anyway!
This movie deals with the serious conflict in the late 80's when Russian crime syndicates attempted to take over several karate schools in the Western United States. Anyways, this film is so full of classic material, I don't know where to start. *The unbelievable sidekick, R.J. Madison who steals the show and breaks a few shelves with a freestyle combined with some break-dancing moves. *A father's tough decision to leave his karate school to start a new life in Seattle as a bartender at a bar that does not allow dogs or "customers under the age of 2". *R.J. & Jason declaring "No Retreat, No Surrender", only to be sent running away, seconds later by a 40-year-old Burger King employee. *The controversial second coming of Bruce Lee (whose figure and bad dubbing seem to have changed since we last saw him). Such great one-liners as "Alright, who pee'd in the pool?" "Jason, what are you doing?" "I'm gonna be back and I'll get you". "Check me out, dudes". "CHI POWER!" Many more memorable lines and moments in this comin-of-age tale of karate, jheri-curls, and palm streets in Seattle. ... Read more | |
| 3. Street Fighter II: The Animated Movie Director: Gisaburo Sugii | |
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Reviews (98)
I bought this movie because I'm a bit of a Street Fighter fan (keeping and often playing the Dreamcast Street Fighter Alpha 3 and Street Fighter 3 series in my videogame collection; played then-new Street Fighter II arcade when in college); but I must fairly criticize it because I'm not a prejudiced fan. This American version DVD is like a big old American muscle car, a simply silly, nonsensical machine by current standards but one which packs a serious punch when the loud pedal is pressed. This movie has a disorganized, sub-amateur storyline; excessively forced and lengthy dramatic character exposition; and even in some areas subpar animation. But it does excel when the fighting happens (unfortunately between stretches of awful, token character development). Highlights are few but notable, such as Ryu v. Sagat, Chun-Li v. Vega, Fei Long v. Ryu. It is for occassional views of these sequences that I keep this movie on hand. But when I look at my DVD collection (Bugsy, LA Confidential, Perfect Blue, Ghost in the Shell, errr Street Fighter II), this one is always close to a trade.
By the way, for those that have kids that like anime but don't want them to see all that, there is an edited version of this same film available but I think its only on VHS. ... Read more | |
| 4. Turbo: A Power Rangers Movie Director: David Winning, Shuki Levy | |
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Amazon.com Reviews (34)
Also, check out my rankings for favorite Power Rangers: 1.) Power Rangers Turbo 2.) Power Rangers Lost Galaxy/Lost In Space 3.) Power Rangers LightSpeed Rescue 4.) Mighty Morphin Power Rangers 5.) Power Rangers Time Force 6.) Power Rangers Zeo Great show full of cute guys and lots of action. Some people may think Power Rangers is a "wimpy" and "lame" show...but those are probably teenagers who used to watch Power Rangers when they were kids. So don't listen to them and keep watching the show if you love it!
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| 5. Hero Director: Yimou Zhang | |
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Unfortunately, money does not always buy happiness. Despite the beautiful imagery, the story is brazenly unoriginal, taking its principle technique from Kurasawa's 1950 breakout film Rashomon, and much of its wuxia energy from Ang Lee's Taiwanese sensation of 2000, Crouching Tiger Hidden Dragon. To the simple-minded, I think it fails as an action picture, and to the sophisticated, its moral push is far from certainly digestible. Neither do any of the actors succeed in endearing themselves to us. Its greatest strength is its beautiful imagery. I recently watched Alexander Nevsky, the famous Soviet propaganda film. Viewed today, its intent is obvious and clumsily applied. I watched Ying Xiong, or "Hero", well into the second hour before I realized that I was watching a modern version of that same old communist template. What are the messages here? I admit that even as an American, I cannot quickly digest these complex moral questions and make an immediate assessment as to their worthiness. For a Chinese person, I assume this film has been even more powerful. The pride evoked from its bold nationalist statement may further push them towards accord. Hence its value as propaganda has probably been quite strong. I think that ultimately the value of this film as a classic will be decided by the prevalent answer to these moral questions, and my suspicion is that history will not look favorably on the direction in which it pushes viewers to think.
It is very beautiful, and this is probably the first thing to be noticed. The various elements, actors, scenery and colors all combine to create a visual splendor. It is a very painterly movie, a feast for the eyes. Specifically, color is used to create moods and to differentiate the various storylines. If the visuals are painterly, then the Martial Arts are dancerly, along the same line as "Crouching Tiger, Hidden Dragon," to which inevitable comparisons must be drawn. The actors are equally beautiful as well, and "Hero, truly a feast for the eyes, could probably be enjoyed in this manner, without any dialog. Storywise, it is a variation on the familiar "Rashomon" theme of "what is the truth?" The same story is told and re-told, each time moving closer to the purity of truth, and with truth comes enlightenment. This is an intimate tale, a quiet verbal duel between an Emperor, so fearsome and lonely than no human can approach within one hundred paces of him, and a nameless subject, who might just be a true hero. Between them, a story is told of epic engagements, artists and warriors, and what is actually worth fighting and dying for. I won't spoil too much of the story, as part of "Hero's" strength and insight lies in discovery. That is not to say that it is full of surprises and twist endings, but rather that, like all Buddhist insight, the answer of the movies riddle lies as much in the viewer as in the actors.
The wire kung fu is meant to be an expression of the inner turmoils that play within the character's heart and mind. Suspending your belief in reality would have to take place to accept the incredibly artistic fight scenes in this movie or just about every other action movie ever made like Spiderman or ID4. At least enjoy the beautiful camera work and use of colors in this movie instead of thinking about "too many pretentious but self-indulgent thought-to-be poetically beautified scenes". The "peking opera styled slow talking dialogue" is used effectively in my opinion. JUSTAREADER may not be a fan of this type of dialog but everybody has their own opinion. Zhang Yimou used the story of the Qin Emperor only as an outlet much like Passions of the Christ. Many will not agree with the portrayal of the Qin Emperor in Hero or the portrayal of Christ in Passions but it made its point. I agree that the Qin Emperor is not as "benevolent" as Hero suggests but this is a fictional story meant to convey the conflicts of the characters - the sacrifices made for self and country and the eternal question "does the ends justify the means"? Boring movies don't move the audience and just passes 2 hours of their lives. It's the reaction I get after attempting to watch Dreamcatcher, Road Trip, or Day After Tommorrow. Great movies provoke a reaction from the audience. This is a great movie with great visuals and cinematography. It got a reaction out of the "love it" and "hate it" camp! It wasn't a simple "love it" or "hate it" review. Some of the best movies and music are derivatives of others. Example: Led Zeppelin and Aerosmith just borrowed from the blues and garage rock; Hero borrows from Rashomon; the list can go on and on forever. So to call Hero an unoriginal movie is an oxymoron because every movie copies from earlier movies. Not all westerners are "simple-minded". People who just want simple Kung Fu movie or action movie with no plot will be bored to death and will find the movie "too complicated for westerners." For those of us who want something more than movies like Garfield or Starsky & Hutch will more than likely enjoy Hero.
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| 6. Ninja 3 - The Domination Director: Sam Firstenberg | |
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| 7. Rush Hour 2 Director: Brett Ratner | |
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Description Reviews (219)
Robert Eldridge (...)
More-of-the-same in terms of content AND style, but still pretty engaging, with lots of action and thrills. Chan and Tucker still share the same chemistry, and overall there are some good laughs. (Worth it just to see Tucker perform Michael Jackson's "Don't Stop Til You Get Enough"...) For me, one of the perks of this sequel is watching "Crouching Tiger, Hidden Dragon" beauty Zhang Ziyi as a very fetching and lethal assassin.
Chris Tucker delivers another high energy, comedic performance. Since Chris first caught my attention in the Bruce Willis vehicle, Fifth Element. He has proven himself to be a real comedy - action star. This movie might have worked with a different actor playing chans part, but jackie chan is the genious that created these incredible films and may now be our top action star. Highly recommended, but only partially family friendly.
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| 8. Kill Bill, Volume 1 Director: Quentin Tarantino | |
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One sad thing though is that Kill Bill Vol.2 had a trailer for the 2002 film HERO, which is now going to hit theaters here that did it injustes. They stated that the movie was presented by Quentin Tarantino, but I've overheard many reactions of people thinking that it is directed by Quentin Tarantino rather than the truth (Zhang Yimou). Plus the trailer gave the art film a false representation of an epic war film, many may be disapointed. So are movies like Kill Bill building bridges with Hollywood and Asia or are they just going to jokingly stereotype Asian films and cuture in an unfair way? Fans and crowds shall tell in time. Oh and by the way, I don't want to sound like "white" people are not cool, I use the term "white" for the typical stereotyping day by day american. As far as stereotypes go, sometimes people enjoy becoming part of it and making it obviously true. I look forward to one day the stereotypes are non existant and everyhting in around our lives is understood for what it is and not what it looks like on the surface.
Appropriately entitled "Kill Bill", Tarantino tells a simple revenge story, albeit through his usual non-linear storytelling structure, about a lanky blonde woman (played by the invigorating Uma Thurman) only known as "The Bride" a.k.a. "Black Mamba" who wakes up from a coma to exact revenge on her former assassin group called "The Deadly Viper Assassination Squad" lead by Bill (David Carradine), who aren't really happy of her decision to quit and marry someone in El Paso, Texas. Hence, bloody carnage ensues as Bill and the gang made of eclectic members-Budd, Vernita Green, Elle Driver and Oren-Ishii-massacres The Bride's family and guests on her wedding day, including her unborn baby. Bill saves her for last and shoots her head (on what could be one of the most startling introductions in a movie). Thinking that she's dead, they leave her cold in her blood-splattered wedding dress, which is a terrible mistake on their part, as The Bride gets up from her hospital bed after four years with furious determination and will to destroy every single one of the perpetrators, saving the best for last, which is, of course, Bill, proving that as far as justice goes, it can easily get very poetic. However, this is only half of the story, as Miramix, the film distributor, and Tarantino himself decided to cut the three-hour long movie in half and released them four months apart. That being said, I am very sure that Volume Two will be as equally brutal and vigorously entertaining to what I've seen four times in the theaters (Yes, four times! It's that good!) "Kill Bill: Volume One" is perhaps the most violent American movie ever (and I've seen a lot of movies). It can be easily be used as an example of how the morals of the Western world have dramatically fallen in the 21st century. But it's most important to know that this movie was made as an ode to those rare, odd, cheesy and absurd kung-fu, Western, exploitation, slasher and grindhouse movies we usually see gathering dust in the cult section of a video store or occasionally seen playing on television at 3 in the morning. Kill Bill: Volume One on the surface looks like a very empty fluff made to only shock the already seemingly desensitized viewers, but underneath, it is really a very intelligent piece of art. Intelligent in a sense that it knows the rules of the cinema: it knows it audiences are and doesn't give a damn thing or two to those who don't want to get involved. For instance, The Bride wears a yellow jumpsuit during the last hour of the movie. To the uninitiated, it's just a striking sexy vintage number. To those in the know, it's a replica of Bruce Lee's tracking jumpsuit from his 1979 movie Game of Death. And this is just only a fraction of Tarantino's endless references, in-jokes and homages to old and obscure cinema. From Brian DePalma to Godzilla, from giallo films to Japanese animations, God knows what else are there he injected. I say this movie is an entire pop culture of pop culture. Even without this quality, it's still deliciously entertaining, boldly creative and visually arresting, it's safe to say that this is an instant classic. No, this is not an Oscar-winning movie, let alone be nominated. But not everything has to have a deep storyline with complex characters to be a great film. This movie has no substance and as empty as a dead shell. But it's an amazingly great film, nonetheless. The fact of the matter is that Tarantino made this with great respect, love and passion of the medium, that he practically utilizes everything to its full advantage from complicated camera shots (the long tracking shot of The Bride going to the washroom is incredible), beautiful cinematography (the claustrophobic and filthy Hospital environment, the beautifully exotic and bright Japanese backdrop), the amazing eclectic selections of music (from Nancy Sinatra's "Bang, Bang" to "The Green Hornet" theme song) and the excellently choreographed fight scenes as if we're watching an amazing, exhausting ballet dance with swords. Oh yeah, and the beautiful gushing of the blood and gore like water coming down from Niagara Falls. "Kill Bill: Volume One" is an extravagant, highly-stylized, ultra-energized, uber-violent piece of celluloid. It's made up of a world were grativity is without law, violence is sheer poetry, pissed-off Caucasian women likes to play with samura swords, and even assassins have feelings. It's a world where obscure 1970's disco music goes perfectly seamless along with the motion of decapitation and maiming. Oh what fun! Aside from that movie that left me with tears featuring hobbits and wizards and that fetus-looking boy-fish who seems to say the word "Precciooooooussssss...." a lot, this year belongs to Kill Bill: Volume One (and I cannot wait for Volume 2!) Thank you, Tarantino for your sick and twisted mind.
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| 9. Sidekicks: A Dreamer and a Champion | |
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The truly groundbreaking element in the script is surely that it functions not only as a martial arts masterpiece but also as a religious allegory with Chuck Norris' Chuck Norris being the Christ-like confidante to little Barry's representation of brow-beaten humanity and the opposition to Joe Piscopo's lauded satanic kung fu teacher with all his inherent riches and temptations. Indeed, one of the film's finest set-pieces is the scene in which Piscopo's character,resplendant in his robes and surrounded by his wealth of trophies attempts to entice Barry to renounce Chuck Norris and to fulfill his desire to become a great fighter, thus losing his soul in the process. Barry refuses and saves himself in an impressive showpiece in which he walks out the door, a scene which resonates with the struggle within us all even to this day. Adding to this already complex substucture are Barry's absentee father and his unconventional martial arts mentor Mr.Ungonjigoi who represent the two perceived sides of God; Ungonjigoi being the omnipresent, all-knowing hard taskmaster while Barry's father is the absentee ineffectual;the inattentive but ultimately well-meaning entity. The film reaches it's apogee during the climactic battle between good and evil in which Piscopo's devil is reduced to a figure of fun, a bumbling low comedian who deserves our pity, rather than our fear, ultimately revealing him to be the trickster that he truly is. All this is brought about by Barry/Humanity's faith in Chuck Norris that causes him to pass from the spiritual realm and attain flesh and blood existence. In summary;this film is an undoubted masterpiece which also created it's own sub-genre;the martial arts religious epic. Every scene and camera angle is seemingly perfectly crafted to serve the whole and like a sculpture in granite this film will stand forevermore as one of the archetypal testaments to man's effort to make great art from nothing;this film being the great art and Chuck Norris being the nothing. It is truly serendipitous that the craftsmanlike Aaron Norris and his famous brother Chuck accidentally ended up working on the same film and the bit where Barry's bike is stolen is quite sad too.
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| 10. Best of the Best Director: Robert Radler | |
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i'm sure there's a small following of "best of the best." we are still waiting for the dvd version. It's a fun movie. enjoy! ... Read more | |
| 11. Face/Off Director: John Woo | |
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Amazon.com essential video Reviews (284)
FBI agent Sean Archer (John Travolta)has been trying to apprehend terrorist, Castor Troy (Nicolas Cage) ever since he murdered Sean's son six years ago.Sean apprehend's Castor during a violent shoot-out in an airport and as a result of this puts Castor into a deep comma.Sean then undergoes new surgery involving swapping faces with Troy.He does this to try and find out where Castor has planted a deadly bomb hidden somewhere in L.A.Castor awakes from his comma, with Sean's identidy and takes over his life.Sean(really Castor) disarms the bomb which he planted and becomes an instant hero.Meanwhile Castor (really Sean) is a high-tech prison trying to find information about the bomb from Castor's brother, Pollux (Alessandro Nivola).Since Sean(Castor) has destroyed all evidence about the surgical swap, Castor has to try and break out of prison.Not only does he have to fight for himself but for wife Eve (Joan Allen) and daughter Jamie. This is a superb film with enough plot to become a series.It does sound far-fethced in places but John Woo makes it believable and real.Great performances all around including the two main stars, Joan Allen and the sexy tough female Gina Gershon.
Before watching FACE/OFF completely, I had taken a look at one of director John Woo's Hong Kong action epics, THE KILLER. I must say, I prefer FACE/OFF better. Sure, both films have that same over-the-top operatic style, but at least FACE/OFF isn't as shamelessly sentimental as THE KILLER was. In THE KILLER, Woo's main characters both demolished hundreds of extras in graphically bloody style, and towards the end it got a bit too much even for me. In FACE/OFF, the gore isn't quite as graphic, and while the body count is still pretty high, it never got to the point that I was disgusted. I'm not a knee-jerk admirer of John Woo as some people are. That slow-motion technique of his can become wince-inducingly excessive, especially now that many lesser action directors have started to rip off his style. In this case, though, one is too engrossed in the plot and in awe of the high-energy action staging to notice. Of course, most people probably already have an idea of what the plot is about: criminal Castor Troy (Nicolas Cage) dies, but he has planted a bomb somewhere in LA, so obsessive detective Sean Archer (John Travolta) literally swaps identities with his arch-nemesis to go undercover at a high-tech prison to find out where that bomb is. Obviously, this situation leads to various complications as Troy wakes up from his coma, takes Archer's face, kills the doctors who performed the operation, and then tries to find Archer. It's the typical body-switch, and I would be remiss to mention that Troy is responsible for the death of Archer's son many years ago, and thus Archer has a vendetta against him that explains his obsessiveness. It's a potentially laughable premise, but the actors and director make you buy it. Travolta and Cage are both convincing and have a lot of fun playing each others' characters, and the supporting cast is just as believable. The script, by Mike Werb and Michael Colleary, may have its bum dialogue lines here and there, but it's filled with ingenuity, plot-wise, as Troy tries to fit in with Archer's family and Archer tries to function in a prison. And of course the script gives director Woo plenty of leeway to go all-out with action scenes, and Woo does not disappoint, giving us plenty of stylish gunplay and loud explosions for about three action films, and even an audacious soundbite of "Over the Rainbow" as characters blow each other away. Woo sure lets his inventiveness run free here. So okay, the film may be a little overlong, and that final gun battle at a church is perhaps too reminiscent of a similar battle in THE KILLER, right down to the flying pigeons motif. But all its flaws are forgivable in this case, since the movie is so thrilling matters of logic fall by the wayside. FACE/OFF may not be Woo's best film ever (I haven't seen HARD-BOILED yet), but it's pretty close to it, and in comparison to other modern action films, it stands pretty high there too. It'll ceratinly forever be one of my favorites. Recommended.
Second, this movie has the most beautiful action sequences of any action movie I have ever seen (excluding epic-type movies, i.e. LOTR, Star Wars, Braveheart, etc.). This is a film that knows it's an action movie and revels in it. The cinematography in the fight scenes simultaneously displays the nature of the characters and the intensity of the battle between them. There are so many moments when you will just delight at the visual art that is every action sequence in this film. Needless to say, this movie has all the gunfights, fistfights, chases, and large explosions that one would expect in a serious action film. | |
| 12. Rush Hour Director: Brett Ratner | |
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Amazon.com Reviews (265)
Chris Tucker is the funniest man in the world, in my opinion. It's too bad that the movies he acts in are always running to try and hopelessly catch up with him. One of the funniest things in cinema and some of the most enjoyable comic moments in the past few years have come from watching Tucker's performances. You can almost see his mind working in overtime trying to think up what to say next; and you never know what he'll say next. He takes the best of what Eddie Murphy used to be and just speeds it up a few hundred....thousand notches. It's just his looks of mock anger that always make me laugh. Never has anger been so funny. He's joined by action star Jackie Chan in this film, which, although it's very funny at times, never really moves above the level of average, forgetable entertainment. Chan has done better "stunt-orientated" films like "Supercop" and "Rumble In The Bronx". In those films, he really shined with his mix of good humor and quick action. Here he's made to be more in the shape of the plot's need for humor and dialogue over stunts...not to say that there aren't any stunts; there are. It's just that they are a little few and far between. The story revolves around a Chinese Console member who's daughter is kidnapped. Chan is brought in by the console member. The only problem is that the FBI wants to solve this case itself, and Chan's detective is not welcome. Some of the funniest scenes in the movie are watching Tucker's detective come to the realization that all he's called on to do is babysit Chan's detective. So, we start into the age old buddy cop flick. Thankfully, this one isn't too bad. A nice script, some very good moments also from Chris Tucker when he's allowed to just improv his performance. Thank god Tucker and Chan liven up the proceedings; Chan has his usual array of incredible stunts, running up and down the sides of everything, kicking, doing it all; Tucker's mouth and Chan's quick feet make a nice balance of opposites. It's unfortunate that the direction is average, the plot is something you've seen all before, but it's through the performances of Tucker and Chan who make "Rush Hour" worth watching. It's nothing new, but when it works, "Rush Hour" is a whole lot of fun. The DVD: Picture Quality: New Line has done a phenomenal job with the transfer of "Rush Hour". The colors of Los Angeles are incredibly vivid and just pop on this disc. Look at the reds in the Chinatown scenes or the colors of the neon at night. The color saturation is wonderful and there is no bleeding in the colors; the light from a neon sign looks perfectly sharp and clear. Speaking of sharpness, the images themselves are perfectly clear and sharp throughout the disc. There are a few instances where there is a small shimmering problem, but compared to a lot of the other discs I've seen lately, the shimmering in this disc isn't worth mentioning. Again, images are razor sharp throughout, there aren't any other problems at all with this disc. There are a lot more pros to talk about, though. Skin tones are 100% perfect. There is definitely no pixelization in the disc whatsoever, even in the low-light scenes or in the backgrounds. Black level in the picture is fantastic and contrast is wonderful. Shadow level is excellent and overall, this is a nice continuation of the New Line tradition of replicating the theatrical experience at home. There's occasionally a problem with otherwise great discs such as shimmering or what not and it takes you out of the experience. There's nothing on this disc that's problematic enough to take the viewer out of the experience of the movie and that's a sign of the very best DVDs. The 2.35:1 image is excellent. Excellent job, New Line. Audio Quality: Impressive sound quality on this disc, emphasizing the sounds that added to the tone of fun on this disc and that's Lalo Schifrin's fun, urban and light score melding old R&B hits and current rap along with other wonderful bits and pieces of fun music to make an enjoyable score. The score fills the room and sounds full and clear. Dialogue also has that "same room" impression, recorded with clarity. There's a lot of impressive sound on this disc like the gunfire(director Ratner talks on the commentary about how he wanted to make the gunfire loud and emphasize it to make it "exciting"), which sounds great. The explosions also fill the room with great impact and force. Extras:Now here's where this disc really shines: Commentary: There's an outstanding commentary with director Brett Ratner(who sounds at times sort of like Quentin Tarantino), who talks in depth wonderfully about the details of the production and working with Chris Tucker and Jackie Chan. It goes into the detail of working with the screenplay and building the stunt scenes. This is a commentary that really is exactly what I want to hear in a commentary: it tells the story of exactly what it took to get the story to screen, not just what's happening on the screen. This is a fascinating commentary and I recommend it as one of the best commentaries out there. There is also an isolated score(and it's a fantastic score) with commentary by the great composer Lalo Schifrin. Documentary: Again, it's what I want to see in a documentary. The box calls it a "featurette", but "A Piece Of The Action: Behind The Scenes Of Rush Hour" is something I would consider a full documentary. There's a lot of fun going on in the interviews with the cast and crew, and it doesn't seem like a usual studio promotional documentary. A lot of the camera work is hand-held and it just seems like it was all done in fun and the fun that the cast and crew has carries over to the viewer. The documentary runs about 40 minutes and the last chapter is more in the way of the hilarious outtakes that ended the film. Deleted Scenes: A short reel of deleted scenes that at the most, are about 1 minute. Nothing earth-shaking, but interesting to see. The reel is a few minutes in length. Short film: Director Brett Ratner's very strange short film from when he was a student at NYU, "What Ever Happened To Mason Reese?". The film starts off with an intro from the director and commentary from the director is also available. The film itself....well, it's just strange, but it's nice to have on the disc. Trailer: Of course, the trailer.(letterboxed at 2.35:1) Cast/Crew: Very nice biographies of the cast/crew. Music Videos: 2 music videos. DVD-ROM: The screenplay, an interactive game and web links(available only to Windows DVD-ROM computer users) MENUS: Sharp animated menus that start with a very funny piece of dialogue from Chris Tucker. Grades: The Movie:A- Picture Quality:A- Sound Quality:A- Extras:A Menus:A Overall:A
As a comedy team, Chan and Tucker work well together. The quiet, low-keyed Chan plays straight man to the brash, outrageous Tucker. There are the usual ongoing jokes about cultural differences, but at least in this case, pairing a Chinese character with an Afro-American does create a lot of opportunity for humor. Opposing tastes in food is a good topic, as is the language barrier. There is also a running joke about our obsession with hand guns. Jackie Chan is hard not to like, while Chris Tucker has much in common with W. C. Fields, Jerry Lewis and Jim Carrey. People either love him or hate him. As is the rule in action comedy, the plot makes no sense. What carries the movie is the teaming of two actors whose personalities work well together. The special effects don't hurt either. There's an explosion every three minutes. Lalo Schifin delivers a fine musical score. The set design is appropriately garish. A special thanks goes to Rush Hour's editors, who made sure it was short and to the point. While Rush Hour is often entertaining, it does not measure up to a couple of similarly themed comedies - 48 Hours and Beverly Hills Cop - that were big hits when I was younger. Or is my memory playing tricks on me?
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