First of all I was shocked that I could find a collection of ALL the four X-Men movies I was looking for in one set. I was assuming all this time that I would have to buy Wolverine separately. Each movie looked fantastic in its blu-ray transfer, and it has renewed my interest in the X-Men series. The boxset was delivered to me lightning fast, not to mention it was a very reasonable price for all four of these movies. The only thing I was slightly dissappointed about was that the casing for Wolverine was the slim casing while all the others were standard blu-ray design. I would've preferred them to be all the same size. But whataya gonna do? That's up to 20th Century Fox! ;) Overall, I'm quite happy with this experience.

One thing for sure about "Die Another Day": the writers well understood (and paid tribute to) the great Bond movies of the past. The end result is a movie that, while not perhaps as great as the films it honors, certainly takes its place as one of the best modern Bond films made.

Nearly every previous Bond classic is represented here: there is, of course, the acknowledged nod of the head to Dr. No and the famous bikini sequence. But you don't have to look very hard to see many other references. There are depressuring fights on a plane ("Goldfinger"), a great car chase on ice sequence ("The Living Daylights"), Bond leaving the service as a rogue ("License to Kill"), diamond weapon in the sky ("Diamonds are Forever"), the list goes on and on (I would even venture to say there is a tribute of sorts to the foolishness that went on during Roger Moore's Bond days; the unbelievable wind surfing stunt Bond pulls about halfway through is exactly the sort of silliness that Moore did all the time).

Cynics might say this is true of any Bond film nowadays; they are so derivative they resort to stealing from themselves. But I don't think that's the case here. It's pretty clear the writers knew what they were doing when John Cleese even quotes some of the great "Q" lines from the past in his excellent sequence where he provides Bond his new Aston Martin (and now we've come full circle there as well, returning to the car that made Bond famous).

I'm not a big Halle Berry fan, but she's very good here. More to the point are the villians. Toby Stephens and Rick Yune are terrific, as so is Pierce, who ironically is hitting his stride and seems totally comfortable in a role he's soon to give up.

If you've enjoyed the great Bond movies in the past, you're sure to appreciate this one. Even those new to Bond should have fun with the action and adventure.

this doll look smore like halle berry than the catwoman doll. her face is very pretty and outfit. but she should come with another outfit other than this bikini. would make it better.

After reading the book, I watched the film. What a disappointment the film was. The filmmakers have taken a book that explores the differences between women and men as well as issues of race, prejudice and class difference, and turned it into little more than a formulaic romance novel. I note that most of the reviewers who rated the film highly had not read the book. I encourage you to do so. It is such a rich novel--far richer than the film. What the screenwriter has done is purge the movie of all the more difficult issues the book deals with. Gone is Mrs. Turner's discussion of race and her prejudice against darker-skinned people. Gone is Janie's jealousy as well as the explanation for Tea Cake's violence (of course, Tea Cake's violence is gone, too, because he's supposed to be the romantic hero; romantic heroes can't hit their wives as Tea Cake does in the book). Gone are the conversations on the porch of Joe Starks store. Gone is Nanny's explanation of her reasoning for Janie's marriage to Logan Killicks. It's really too bad that the production company didn't have faith in Zora Neale Hurston's story and felt they had to over-simplify it; I'm sure the audience could have handled it in all its complexity.

Few films released last year have the quiet sensitivity in writing (Allan Loeb), direction (Susanne Bier), cinematography (Tom Stern), and acting (Berry, Del Toro, Duchovny) as this gem of a movie. Taking on a subject of grief after a sudden traumatic death and the way it affects family and friends would seem like a tedious subject for a two hour film, but THINGS WE LOST IN THE FIRE proves again that care and devotion in telling a difficult story with restraint and tenderness is far more compelling that many of the 'big' movies that fill the theaters with more superficial topics.

Brian Burke (David Duchovny) is a generously warm man to his beautiful wife Audrey (Halle Berry), their son Dory (Micah Berry), and daughter
Harper (Alexis Llewellyn) as well as to his longtime, childhood friend Jerry Sunborne (Benecio Del Toro) who is constantly struggling with an addiction to heroin. Brian is suddenly dead as the film opens and the friends are gathered at the Burke home for the funeral. Audrey is devastated by the abrupt loss and quietly bears her shock in order to be present for her children. During the reception Audrey suddenly remembers she has not informed Brian's best friend Jerry of his death and sends her brother to fetch him for the services. We meet the wasted Jerry, the shambles of his heroin-addicted life obvious in his tiny apartment, and yet when Jerry hears the news of Brian's death, he is profoundly shocked: Brian is the only friend he has. Jerry makes himself presentable and attends the funeral and despite the fact that Audrey had always considered Jerry a 'weight' on Brian, the two offer each other a zone of connection that cannot be filled by any other. Slowly Jerry becomes part of the Burke household and his role in offering love to the children and solace and protection to Audry results in changes in Jerry's life that provides one bit of evidence of the redemption that can occur from shared grieving. 'Things', such as those items lost in a fire at the Burke's in the past, are simply 'things': interpersonal connection, hope, and the 'light from within' are what truly matter.

Berry and Del Toro give finely nuanced performances in these difficult roles, further establishing their credentials as being two of our finest actors in film. But the entire cast of this film is pitch-perfect and under the direction of Bier communicates powerfully with the viewer. The extraordinary camera work concentrates on extreme closeup views of eyes, hands, lips and tears and allows the viewer an intimate relationship with these characters. Johan Söderqvist provides a subtle musical score that underlines the story without calling attention to itself. For this viewer this is hands down one of the finest films of 2007. Highly recommended. Grady Harp, March 08

One thing for sure about "Die Another Day": the writers well understood (and paid tribute to) the great Bond movies of the past. The end result is a movie that, while not perhaps as great as the films it honors, certainly takes its place as one of the best modern Bond films made.

Nearly every previous Bond classic is represented here: there is, of course, the acknowledged nod of the head to Dr. No and the famous bikini sequence. But you don't have to look very hard to see many other references. There are depressuring fights on a plane ("Goldfinger"), a great car chase on ice sequence ("The Living Daylights"), Bond leaving the service as a rogue ("License to Kill"), diamond weapon in the sky ("Diamonds are Forever"), the list goes on and on (I would even venture to say there is a tribute of sorts to the foolishness that went on during Roger Moore's Bond days; the unbelievable wind surfing stunt Bond pulls about halfway through is exactly the sort of silliness that Moore did all the time).

Cynics might say this is true of any Bond film nowadays; they are so derivative they resort to stealing from themselves. But I don't think that's the case here. It's pretty clear the writers knew what they were doing when John Cleese even quotes some of the great "Q" lines from the past in his excellent sequence where he provides Bond his new Aston Martin (and now we've come full circle there as well, returning to the car that made Bond famous).

I'm not a big Halle Berry fan, but she's very good here. More to the point are the villians. Toby Stephens and Rick Yune are terrific, as so is Pierce, who ironically is hitting his stride and seems totally comfortable in a role he's soon to give up.

If you've enjoyed the great Bond movies in the past, you're sure to appreciate this one. Even those new to Bond should have fun with the action and adventure.

One thing for sure about "Die Another Day": the writers well understood (and paid tribute to) the great Bond movies of the past. The end result is a movie that, while not perhaps as great as the films it honors, certainly takes its place as one of the best modern Bond films made.

Nearly every previous Bond classic is represented here: there is, of course, the acknowledged nod of the head to Dr. No and the famous bikini sequence. But you don't have to look very hard to see many other references. There are depressuring fights on a plane ("Goldfinger"), a great car chase on ice sequence ("The Living Daylights"), Bond leaving the service as a rogue ("License to Kill"), diamond weapon in the sky ("Diamonds are Forever"), the list goes on and on (I would even venture to say there is a tribute of sorts to the foolishness that went on during Roger Moore's Bond days; the unbelievable wind surfing stunt Bond pulls about halfway through is exactly the sort of silliness that Moore did all the time).

Cynics might say this is true of any Bond film nowadays; they are so derivative they resort to stealing from themselves. But I don't think that's the case here. It's pretty clear the writers knew what they were doing when John Cleese even quotes some of the great "Q" lines from the past in his excellent sequence where he provides Bond his new Aston Martin (and now we've come full circle there as well, returning to the car that made Bond famous).

I'm not a big Halle Berry fan, but she's very good here. More to the point are the villians. Toby Stephens and Rick Yune are terrific, as so is Pierce, who ironically is hitting his stride and seems totally comfortable in a role he's soon to give up.

If you've enjoyed the great Bond movies in the past, you're sure to appreciate this one. Even those new to Bond should have fun with the action and adventure.

One thing for sure about "Die Another Day": the writers well understood (and paid tribute to) the great Bond movies of the past. The end result is a movie that, while not perhaps as great as the films it honors, certainly takes its place as one of the best modern Bond films made.

Nearly every previous Bond classic is represented here: there is, of course, the acknowledged nod of the head to Dr. No and the famous bikini sequence. But you don't have to look very hard to see many other references. There are depressuring fights on a plane ("Goldfinger"), a great car chase on ice sequence ("The Living Daylights"), Bond leaving the service as a rogue ("License to Kill"), diamond weapon in the sky ("Diamonds are Forever"), the list goes on and on (I would even venture to say there is a tribute of sorts to the foolishness that went on during Roger Moore's Bond days; the unbelievable wind surfing stunt Bond pulls about halfway through is exactly the sort of silliness that Moore did all the time).

Cynics might say this is true of any Bond film nowadays; they are so derivative they resort to stealing from themselves. But I don't think that's the case here. It's pretty clear the writers knew what they were doing when John Cleese even quotes some of the great "Q" lines from the past in his excellent sequence where he provides Bond his new Aston Martin (and now we've come full circle there as well, returning to the car that made Bond famous).

I'm not a big Halle Berry fan, but she's very good here. More to the point are the villians. Toby Stephens and Rick Yune are terrific, as so is Pierce, who ironically is hitting his stride and seems totally comfortable in a role he's soon to give up.

If you've enjoyed the great Bond movies in the past, you're sure to appreciate this one. Even those new to Bond should have fun with the action and adventure.