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With its high-intensity plot about an attempt to assassinate French President Charles de Gaulle, the bestselling novel by Frederick Forsyth was a prime candidate for screen adaptation. Director Fred Zinnemann brought his veteran skills to bear on what has become a timeless classic of screen suspense. Not to be confused with the later remake The Jackal starring Bruce Willis (which shamelessly embraced all the bombast that Zinnemann so wisely avoided), this 1973 thriller opts for lethal elegance and low-key tenacity in the form of the Jackal, the suave assassin played with consummate British coolness by Edward Fox. He's a killer of the highest order, a master of disguise and international elusiveness, and this riveting film follows his path to de Gaulle with an intense, straightforward documentary style. Perhaps one of the last great films from a bygone age of pure, down-to-basics suspense (and a kind of debonair European alternative to the American grittiness of The French Connection), The Day of the Jackal is a cat-and-mouse thriller that keeps you on the edge of your seat until its brilliantly executed final scene (pardon the pun), by which time Fox has achieved cinematic immortality as one of the screen's most memorable killers. --Jeff Shannon ... Read more

Reviews (72)

Why can't they make movies like this any more?
Rarely does a movie do justice to a book, but Fred Zinneman's production of "The Day of the Jackal" is wonderful adaptation of Frederick Forsyth's novel which, I continue to believe, is one of the greatest thrillers ever written.

It's hard to put a finger on what exactly makes this film great: excellent performances by relatively unknown actors, a wonderful plot, fantastic location shooting or a complete desire to avoid the bells and whistles, special effects laden movies that are all that makes up the "suspense" genre of films these days. Like other reviewers have said, be this the first or the fiftieth time that you watch this film, you will be left on the edge of your seat with its "cat and mouse" plot of the search for a lone assassin hired to murder President De Gaulle. The young Edward Fox is brilliant in the title role and the supporting cast excellent.

If anything, this film proves that you do not need big named stars, explosions around every corner or computer generated effects to make a fantastic film. The only downside to watching this film is that you realise that the movie industry just does not make films like this any more.

Highly, highly recommended.

ONE SHOT IS NEVER ENOUGH !
Fred Zinnemann's THE DAY OF THE JACKAL is not the kind of thriller you are familiar with nowadays. For once, french actors don't look silly and have the terrible task to trace Edward "The Jackal" Fox who gives an award-deserving performance.

DAY OF THE JACKAL made me think of these cold war spy movies of the seventies. Do you remember ? We had the impression they were filmed only in green and blue, the characters didn't speak much leaving to the audience the task to understand the plot by itself. You will feel this kind of atmosphere in this film with the difference that Zinnemann worked with a solid gold screenplay.

The final scene, the day of the jackal, is about 30 minutes long and is already part of Motion picture History.

A few problems with the images ; white spots, images standing still during 1 or 2 seconds. The sound is, in my opinion, the best we can expect from a 1973 movie.

A DVD worthy of multiple viewings.

Excellent adaptation from Forsyth's novel. A winner!
Why not the jackal?
This is the answer given by the hard and cold assasin who signs the agreement to kill De Gaulle.
The story runs through a set of historical issues who are part of the story. A group of officers decides by themselves to revenge the lost honor of France due the fact about the independence of Algiers.
Edward Fox - one of the best actors of his generation - played with sublime perfection the demanding role of the Jackal.
So from the first images of the film you'll be engaged with this chess film. All the movements of this exceptional mind are guided by an amazing sense of hunter behavior. He acts like a western samurai , without blinking , he kills when the circunstances don't let him other choice. The feelings don't exist in this professional.
You are invited to presence an authentical tour de force. And since the moment an important link is arrested , your histamina and cold sweat will invade you.
The efforts of Le Surete for following any possible clue leads to an unforgettable mind game to spark the human chase since the moment the Jackal decides to go ahead with the plan and drive to France from Niza.
The rest of the story runs for you when you acquire this legendary and hair raising punch thriller. And once more you'll admire how the famous film maker Fred Zinemann could win with this story.
The locations and the sense of the drama are extraordinary made. And the words are not enough to describe the countless sequences of hard beating you'll experience.
A perfect film and believe me ; you won't feel the 140 min of the picture.
This is the first and best version!

A First Rate Spy Thriller

Not so much "spy" as "assassin," though, for Edward Fox is cast as an assassin, doing a job that will earn him his retirement. He is to kill President Charles de Gaulle, "le Grand Charles" himself, in Liberation Day, as we eventually find out--but not until much later in the film.

The killer goes through many personalities, disguises, and changes, and manages to kill a few innocents on the way to his final conquest. He is unknown to the gendarme, who are on his trail early, with the help of an informer on the inside, but eventually his appearance becomes known to them--and even then, in spite of an alert commissioner of police in Paris who is every bit his match, Inspector Lebel (Michel Lonsdale)--he almost makes his kill. Had he done so, of course history would have had to be re-written because of a movie, an unlikely event--so we knew that he would fail, but still the plot was so well played that the suspense was never lost.

Written by Frederick Forsyth and directed by Fred Zinneman, perhaps this film was predestined for greatness, but in any case it is one of the great ones.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

If only it had had a happy ending
_Day of the Jackal_ is one of the best film adaptations of a book ever done, the directors managed to keep the vital elements of the plot and the pacing of the book and successfully transfer them from one medium to another. When I read the book after seeing the movie I was amazed at how much they had managed to keep. Edward Fox was perfect as the Jackal, it's a pity that he's ended up starring in so many bad films in his career as he is truly a fantastic actor. There are some wonderful moments of irony such as when the leader of the French terrorists says that no soldier of France will ever raise a weapon against him and then is shown being shot by firing squad the next day. The only thing that would have improved this movie is if the Jackal had succeeded in blowing Charles DeGaulle's head all over the pavement in Paris, I mean really, the guy goes to all of this work and fails in the end, and come on, he's trying to shoot DeGaulle, it's not as if he was attempting to shoot a decent human being or something, heck, even Eisenhower and Churchill wanted to shoot DeGaulle because he was such a useless, vainglorious prick. ... Read more

Reviews (49)

The boldest, most ambitious film of the 1990's.
Out of the collaboration of three ingenious artists, Dusan Kovacevic, the great writer of comedy, Emir Kusturica, a master of the absurd in film-making, and Goran Bregovic, the most wonderful musician alive, arose "Underground", the most ambitious, most daring, and perhaps simply the best motion picture of the nineties. Kusturica is a supreme magical realist of cinema; he has a hold on the absurd like very few other film directors. For this reason, he was clearly the best man to try and adapt Kovacevic's novel "There Once Was a Country" for the screen. The novel is a brilliant allegory of fifty years in Yugoslav history (1941-1992), written in a multitude of styles, from fairy tale, to comic sketch, to classic tragedy. The scope of the story is enormous, and even Kusturica seems to have some trouble pulling it off, especially towards the end, as the film tends to get out of hand and become rather hard to follow. Nevertheless, on the whole Kusturica's telling of the story is successful. His wonderful direction is only enhanced by the superb cast, hilarious and mad as it is. Performances by already established actors Miki Manojlovic, Slavko Stimac and Lazar Ristovski, as well as the less well known Mirjana Jokovic, are delightfully original, and truly masterful. The film also features a phenomenal soundtrack by the forementioned Bregovic. This is a movie everyone should certainly see, though in all honesty it is only the peoples of Yugoslavia who can truly appreciate it. In fact, the movie is dedicated to those few lost generations who lived through the period in question.

Film Starts Here. Talk about this movie! Buy someone a copy.
When the patriotic Blacky, from the film, has had enough he takes matters into his own hands, with hilarious, redemptive, celebratory results. The film is universal and is very worth watching without subtitles which can be distracting to the excellent acting, but I find that the dialogue helps lend to many metaphorical musings. I plan on watching this film as many times as I've seen Morvern Callar. Too many. The comedy in Underground is fast, subtle, and frequently metaphorical. The musicians are well paid and they are integral to the film. Final thought:"Franz!"

Absolute Masterpiece
Directing, performances and music. This is a movie that you should not miss.

hard to stop analyzing this!
in this installment from kusturica's creation, the similarities between this movie on one hand and on the other {the plato's cave, the second half of the 20th century of yugoslav history, the communist history of european nations, the history of totalitarian societies} make it hard to separate tragic from comic. kusturica continues his creative journey with an updated subject (the dissolution of the yugoslav state) while still employing the same magic-realist set of tools that has made him popular ever since 'time of the gypsies,' music, actors, etc.

the only exception i would take with this movie (and this might have started with 'father is away with business') is my unease, as viewer, with kusturica's program. in other words, when confronted with the burden of kusturica's take on 50 years of communist (yugoslav) history, i cannot easily suspend my critical sense vis a vis history in order to fully enjoy the story. and critical sense and magic-realism don't go well together. yet, somehow, the ever-postponed end leaves the viewer on a good balance.

But how to see it on DVD?
I love this film. I won't mince my words. It's not the greatest film ever made, and I won't conjecture what is, but it's amongst the greatest I've seen (and yes, I have seen a fair few in my time). Those that feel it is a poor film (you'll see that very nearly everyone feels strongly one way or another) just don't get a) what the film did at home as a social commentary or b) that yes, people in that part of the world do party loudly and do practice the art of suspension of disbelief in their culture and upbringing - some people call it appreciation of art and artistry, but never mind all that. We Slavs are a passionate people, for better or worse.

This "review" is really to point out that the widescreen DVD of Underground is available from Australia. I have looked high and low for years for this. There is an Italian DVD release, a Belgian DVD release, but I've only just found (and ordered) the Australian DVD release (Croatian language, English subtitle). Of course, you'll need an appropriate DVD player, but those are easy to come by.

One doesn't have to like the film but please do bother getting your reasons right. ... Read more

Reviews (317)

Kubrick Addresses The Complexities Of War
The dual nature of man, wherein he is able to embrace both war and peace simultaneously, is addressed by director Stanley Kubrick in the decidedly anti-war film, "Full Metal Jacket," starring Matthew Modine. Divided essentially into two parts, the first half follows raw recruits through basic training at Parris Island, where the effects of what it takes to turn a man into a Marine / killing machine is explored, predominately through the characters of Private "Joker," played by Matthew Modine, and Private Leonard Lawrence (Vincent D'Onofrio), dubbed "Gomer Pyle" by the D.I, Sergeant Hartman (Lee Ermey). It's a hard, stoic study of techniques and motivation that inherently questions the system itself, and is deftly and succinctly illustrated by the results achieved, which are not entirely those desired. It's hard stuff to swallow at times, but engrossing, and Kubrick manages to gradually build the emotional intensity that gives such impact to the climax of this first part, which is without question the strength of the entire film. The second half switches suddenly to Vietnam, where Kubrick takes up his pallet and canvass, and while attempting to paint a realistic portrait of war, instead takes more of a turn away from reality, and the film takes on a sense of the surreal; the result is more reminiscent of the visual artistry of "The Thin Red Line" than of the truly gritty realism of "Saving Private Ryan," and rather than make his statement directly through the use of the story, he uses the movie to stage sequences of events to demonstrate the contradictory nature of war and it's consequences, and man's involvement therein. And while he compares the moral and emotional conflicts with the physical, it is an acknowledgement of an inner struggle devoid of any proffered solution, though delivered quite subjectively. The pace of the film is very deliberate and much of the dialogue has a "staged" sense about it that, rather than underscore the issues being addressed, has more of an alienating effect which serves to neutralize the emotional aspects of what is being presented. The story is told from the point of view of Modine's "Joker" , but though Modine does a passable job, his is a rather unsympathetic character whose purpose it would seem is merely to act as narrator and to serve as the "eyes" of the camera. And, again, it only manages to distance the audience further, as Joker becomes a kind of buffer between the viewer and any sustained level of emotional involvement with the story or any of the characters. Instead of a stirring fulmination against the lunacy of war and man's enablement of it, Kubrick's approach creates more of a sense of rather cold ambiguity. Had Joker (as the lead) been a stronger character, and had the second half of the film been more like the first, instead of nothing more than a series of vignettes, this could have been a dynamic movie; as it is, because of Kubrick's choices, he made a good movie, but not a great one. There are two memorable performances here, one by Vincent D'Onofrio, who did an exemplary job of creating the hapless Leonard; the other by Lee Ermey, as the Gunnery Sergeant who could be the poster-boy for an anti-enlistment campaign. Also worthy of note is the work of Arliss Howard, who brought "Cowboy" so credibly to life. Rounding out the supporting cast are Adam Baldwin (Animal Mother); Dorian Harewood (Eightball); Kevyn Major Howard (Rafterman); Ed O'Ross (Lieutenant Tinoshky); and John Terry (Lieutenant Lockhart). With "Full Metal Jacket," Stanley Kubrick raises issues that are important, and makes some valid points about the causes and complexities of war, and the moral and ethical challenges of those presented with it. Obviously, this was a passionate endeavor; if only he would have allowed more of that passion to make it's way onto the screen. What a movie this could have been.

Great movie,but not my favorite on Vietnam
Stanley Kubrick's Full Metal Jacket is a very good movie,but I like others on the subject of Vietnam better.It follows a group of Marine Corps recruits from boot camp to the war in Vietnam.I thought the boot camp sequence was outstanding.Gunnery Sageant Hartman is an unforgettable character,(every time I see R.Lee Ermey in a movie I'm reminded of him)probably the best drill instructor ever in a movie.The rest of the cast was very good,as well,especially Vincent D'Onofrio as Gomer Pyle,and Matthew Modine as Joker.After boot camp the movie shifts to Vietnam,where the action is seen mostly through Joker's eyes.The movie show's some of the horrors of war,but not as well as other Vietnam films such as Platoon and Hamburger Hill.(of course that's just my opinion,you may disagree)I've read that the movie was shot entirely on soundstages in England,rather than on location,and it looks incredible.Overall,while not my favorite movie about Vietnam,it is a very good film.

Fantastic
First of all....many Marines say that the first 30 minutes of the movie about boot camp is THE most accurate depiction of Parris Island in cinematic history. And of course Lee Ermey himself being a former Marine drill instructor tops it all....his profanity laced tirades are totally outrageous.

Second of all, the latter half of the movie deals with a subject not covered in Vietnam movies, a squad getting lost and having to face a lone sniper. Its a radical departure to be sure, but Kubrick in his usual cinematic mastery makes it very gripping.

So if you like Vietnam movies that are a bit different but still as strong as Hamburger Hill and Platoon, check this one out....its fantastic.

full....metal...jacket.
one of my favorite movies kubrick and matthew modaine how better can it get.lol. i suggest this omvie to anyone who likes kubrick, war movies or both for that matter. i also read the book that its based off of "the short timers" by gustav hasford it was really good but i still liked the movie better becasue it had vincent d' onfario and and the segarent(its like blasphemy that i cant remeber his name at this moment) but this movie is great, kind of boring at parts but still its deffinalty worth a watch.

An Near Masterpiece.
When Ordinary People are all Plunged into a Boot Camp Hell Pitbulled by a Leatherlung D.I. (R.Lee Emery) to Prepare for the Vietnam War and the Dehumanizing Process that turns People into Trained Killers.

Produced and Directed by Stanley Kubrick (2001:A Space Odyssey, A Clockwork Orange, Eyes Wide Shut) made a Savage Vietnam drama with a dark sense of humour. There's terrific performances by Matthew Modine, Adam Baldwin, Vincent D'Onofrio, R.Lee Ermey, Dorian Harewood, Arliss Howard, Kevyn Major Howard and Ed O'Ross. The first 45 minutes is a Masterpiece and then the last 71 Minutes, the movie turns into familiar territory with dark humour. The film's conculsion is Strong and Satifysing. This newly restored DVD is better than the previous DVD transfer. DVD has an sharp Pan & Scan (1.33:1) transfer and an strong newly remastered in Dolby Digital 5.1 Surround Sound. This is a Well Made film, which it might be far from some of Kubrick's best films but his elements are here. It's worth viewing. Based on the Novel "The Short-Times" by Gustav Hasford. Screenplay by Kubrick, Hasford and Micheal Herr. Grade:A-. ... Read more

Reviews (10)

Douglas Sirk's Magical Unrealism & the Lost Art of Melodrama
On the surface, John Stahl's 1934 version of IMITATION OF LIFE and Douglas Sirk's later adaptation in 1959 appear quite similar. Based on the novel by Fannie Hurst (originally published in 1933), each of the two film renditions renders the story of a young woman divided between two worlds and her desperate search for her true identity. While Stahl's rather understated approach accomplishes the translation of Hurst's penetrating tale onto the screen with commendable proficiency, it is Sirk who improves upon it, amplifying the story into a masterful and illuminating social drama by exercising the devices of the melodrama to underscore and mine the significant issues of racial prejudice, fumbled motherhood, and materialism in American society in the 1950s.

Putting the "direct" in director, Sirk triumphs with his unabashedly frank portrayal of racial hatred in his adaptation. He also uses color to great and conspicuous advantage to identify the immense social divide between blacks and whites in the film. In deep contrast to the white hearse carrying Annie's body, the very white-appearing "family" of Lora, Susie, Steve, and Sarah Jane are relegated to follow from behind in a black limousine. The black versus white theme displays the opposing magnetic forces between which the biracial Sarah Jane finds herself caught. She is attracted to the white side of life but is naturally pulled toward the black side despite constant resistance. Ironically, only when she finally gives in to the latter's natural gravitational force is she positioned by default and virtually blended into the white domain, fundamentally due to the loss of her only perceptible black affiliation: her birth mother. (A fascinating point: This daughter's appearance at her mother's funeral is inspired by a similar scene in Stahl's version, but in fact the daughter in Hurst's novel doesn't return for the funeral; she has moved to Bolivia with a white man who has no clue about her black heritage).

Sirk also succeeds at accentuating the momentous tug-of-war between a woman's desire to have a successful career and her domestic accountability in the context of the 1950s. Sarah Jane possesses an ambition to get more out of life than what her hereditary role has assigned her, which makes her a lot like the career-ambitious Lora. Likewise, Susie is just as submissive to the cards life has dealt her as Annie is. Lora becomes an unwitting role model for Sarah Jane, and Annie an equally unwitting surrogate mother for Susie. Like Lora's emotionally empty acting career, Sarah Jane's sham of a white existence fails to provide her with the love she so desperately needs, something she eventually recognizes she cannot truly "live" without. For Annie, life in this fleshly world is a mere imitation of the real life that awaits her in Heaven. The exorbitance of Annie's funeral testifies to the emotional price paid with the loss of such a benevolent human being.

Because Sirk's production style is so excessively augmented, the messages concerning social issues that 1950s viewers would rather not face directly are discreetly concealed in a fashion that makes such propositions easier for them to swallow. Sirk's interiors are extremely over the top, and his exteriors are so fake one cannot help but know they are not real, providing the film with a sense of "magical unrealism." Only in this artificial sense of reality can viewers accept the contrived closure given to the social problems that embody the film's plot.

By riveting viewers' attention to the glamorous lifestyle Lora attains through career ambition, Sirk zeroes in on the genuine desires of women of the 1950s, particularly housewives or women who retreated from the workforce after WWII ended and their men returned home to resume their roles as the primary breadwinners. Having tasted the rewards of working outside the home, 1950s women dreamed of more than their contemporary home-based existence.

Ultimately, Sirk points out that people in life are forced to make choices based on the situations in which they find themselves. All people are, in some way, like Sarah Jane, stuck in a position wanting or needing more out of life than what has been provided freely. To obtain what they yearn for means sacrificing part of their own needs or wants. No one, he asserts, can realistically have it all, no matter how much they try to overcome the partitions that fabricate the very structure of society. Humans make choices in life based on what is most important to them. Annie believes life isn't much without the giving of love to the people around her. Like the message behind the theme song of Sirk's adaptation, Annie trusts in the notion that "every day would be gray and incomplete without the one you love." Lora seems to learn this truth about life near the end of the film, when she puts her career on hold so she can be with Steve and Susie on a full-time basis. (Interestingly, Hurst's novel ends with the white daughter falling in love with her mother's beau, much to the mother's horrific surprise.) Sarah Jane, however, learns this lesson too late, never to recover the time she could have spent bonding with her now-deceased mother.

Altogether, through his lavishly synthetic and ornate scenery, Sirk yields a high-pitched melody upon the dramatic canvas of life in his implosive acculturation of Hurst's tale of women struggling to find themselves in a complex world. In the end, he holds up his version of IMITATION OF LIFE as a mirror to his audience, showing them who they are and, perhaps more importantly, who they are not.

My Favorite Movie
Everytime someone ask me what is my favorite movie and I tell them "Imitation of Life" and they are amazed. Why do I say this movie? The story is amazing and I love how the Mother is loving and caring to her daughter inspite of her daughter's rejection of her race and her mother. I love the relationship between the mothers and the daughters. This movie is a must have.

Imitation of Life 1934/1959: GREAT COLLECTOR ITEM
I love the movie Imitation of Life. Although I had never seen the 1934 version before, I loved just as much I did the 1959 version. I watch this movie all the time and think that it's a movie that everyone should see. The message that the movie shows just how hard and the lengths that people will go to fit in into a society that tells them that they must look and act a certian way. This is a item that everyone should have in their DVD collection and I reccommand it to everyone.

Glad its only an Imitation
Douglas Sirk's Imitation of Life is a parody of an earlier film by John Stahl. The film portrays a struggling white actress who befriends a homeless black woman, and they end up living together. The black woman, Annie, takes on the rols of maid, servant, and nanny for the white woman Miss Laura and her daughter Susie. Annie's daughter Sarah Jane is half white, and throughout the film we see her attempt, time and time again, to "pass" as a white girl. Through the technique of gestic acting, or over acting, certain themes and messages in the film are impressed upon us over and over again. Miss Laura, for example is a struggling actress looking for work. She seems to be the picture of beauty and femininity. In John Berger's book, "Ways of Seeing,"he brings up the notion of the surveyor and the surveyed. This refers to the manner in which women are looked at and watched by the male eye. They then internalize that look and begin to see themselves as men want them to be, and begin to act accordingly. Throughout the film, we watch Miss Laura being surveyed, and eventually we see her internalize the look. At first she is watched and photographed by her future love interest Mr. Steve. He takes a picture of her at the very beginning of the film when she has lost her daughter and is frantically searching for her. In his picture she is a concerned mother. There are very few times in the film when Miss Laura seems to actually think about Susie. Mr. Steve, though, has framed her as a mother and wife from the very start. There is part of her that wants to fit into Mr. Steve's vision, but she first feels that she must pursue her career. Later on in the film Miss Laura and Mr. Steve are reunited. It is at this point when Miss Laura internalizes Mr. Steve's vision and begins to survey herself as she had been surveyed by Mr. Steve throughout the film. She gives up her career to become the housewife and mother that Mr. Steve had always seen her as. Another theme that become blaringly obvious in this film has to do with the intersection of race, class, and gender. We see this most clearly in Sarah Jane's character. In Smith's article she discusses the need to "pass" as a white person because of racism that is present in a dominantly white society, as well as in reaction to the discrimination against people of color. Sarah Jane struggles throughout this film, beause she has spent her life living in Susie's shadow. She sees all of the advantages Susie has because of her successful mother, and she is constantly jealous of her white privileged life. Try as she might, Sarah Jane can never break away from the intersecting characteristics that make her who she is. She tries to pass as
a white girl who is trying to make it on her own, but she cannot break away from her black roots. Thankfully this film is only an imitation of life and not the way that people really behave. The gestic acting is painful to watch but it does do the job of getting Sirk's messages across loud and clear.

Great Double Feature. Great Value. Disappointing Transfers
I was very excited to hear about the release of the two versions of Imitation Of Life together on the same DVD. I had never seen the 1934 version and found it to be an equally enjoyable film as the 1959 one, although quite different (the main character is an entrepreneur versus an actress in the '59 version). The transfer for the 1934 version is decent considering it's age. I was more disappointed with the 1959 one. Granted, it was filmed in Eastman Color so one could not expect Technicolor brilliance, but the transfer is grainy and faded. To make matters worse, the layer change occurs at the worst possible place, as someone is running down the stairs (as with all DVD's, there is a slight pause at that time). This is very jarring; what was the engineer thinking? Layer changes ideally should be placed between a fade-out and a fade-in of scenes. Considering the price and the content, I would reccomend this DVD if you can ignore it's flaws. ... Read more

Amazon.com essential video

Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit Good Will Hunting triumphs because of its gifted director, Gus Van Sant. The unconventional director (My Own Private Idaho, Drugstore Cowboy) saves a script marred by vanity and clunky character development by yanking soulful, touching performances out of his entire cast (amazingly, even one by Williams that's relatively schtick-free). Van Sant pulls off the equivalent of what George Cukor accomplished for women's melodrama in the '30s and '40s: He's crafted an intelligent, unabashedly emotional male weepie about men trying to find inner-wisdom.

Matt Damon stars as Will Hunting, a closet math genius who ignores his gift in favor of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past, and as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another. --Dave McCoy ... Read more

Reviews (345)

JCMICHAELS.COM Good Will Hunting Review
Good Will Hunting is one of those films that I wasn't expecting much, since the writers, Ben Affleck and Matt Damon are so young. But surprisingly this young duo was able to write a sophisticated script that, with the direction of Gus Van Sant, became an Academy Award winner. Those awards, Best Supporting Actor and Best Original Screenplay definitely show the movies strong points. Unfortunately the acting is a little wooden and awkward at times, but is forgivable.

Luckily this movie has great bonus features including my favorite, audio commentary with Gus Van Sant, Matt Damon and Ben Affleck. Also included are 11 deleted scenes with audio commentary, production featurette, and "Miss Misery" music video. In other words this DVD is loaded.

Overall, with all the bonus material and sophisticated story this is definitely a great rental. If on the other hand, you are huge fans of Ben and Matt, and have already seen it and loved the movie, then it really is a no-brainer, just buy it.

Beautiful, thought-provoking . . . perfect
This movie is either perfect, or as close as it's possible for a movie to be. The acting is outstanding. The direction is terrific. The script is heartfelt and real. The soundtrack, featuring Elliot Smith, is perfectly suited to the movie. All in all, it's one of the greatest movies I've ever seen, and it's my personal favorite.

Will Hunting (Matt Damon) is a janitor at MIT who harbors a secret genius for mathematics. Rather than bank on his intelligence, he spends most of his time riding around and drinking with his buddies (Ben Affleck, Cole Hauser, and a particularly funny and excellent Casey Affleck). However, his gift is discovered by a professor at the university (Stellan Skarsgard) who bails Will out of jail (in on a count of assault) on the conditions that he start doing math regularly with the professor and that he see a psychiatrist. Enter the psychiatrist, Sean (Robin Williams). To add to the mix, Will meets a Harvard student, Skylar (Minnie Driver) who is possibly the first woman for whom he's ever had real feelings. Over the course of the movie, all of these characters in their own way try to make Will live up to his potential.

The movie doesn't have much of a plot other than this -- however, that's fine, because it's meant to be more of a character study and it's a great one. Pretty much every scene is two people sitting down talking to each other -- yet it holds the viewer's interest because the characters are so captivating. Sean and Will's scenes in particular are terrific. Matt Damon and Robin Williams, besides both being fine actors, have a natural chemistry that you just can't fake. Damon and Minnie Driver are also great together (of course, as it's widely known, the two dated during the filming of the movie) and it's my opinion that both were robbed of their Oscars.

Ben Affleck shows that spark in this movie which he showed in most of his '90s movies, and he's great in his role -- but even better is his brother Casey. Watch the movie with the audio commentary, and you'll gain so much more appreciation for both the role of Morgan and the actor Casey. The same goes for Stellan Skarsgard. Cole Hauser is good with the few lines he has.

All in all, this is a great movie -- beautifully shot, well-written . . . well, I've said it all before. If you're not offended by excessive use of the word "f***" (and yes, some people really do talk like that) you should love it. Forget the naysayers -- "Good Will Hunting" is one of the most heartfelt, poignant movies in recent history. Too bad all the awards that year automatically went to the movie with the grandest special effects instead of the one with better dialogue and better characters.

A drama with emotional depth
This quiet drama about what genius means was the surprise hit of 1997, with friends Matt Damon and Ben Affleck both collaborating on the screenplay and acting. Damon plays Will Hunting, a troubled, gruff young man who works as a janitor at MIT despite his incredible self-education and intelligence. When a mathematics professor discovers that Will has solved a complicated problem left on the blackboard, he pursues Will as a potential protégé. But Will is not good with authority figures, as his past includes abuse at the hands of his father. When Will lands in jail, however, and the professor manages to obtain his release with the stipulation that Will work on mathematics with him and see a counselor, Will's whole life begins to open up. As a patient of psychologist Sean Maguire (Robin Williams), Will forges a relationship that acts as a catalyst for a new future.

Matt Damon does a wonderful job with the title role, although at times he seems a little wooden. As the therapist with a painful history that Will eventually connects with, Robin Williams turns in one of his less flamboyant performances. His suffering is palpable, and his need to save Will from himself lends real passion to the film. Affleck provides solid balance as Will's friend Chuckie, although his performance is less memorable than the other two, more of a function of the role than the actor. Minnie Driver is charming and believable as Will's new girlfriend Skylar.

The screenplay is intelligent and skillfully developed despite some unbelievable facets of the premise, most notably that such a wounded individual, no matter how bright, would have the discipline to teach himself as much as Will knows. Still, this movie only gets better as it progresses. The relationship between Will and his therapist is dynamic, poignant, and meaningful.

This is a good film to own, as it uncovers additional subtleties on second viewing, as long as you don't mind revisiting emotional angst. Its feel-good story arc is somewhat predictable, but the dialogue and interactions are not, making this flick surprisingly complex given the young ages of Damon and Affleck when it was made.

Good film, good job for a first time screenplay/movie.
This film, which was the first time for Ben Affleck and Matt Damon, in writing a screenplay, turned into a movie, is an impressive piece of work. About a shy, yet with an attitude, young man (who as we find out later was abused) who demonstrates his brilliance, but who will not let people get too close. Ben Affleck (before all of this "Bennifer" nonsense) is good as his buddy, who really wants him to use his "gift". With an outstanding performance by Robin Williams (who deserved his award) and Minnie Driver, the lads have put together a funny, poignant, movie; which wasn't "overdone" as some movies might be. Williams and Damon interact with each other with the right amount of "attitude" as they help each other overcome their fears, hopes, missed opportunities, and dreams. A better film than I thought it would be. I'd recommend it. The downside (for peope offended by language, i.e., profanity, is that there is a lot of it, especially the "F" word). If one can overlook that, if one's offended [I'm not overly so]; then, this movie speaks to the person inside all of us, as we ask ourselves some basic questions; what do we want out of life, do we have regrets, did we try hard enough to succeed, what does success mean, and so on. Damon's character refused to be "manipulated" by anyone, including the professor who had his own issues. Definitely worth seeing. Had a pretty decent soundtrack too.

Some Outstanding Moments, but Not a Masterpiece
GOOD WILL HUNTING was actually written by two of its stars, boyhood friends, Matt Damon and Ben Affleck. I was surprised when I first learned this; the screenplay, while still a little rough around the edges, shows a lot of insight for the twentysomethings that Damon and Affleck were in 1997.

GOOD WILL HUNTING is the story of, who else, Will Hunting (Matt Damon), a janitor at MIT and a young man with a very troubled past. Will was an orphan and a victim of child abuse. As an adult he's a petty criminal with a short fuse and an uncanny ability to reduce the most complicated math problems and theorems to simple answers, something he does at night on MIT's chalkboards. Will is a mathematical genius with a photographic memory, but he neither recognizes his gift nor cares. He'd much rather be out with his other blue-collar buddies, drinking and getting into trouble.

Two things happen to change Will's errant ways. The first is the fact that his genius is found out by one of MIT's professors, Professor Lambeau (Stellan Skarsgard). Professor Skarsgard wants to do something to encourage Will to develop his gift. The second, and more pivotal thing that happens is that Will assaults a police office on one of his nightly binges and lands in jail.

Luckily, Will comes before a judge with some understanding of what he really needs. Instead of being sent to jail, Will is ordered to spend one day a week with Lambeau, studying math, and one day a week with a therapist in order to work through his short temper and his need to self-destruct. After a few false starts, Will ends up seeing Sean McGuire (Robin Williams), a teacher at Bunker Hill Community College and Lambeau's former college roommate. As things progress, it becomes more and more evident that Will is just as good for Sean as Sean is for Will. Will also receives help and encouragement from his childhood friend, Chuckie (Ben Affleck) and a pretty Harvard student from Britain, Skylar (Minnie Driver).

The plot of GOOD WILL HUNTING is very, very predictable, as is its ending, but that really didn't stop me from enjoying the film. There are some outstanding moments and set pieces, but overall, the film is only a little above average.

The dialogue is sometimes above average and, much to my delight, there was actually subtext, something so much screen and literary dialogue lacks these days. The thing that really rescues the film from mediocrity, though, are the performances from all the actors, especially an uncharacteristically subdued performance from Robin Williams. The scenes between Williams and Damon feel "real" and the chemistry between Affleck and Damon and Damon and Driver is palpable. Of course, the fact that Affleck and Damon have been lifelong friends and that Damon and Driver were romantically involved during the filming of GOOD WILL HUNTING didn't hurt the "chemistry" one bit. Still, it could have gone wrong. Jennifer Lopez and Ben Affleck were engaged when they made GIGLI and that fell flatter than any proverbial pancake ever could.

GOOD WILL HUNTING is a very solid, though predictable piece of entertainment, with strong performances from all concerned. I would recommend renting it before buying it, however, as it's not a film that one wants to see again and again. At least not in my opinion. ... Read more

Amazon.com

A crew of misfit outlaws wanders the galaxy in a living ship. Sound familiar? Doomed to live in the shadow of cable TV's science fiction class act Farscape, the Canadian-German coproduction Lexx takes a completely different trajectory as a tongue-in-cheek, sci-fi sex farce from a three-man team of "Human Beans" led by creator and frequent writer-director Paul Donovan. Sad-sack pilot Stanley Tweedle (Brian Downey), coquettish love slave Zev (Eva Habermann), reanimated corpse Kai (Michael McManus), and lovesick robot head 790 wander the galaxy looking for food, people, and (most importantly) a little nookie. Shot on the cheap with loads of flashy (if often unconvincing) digital effects and a rather claustrophobic series of studio-bound sets, the show launched with a quartet of TV movies before settling into a weekly series with its second season (1998).

In the first of 20 episodes, "Mantrid" launches the Lexx into a funhouse galaxy of wacky worlds, where the dreaded insect king awakes and begins his bizarre reign of terror. The hilarious "Lyekka" introduces the title character, a curvy little plant girl with an insatiable appetite for human flesh, but more importantly it replaces platinum blonde Eva Haberman with the impishly flirtatious, full-lipped redhead Xenia Seeberg, the show's instant cult pinup queen. The show's eagerness to experiment is proven in "Brigadoom," a sci-fi musical that tells Kai's backstory entirely in song--with surprisingly impressive results. "Brizon" and "End of the Universe" end the second series as the Lexx is inexorably drawn into the Dark Zone after an epic fight with Mantrid's multiplying drone arms.

Each DVD features a different 10-minute, behind-the-scenes featurette, short cast and creator interviews, and a chapter of Rated LEXX, a TV special created for the Sci Fi Channel to introduce the characters and recap the origins. ... Read more

Reviews (8)

So worth it!
Wow I just love to be able to pick what episode I want. The DVD 'extras' are excellent too. This series had a very original creative element I have never seen anywhere before, you could tell the LEXX set designers and wardrobe people were very professional in their creative work making cheesy and tacky look so very out of this world good! The special effects are like a cross between Flash Gordon meets the Matrix meets Austin Powers! Only it is isn't, it's all LEXX and all original. By the way, saying this is geared towards European teens? is way off, what a lame review!, this is for every Sci Fi fan that ever wanted a break from the typical creature vs. Earth story line, it is more like a psycadelic soap opera set in the future in a galaxy far, far away from every day Earth life, a great way to 'escape' from everyday life.

Grainy transfer mars otherwise great series.
4.5 stars. I just want to note here that there are numerous scenes where the transfer to DVD is less than perfect. Other times, particularly the special effects shots, the transfer is pristine. This is possibly, arguably, the most original Sci-fi series ever created and it was a mild letdown to see a flawed transfer. However, all these episodes are the uncut versions, and I seriously don't remember this much sexual innuendo(oftentimes bizarre sexual innuendo). But this show always was a little more than left-of-center, which is certainly why it appealed to me so much. Just when I thought there was nothing original on TV, along comes this weird series in the 2a.m. time-slot like a warm wind filled with fresh air. For beginners I suggest getting the first series volumes for a more in-depth backstory on these strangely captivating characters. After that, this is an excellent progression. The stories are crazy and fun, and each volume here contains over three hours of footage. This series has great return value, it's just too bad the transfer is less than perfect.

No captioning/subtitling
I love Lexx. The featurettes are cool, the quality of the transfer seems good. However, I was very disappointed to find that the episodes are not closed-captioned or subtitled at all. If you are hearing-impaired, you might want to skip the DVD's and see if you can find someone who recorded the episodes from Sci-Fi, where most, with a few exceptions, ran with closed captioning.

Second Season Winner
The first season is the best but the second season is quite good. Pay attention to the other "real people" that have reviewed it. First of all LEXX was out long before Farscape so the ridiculous line about sound familiar is out of context. LEXX is unique in its approach to SciFi. It is far more graphic in violence and erotic behavior than other series you will see. I have purchased the first two seasons on DVD since I think they are the best. The rest are worth seeing but I am not sure about buying.

LEXX is a MUST
If you can watch the firdt episode (I worship his shadow) and you enjpoy its campy yet well developed story then you will fall in love with the entire series. I have never ordered a DVD of a series before, let alone a sci-fi series, but this set usurps star wars in its campy intrigue and totally overshadows Dune's monopoly on a fairly original story line and immmersive, if less than state of the art, special effects. Many tongue in cheek jokes lend the series to a "don't take yourself too seriously" attitude which lets the viewer accept the flick for what it is. A work of sci-fi indy genius which only a few will truly appreciate. ... Read more

Reviews (67)

Beautiful! You'll love it!
This could be the most beautiful, unique, romantic movie ever made. Every bit of dialogue is sung (but there are no "musical" numbers), and it's filmed in VIVID pastels, beautifully restored in this print (the film was originally released in 1964, and was the Cannes Film Festival Grand Prize winner). In French, with English subtitles, Letterbox (1.66:1, so it looks fine even on a small TV). Young girl (Catherine Deneuve, radiant in her first film) who works for her mother in an umbrella shop, "Les Parapluies de Cherbourg" - hence the title - and young garage mechanic (Nino Castelnuovo) swear their undying love for one another, he goes off to war, she finds herself pregnant, and she must make some decisions which will forever affect the lives of at least four people. Underneath its beautiful and lighthearted look and feel is a very serious and moving story. The entire word-for-word/song-for-song soundtrack/dialogue is also available on 2 audio CDs - Les Parapluies de Cherbourg - Sony ISBN 7464626782. Directed by Jacques Demy, music by Michel Legrand. Several of the musical themes have entered into the cultural consciousness, and if you've never seen this movie before, when you watch it you may experience a pleasant sense of recognition, i.e., "So that's where that song came from!" You'll love it! END

One of the best musicals ever made!
Up until 6 months ago, I had never heard of "The Umbrellas of Cherbourg." My mom used to hum a couple of tunes from this French musical, but I never made the connection. However, I came across the DVD of this classic musical a bit back while searching for a present for my mother, and I quickly fell in love with this musical. It is different from most musicals, as it is (1) French, and (2) sung the whole way through. All the "dialogue" is sung in the recitative manner of opera music and lead so naturally into the actual songs that you really can't tell the difference. The story itself concerns the bittersweet love between the young daughter (Catherine Deneuve) of a shopkeeper and a young man who learns shortly that he has been drafted to join the French army.

It is a beautiful story told simply and effectively by one of the French New Wave directors, Jacques Demy. As I understand it, he made a few more musicals starring Catherine Deneuve (The Young Girls of Rochefort, Donkeyskin), but this film was his most popular musical. For a long time, this film was considered "lost" due to deterioration of the film stock, its vivid colors reduced to pale shadows of its original glorious hues. However, thanks to recovery of an alternate negative that retained the original colors, the film was abled to be restored to its former brilliance. This restored version of the film is what is available currently on DVD.

Truthfully, it looks quite fantastic. The colors are briliant enough to rival the Hollywood Technicolor process, and the sound is clean. I am glad I bought this DVD, and it has quickly become one of my favorite musicals.

I only have a few problems with the DVD itself. First, subtitles are only in English. I would have liked to have seen French subtitles as well, but such was not the case. Also, the film transfer gets a little blocky and pixelated here and there; I understand that Fox/Lorber has a questionable on/off reputation with their DVDs, and I wish they could have been just a tad bit more careful with this classic. This marred an otherwise beautiful restoration effort. Lastly, I wished there were more chapter marks. Some of the best songs lie no where close to any of the chapter marks and thus require either bookmarking or fast-forwarding. Not a big concern, but just a little inconvenient.

However, this is still an excellent film, and I would HIGHLY recommend it to any lovers of musicals! Purchase/rent/watch this film without delay! And a note to Fox/Lorber - how about releasing "The Young Girls of Rochefort" out on DVD? I know it was somewhat restored as well and had a limited re-release; this would be an excellent companion piece to Umbrellas of Cherbourg!

Lovely film making! Unique!
There is no other film like this one! Shot in the early 60s, it is still a favorite among film lovers. It's no wonder that it recently celebrated its 40th anniversary!

Catherine Deneuve plays a young girl who is faced with an important life decision in her tender youth that affects her life and the man she loves who must leave for military service. Nino Castelnuovo plays the young man who returns form war to the news of his love married to another man.

THE most beautiful film ever shot! Beautiful music that will staya with you forever!

A great new addition to any DVD collection.
The Umbrellas of Cherbourg is a fantastic film with a deceptively simple story, outrageous colors, and beautiful music (especially the tune "I Will Wait For You" played during the opening and ending). Fine performances from the cast as well, and all the dialogue is sung. As far as DVD transfers are concerned this looks better and as flawless as you can expect and DVD collectors shouldn't pass up the new Koch Lorber edition of this wonderful movie.

A wonderful DVD version of a unique film
There really isn't another film quite like THE UMBRELLAS OF CHERBOURG. For instance, every line of dialogue in the movie is sung, yet apart from the heartbreakingly beautiful "I Will Wait for You," there are no songs. So, is it a musical? In form it seems more like an operetta. Musically, the dialogue is loosely organized, though certain musical themes are repeated often, and it lightly sung, none of the performers coming across as highly trained professional singers. Overall, the music, despite the presence of only one song, is entrancing.

As fine as the music is, I actually found the film to be more riveting on a purely visual level. For instance, inn scene after scene, I found myself focusing on the art design rather than the music. Demy frames most of his shots against backgrounds of more or less solid and striking colors--green walls, blue-stripped wallpaper, unusually painted building. Demy also employs a host of subtle camera angles and techniques. The film is unquestionably as much for the eyes as for the ears.

Most members of the cast were unknown to me, except, of course, for the surreally beautiful Catherine Deneuve, who was nineteen during most of the production of the film. She exudes star quality throughout. But none of the performers fails at all in their roles, though none of the others was the budding star that she was. One thing that struck me about all of the characters was that while the tale told is essentially a tragic one--or at least a bittersweet one--there are really no bad guys. Marc Michel, for instance, who plays Deneuve's wealthy suitor Roland Cassard, is a thoroughly likable person, even admirable. She clearly doesn't love him, but in no conceivable sense is he a bad person. Nino Castelnuovo's character Guy Foucher, for whom Deneuve's Geneviève Emery has asserted she "wait forever" turns out to be an inconstant correspondent, but apart from that he does nothing actively unkind to Geneviève. Geneviève's mother might push her towards Roland and away from Guy, but she is clearly motivated by a love of her daughter. The movie could have been subtitled: "A Tragedy with No Villains." The film is about love, but it is sadly not a love story. In a way, it deconstructs the kind of romantic myths that dominates the musical genre. This is the anti-Disney version of the possibility of eternal love. ... Read more

Reviews (133)

Best Disney Movie since "The Lion King"
Hercules restored my faith that Disney can still make fun, engaging animated movies (this one's much better than the more recent disappointing Road to El Dorado or The Emperor's New Groove). The animation is dazzling (from the makers of Aladdin and The Little Mermaid), the music is a new take -- gospel, and the characters are funny. The voices include a cast of famous names, such as Tate Donovan and Danny DeVito as Hercules and his goat-man sidekick. The plot is predictable and the storytelling of the Greek myth may be a bit off, but after all, it's Disney. The DVD includes a documentary ("The Making of Hercules") and a Ricky Martin music video (for the song "I Can Go the Distance"), and most Disney DVDs hardly have any extras. I wouldn't call this movie a must-buy, but it's a welcome addition to Disney's family of great cartoon movies... and kids will certainly love it, too.

The World's First Super Hero
Disney adds a new twist to the story of the mythological strongman in the funny animated feature "Hercules". Hercules (Tate Donovan), the son of Zeus, is kidnapped and turned mortal by the sinister god Hades (James Woods). Now, with his amazing strength and the help from his fly stallion Pegasus and trainer Phil (Danny DeVito), Hercules journeys to regain his place among the Gods of Olympus. Though not as memorable as previous Disney animated films, "Hercules" is a lighthearted fun-filled fantasy adventure. The story is fresh and funny, and the animation is stylish and colorful. The film contains some clever humor and amusing scenes including a thrilling battle between Hercules and the fierce hydra. James Woods shines as the voice of the sly Lord of the Underworld Hades and Susan Egan is amazing as Grecian beauty Meg. The voice cast also includes Bob Goldthwait, Matt Frewer, Paul Shaffer and Rip Torn. The animated tale is presented in its THX certified 1.66:1 widescreen format. The DVD contains a very detailed video transfer and a rich 5.1 Dolby Digital sound. Its supplemental material features "The Making of Hercules" featurette and a music video with Ricky Martin. Despite the lack of interesting extras, "Hercules" earns a "B-".

Great teaching tool
Precisely BECAUSE of the complete disregard for the original mythology, this movie is a superb teaching tool for middle schoolers. After a unit on Mythology, the kids can identify for themselves the many creative changes Disney opted to make, and even better, they can figure out for themselves why Disney made those choices. It makes the kids savvier media consumers, they enjoy spotting the "mistakes," and the music is terrific and holds their attention. We all enjoy the fact that nearly every time the Muses sing "and that's the Gospel truth!" they're referencing something completely FALSE. And the group scene at the christening makes a great "test" of those symbolic identifiers--the kids like being able to identify the gods and goddesses based on the clues in their appearance.

Zero to Hero
When the evil Hades, god of the underworld, learns that if Zeus and Hera's newborn son Hercules fights his world takeover plan, he will fail, Hades' idiotic helpers Pain and Panic kidnap the tyke in an attempt to turn him mortal and kill him. But before baby Herc could drink the last drop of the potion, a middle aged couple intersept. They take young Hercules in and raise him as their own. The only problem Hercules has is his god like strength, which he retained because he did not drink the last drop of the potion.

Hercules grows up feeling like he doesn't belong and goes on a journey to find his true identity. When he discovers that he is the son of Zeus, he is told that the only way he can regain entry to Mount Olympus is to become a true hero.

So with the help of Phil, a satyr, and Pegasus he begins training to become a hero. He ends up meeting Meg, a young woman who sold her soul to Hades, and falling in love with her. Meg is torn between loyalty to Hades and her growing love for "Wonder Boy".

When Hades strikes a deal with Hercules to give up his strength for 24 hours, Hades frees the Titans to take over Olympus. Due to one technicality in the deal, Hercules regains his strength and defeats Hades. But when he learns of Meg's death, he strikes a deal with Hades to rescue her and take her place in the underworld.

A little bit too modern for a story set in Ancient Greece but this movie contains all the essential elements of a true Disney classic.

From Zero to Hero
Hercules is a total knockout - for the first half of the movie. The second half falls flat. Hercules has one of the best animated film scores ever. To promote the film, Disney had a traveling "troupe" of singers in Greek costume perform at malls around the country. The executives apparently even appreciated the incredibly orignal gospel-style songs with witty and joyful lyrics. The rollicking songs get a big "Amen!" The fabulous Muses are wonderful creations.

The story involves Hercules as an awkward boy trying to fit in with the humans who have adopted him. After he inadvertently causes a disaster at the marketplace, Herc strikes out on his own, and is shocked to discover his Mt. Olympus heritage. Megara, the female romantic interest, is not very likeable as a fallen woman redeemed by love. You feel Herc deserves better.

Since Aladdin, Disney has used celebrities as character voices. Hercules in particular benefits from this, with James Woods ad libbing hilariously as Hades, lord of the underworld, and Danny DeVito, who brings heart and laughs as "Phil" the Satyr. ... Read more

Reviews (202)

The DTS version rocks the home theater!
This is the first disc I bought since I got the home theater set up and this one you won't believe! Ok, I'll admit the story here is a little weak, but this isn't supposed to be a "Raging Bull" type of character study. This is a very entertaining, state of the arts effects, fun film. The sound from this DTS version is extraordinary. The separation of the 5.1 is incredible. The twister sequences will blow you away. You feel the sound and the fury! The only other disc that compares is the Saving Private Ryan one. For you home theater fanatics, this is your film.. you'll see it, hear it, and feel it. This disc also has some great extras like director commentary and a cool documentary of how it was made. All in all, it's not one of the finest 100 or 200 movies ever made, but you may find yourself watching it over and over for the experience of it! You'll love it! The movie itself is about a 3, but the DVD DTS is about a 5!

I like it anyway...
OK, I've read the other reviews...I think "Twister" is entertaining, with great CGI effects. The plot is intense, and most sub-plots are silly. Helen Hunt is beautiful, and quite a good actress. Bill Paxton is customarily hammy. Still I enjoy this film as entertainment. It's interesting to note that a lot of our current best actors today got a start in this film. Philip Seymour Hoffman, in particular, shows great flair, as well as Jeremy Davies, playing the wimp. Director Jan de Bont seems to use Alan Ruck a lot, and for good reason: He's talented. I was disappointed when Jamie Gertz won the Razz Award as "Worst Supporting Actress" in '96. I thought she gave a fine performance...her character was written to be reactionary, and I thought her every nuance was touching and sincere. As far as writing, well, some of the soap opera stuff could've been cut short. Jan de Bont, with all the films he could've chosen, showed scenes from Kubrick's "The Shining" (at the drive-in), and Cukor's "A Star is Born" (before Aunt Meg's house is blown away). If these are homages, he has good taste. And Lois Smith was solid as the aunt; I've liked her since she played Nicholson's sister in "Five Easy Pieces". A fine character actress. With this stuff in mind, I watch "Twister" often, and enjoy it each time. Why be so analytical? It was made as mass-marketed entertainment and, on that level, it succeeds. Doesn't seem to matter that it was also on quite a few "10 Best" lists in '96. I like it a lot; if you don't, maybe you should get out more...

the suck zone II
In the movie, the twister destroys a drive-in while The Shining is showing on the screen. One could only imagine that this amounted to a review of The Shining. I don't agree with this review. The Shining is a very good movie.

the suck zone
I rented this movie thinking it was going to be a remake of The Wizard of Oz. Boy what a letdown. Come to think of it I had the same experience watching Zardoz.
While watching this movie, it became clear to me that "actors" are people who have been randomly selected to get in front of a camera and pretend to do things. The characters say things like, "these satellite readings have increased in the last ten minutes" "Keep monitoring this pattern" "Ok" Then there is a tossing aside of sodas and a melee of excited, riot-like running toward vehicles. Then there is more dialog, like "We're not going to be able to intercept!" "No, we will. Hang on!" "Are you out of your mind?"
"We gotta get outta here!" "I know!" This last dialog is screamed over the sound of lots of wind. The movie appears to be about a weather phenomenon wherein lots of wind causes a general sucking effect: the script sucks, the acting sucks, the effects even pretty much suck.

The tornadoes alone save this movie.
I have had interest in the concept of severe weather for my entire life and had high expectations for the movie "Twister" and the result cuts boths ways for me.

The movie is of a married meteoroligist couple who are in the midst of getting a divorce, and have not gotten along for a very long time and they make a new invention that they believe will help them see what it looks like, inside a full blown tornado. They have ambition to deploy this new technology to disperse 'lighter than air' radio transmitters into a twister and record the signals to see what it may look like inside a tornado.

The special effects when the tornadoes strike are absolutely awesome not to mention the chase scenes especially towards the ending when the couple speed away from a tornado drive right through a house that was thrown onto the countryside road by a tornado (Impossible in real life) and the other of when a drive-in movie screen showing a snippet of the movie "The Shining" being ripped apart by a F5 tornado in the middle of the night.

"Twister" though suffers from several things and I can sometimes see where some of the detractors are coming from when regarding this movie. While the action scenes and special effects are amazing, the movie's plot lacks a good flow and the film drags on and on in several places and one scene which is just like a boring day at home would've been better left out altogether. Plus the characters are very unconvincing and lack personality.

Even for me who doesn't mind ocassional deviation from the laws of physics in movies, some of the tornadoe scenes are completely unrealistic. For example as I said earlier in a review, there is no way a twister could fling a whole house across a countryside road or even roll the whole intact house across the countryside because most houses are built on foundations and strong tornadoes in real life would shed houses into tiny pieces or otherwise reduce them to ruin. An F5 tornado would leave nothing of a house behind and can even rip the pavement off a road if the conditions warrant. \

This movie is nonetheless worth watching just for the tornadoes alone but this movie could have been a lot better than it turned out to be. While having it's share of flaws Roland Emmerich's "The Day After Tomorrow" is far superior on many levels and corrects a lot of the flaws of "Twister" in my opinion. ... Read more

Amazon.com essential video

Gracefully adapted from Dava Sobel's extraordinary bestseller, the four-part TV production of Longitude combines drama, history, and scienceinto a stimulating, painstakingly authentic account of personal triumph andjoyous discovery. Equally impressive is the way writer-director CharlesSturridge has crafted parallel stories that complement each other with enrichingperspective. The first story involves the successful 40-year effort of 18th-century clockmaker John Harrison (Michael Gambon) to solve the elusive problemof measuring longitude at sea. In 1714 the British Parliament had offered agenerous reward to anyone who solved the problem, and Harrison devoted his lifeto that solution. The second story, some 200 years later, involves the effort ofshell-shocked British Navy veteran Rupert Gould (Jeremy Irons) to restore theglorious clocks that Harrison had built. Like Harrison, Gould is the mostadmirable type of obsessive, but, also like Harrison, he risks his marriage toaccomplish his difficult task.

Thousands of sailors perished at sea before Harrison's triumph changed history, but Longitude demonstrates that Harrison's glory was slow to arrive--and his prize money even slower. A fascinating study of 18th-century British politics and clashing egos in the arena of science, thefilm is both epic and intimate in consequence, and Sturridge's magnificentscript inspires Gambon and Irons to do some of the best work of theiroutstanding careers. The ever-reliable Ian Hart appears in Part 3 as Harrison's now-adult son and apprentice, and Longitude approaches its dramatic climax with the exhilarating tension of a first-rate thriller. Rallying after sickness to prove the integrity of their marvelous seafaring chronometers, the Harrisons still had to fight for official recognition, and Gould's restoration of the Harrison clockworks provides a fitting coda to this exceptional story about the thrill of discovery and the tenacity of remarkable men. --Jeff Shannon ... Read more

Reviews (20)

Better Than the Book
This film is described as an adaptation of Dava Sobel's book of the same name. It is far more than an adaptation, however. Charles Sturridge took a somewhat threadbare tale and turned it into a stirring, dramatic account of the life, tribulations, and ultimate achievement of the 18th century English horologist, John Harrison. It's not that Sobel's book is poorly written. It is in fact entertaining and engrossing as far as it goes. The trouble is that she doesn't go into enough detail and leaves a lot of questions unanswered for the reader. Sturridge takes up her story and fleshes it out, providing the sort of background and character development that the book lacks. Providing the audience with a parallel storyline involving the WWI veteran, Rupert Gould (briefly noted in Sobel's book) also is a stroke of genius on the writer/director's part. The parallels between the lives of the earlier inventor and the shell-shocked vet are striking and poignant.

It does nothing to hurt Sturridge's cause to have assembled such a sterling British cast. Irons and Gambon have great roles to their credit, but they surpass themselves in this production. Sturridge has demonstrated that he can squeeze good acting out of a virtual lemon (Ted Danson in Sturridge's adaptation of "Gulliver's Travels"). He has far more to work with here, and the results are remarkable. Gambon, perhaps best known to American audiences for his lead role in "The Singing Detective," and the recent "Gosford Park," again delivers the goods in this masterful performance. He captures perfectly his character's idiosyncrasies, vicissitudes and ultimate triumph.

Much of the series of course focuses on the "chase" for a solution to the longitude problem that plagued seamen from time immemorial. Methods for determining longitude before the chronometer was invented ranged from the sublime to the ridiculous. Heavenly charts were sometimes supplanted by such ludicrous schemes as "the wounded dog method". The following is a transcription of a dialogue delivered by the method's inventor:
" Now, it is vital to my process, Sir Edmund, that each dog be wounded with the *same knife*, as these three animals have been, under my instructions, some three days ago. Now, the animals are then to be conveyed aboard one of His Majesty's ships, uh, under the supervision of a designated officer, whose task it is to *prevent the wound from healing*. Now the knife, however, would remain here, in London, and at *precisely noon*, each day, is to be plunged into the Powder of Sympathy, which would immediately aggravate the wound, so that each dog, no matter how many thousands of miles away he may be on his particular vessel, would begin to howl... thus."

Clearly, there was a need for a practical solution to this age-old problem, as thousands of sailors were placed in constant peril, owing to the fact that, without a reliable method, they really couldn't get their bearings. This is one area where Sobel does a very good job in her book describing the difficulty in determining longitude, versus the rather simple methods for calculating latitude. That a rather simple man of humble origins could work out the method was disconcerting to several members of the vaunted Board of Longitude, which was composed of members of the ruling class. Harrison's chief detractor and a rival for his claim of the longitude prize (20,000 pounds, equivalent to almost a million dollars by today's standards) was Sir Nevil Maskelyne. Maskelyne comes across in the film and in Sobel's book as a rather arrogant, self-inflated snob, who engages in actual subterfuge of Harrison's claims. Viewers/readers may be interested to note that Maskelyne also appears as a character in Thomas Pynchon's "Mason & Dixon," also in an unflattering light.

In terms of a recommendation, I would have to give Sobel's book between three and four stars. While it is highly readable and engaging, it leaves way too many avenues and dramatic possibilities unexplored. Sturridge fills in all the gaps, and then some. It is not often that I recommend a film over a book, but in this instance, the film is a far richer and satisfying experience.

The Quest for Longitude.
I just watched this docudrama this weekend, and while it is too early to see if critics will give this film any latitude, I will.

As a historian, I often long for at least a blend of authenticity when discussing historical events. Often, as in Jean d'Arc films, accuracy is forgotten in leiu of mythology. Longitude give us the story of one of the greatest quests in history, and remains true to Dava Sobel's book on John Harrison and his son William. The two of which have perhaps saved more mariner's lives than life preservers! One mistake of a few minutes cost more than 1,700 men their lives in one incedent.

The drawback to accuracy is length, as this is a four hour film. However, it took the Harrisons 40 years to construct the four clocks/watches, thus an hour per decade seems reasonable.

If you care about maritime travel, history or clocks, this film will keep you interested for the entire four hours.

Exodus I; BA History EWU

A wonderful tale of vital historical importance
The beginning of this film makes clear the importance of knowing one's position at sea. Disasters--some of epic proportions--were distressingly regular when doubts about one's position relative to land or dangerous reefs were the order of the day. This film tells two stories in parallel. The first is of John Harrison's efforts to make accurate nautical clocks--called chronometers--that could be used at sea and provide a simple means of acertaining longitude (by comparing the time at the home port of known longitude to that of the ship determined by the sun or the stars). Harrison had to struggle against many technical odds to make his machines--and against many bureaucratic barriers to getting them accepted.

The second story is that of Rupert Gould, the Royal Navy officer, who, suffering from his experiences in the first world war, begins the process of restoring the old Harrison clocks to working order. This story is of less historical significance than the first, of course, but it is why we are able to go to the Royal Observatory at Greenwich and see the clocks running today. The poor fellow turned the clocks into an obsession as his life changed dramatically around him.

Well done, and well worth the time.

True Story of a Lone Genius who Captured Time
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Note: This review has been written from a city with the following position on Earth:

LATITUDE: (43 degrees 2 minutes North)
LONGITUDE: (81 degrees 9 minutes West)

This 3 hour 20 minute movie (based on the 1995 book by Dava Sobel) that was first on television in 1999 (and transferred to two 100 minute DVDs in 2000) is "a sweeping epic that takes place in two worlds." The two worlds are the eighteenth century of John Harrison (1693 to 1776) and the twentieth century of Lieutenant Commander Rupert Gould (1890 to 1948). This movie chronicles the life of Harrison who builds sea clocks and alternates his story with Gould's who restores Harrison's clocks and at the same time restores his own health. (Note that most of Sobel's book {that has the same title as this movie} is concerned with Harrison's story while only four pages in the last chapter of her book are devoted to Gould's story.)

The beginning of this movie is narrated and lasts less than three minutes. However, this narration is probably the most important part of this movie because it tells the viewer about latitude and longitude, indirectly how to calculate longitude, how time is related to longitude, and why longitude was so difficult to measure "during most of human history." (How to determine latitude was discovered centuries before this.)

I felt this narration was adequate but it did not mention one simple and important fact:

In 24 hours, the Earth spins 360 degrees on its axis from east to west. (Thus, as the narrator states, four minutes of time equals one degree of longitude east or west.)

The first DVD tells the story of how ships (with their crew and valuable cargo) were being lost at sea because they could not determine their position properly since their navigators were unable to calculate the ship's longitude accurately. As a result, the British parliament offered a reward that's equivalent to many millions of dollars today to anyone who could practically solve "the longitude problem."

Most of the scientists of this time thought that this problem's solution, even at sea, was astronomical. However, a lone genius, simple carpenter, and clockmaker named John Harrison (acted superbly by Michael Gambon) knew the fact stated above, so he reasoned that time was the solution to this problem.

So Harrison began building a clock (eventually called a "chronometer") that would be accurate enough to be used by a ship at sea. (Realize at this time there were only pendulum clocks that were quite bad at keeping time on a swaying ship at sea.) The viewer is shown Harrison constructing his clocks with it's many components. As well, we are shown the final beautiful result -- a clock that was to be used at sea. (Note that this first clock was named "H-1.") We are also shown the maiden voyage of H-1 as it's tested in 1736 on a ship bound for Lisbon (with Harrison, a non-sailor, on board). H-1 worked well during this trial. Because of Harrison's perfectionism, he elected after this trial, to build a better clock called H-2 (which was never tested). H-2 led to H-3 (which was also not tested).

As mentioned above, we are also shown scenes of Rupert Gould's life (very well-acted by Jeremy Irons) that alternate with Harrison's adventure described above. We are made aware that Gould's own life was tragic. As a result, he volunteers as a sort of therapy to restore clocks H-1, H-2, and H-3 that, in his time, were almost two centuries old. The result is that the viewer is shown more of the exterior and interior of Harrison's beautiful and complex "timekeepers" and how they actually work.

The second DVD tells us of Harrison's masterpiece -- H-4 (that was the size of a large pocket watch). As with H-1, H-4 is tested in 1761 on a ship bound for Jamaica with Harrison's grown son (well-acted by Ian Hart) on board. This timepiece worked well.

Also we are shown how Harrison had trouble collecting his monetary prize. In fact, we hear one official on the board (the "Board of Longitude") responsible for bestowing this prize say, "I would not wish to see the longitude prize stolen by a country toolmaker." As fate would have it, an astronomer who favored an astronomical method, Nevil Maskelyne (well-acted by Sam West) became the head of this board, causing further delays. Harrison has to seek the assistance of King George the Third (well-acted by Nick Rowe) to cut through this bureaucracy.

Meanwhile, Gould finishes restoring the clocks and manages at the same time to overcome his own problems.

The acting of those indicated above and the supporting cast is exquisite. The cinematography is breath-taking with the scenes at sea very realistic. All costumes that represented the two alternating time periods transport the viewer back to those periods. The movie itself has it all: intrigue, science, history, geography, astronomy, navigation, clockmaking, ambition, and greed.

A minor complaint is that a simple calculation for determining longitude was not shown. As well, the DVD only has one extra feature called "Behind the Scenes."

Finally, although not absolutely necessary, I recommend reading Sobel's book before viewing this movie. Doing this will enhance your enjoyment and understanding of the movie.

In conclusion, this movie was an A&E production. As a result, viewing this movie is definitely "time well spent."

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The Best!
This has it all! History, science, a great adventure story, great acting. Michael Gambon and Jeremy Irons are superb! Though I haven't read the book I got the book for my Dad a number of years ago. He's a scrooge about books and loved it!
This has a fast-paced story; lots of action shots, verve and movement. The story never dulls and moves easily and effectively. I've watched it nearly a dozen times. If you are interested in how academy, science,