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Gina Prince-Bythewood, a former college athlete, puts a spin on this one-on-one tale of Love and Basketball. Sanaa Lathan (The Best Man) is the fiercely driven, hot-tempered Monica, a tomboy who gives her all for basketball. Omar Epps (The Mod Squad) is Quincy, an NBA player's son who has pro dreams of his own. Next-door neighbors since first grade, they start as rivals (she flabbergasts the boy by outplaying him in a game of driveway pickup) and age into best friends and lovers. The romantic complications follow a familiar game plan, but the film throws a fascinating spotlight onto the contrast between men's and women's basketball. While Quincy plays college ball on huge courts to cheering, sold-out crowds, we see Monica's sweat, tears, and sheer physical dedication in front of tiny audiences in small gyms and second-rate auditoriums.

The story is pointedly set in the late 1980s, years before the establishment of the WNBA, so Monica's prospects for pro ball lie exclusively in Europe, while Quincy steps into the pros at home. It's a pleasure to see a character as passionate and fully developed as Monica, and Lathan gives a fiery portrayal (she had never played ball before the film, but you'd never tell from her performance). Prince-Bythewood favors her struggle over Quincy's and opens our eyes to her unique challenges with a sharp, savvy contrast. Alfre Woodard costars as Monica's harping mom (always trying to get her to be more ladylike) and Dennis Haysbert is Quincy's philandering father. Hoops fan Spike Lee produced. --Sean Axmaker ... Read more

Reviews (134)

A Must Buy
Love and Basketball is a wonderful film staring Omar Epps and Sanaa Lathan, a real life couple, whose chemistry is evident in the movie. The plot follows two standout basketball players throughout their lives, starting at age eleven. The plot, characters, and all other elements are truly great. The film itself is completely worth watching, but the special features on the DVD make it a must to have in your film collection. I particularly enjoyed the Commentary version of the movie where Sanaa Lathan (Monica) and Gina Price-Blythwood (writer/director) offer an inside look at the making of the film. Other great features include the Lucy Pearl music video for "Dance Tonight" and several deleted scenes, which give you the option to watch as the scenes as were meant for the movie and the option to watch with commentary from Price-Blythwood, explaining where the scene would have come in, why it was deleted, etc. The DVD also contains bloopers, a documentary, and Epps & Lathan's audition tapes, which the option of seeing the auditions and the actual scenes. It was great to see how some parts changed (for example, in the audition they addressed how Quincy [Epps] knocked out Monica's tooth when they were eleven, but in the actual film the scene was changed so that Monica got a scar from the incident; the reason behind that is addressed in the commentary version of the film) I would recommend this movie to anyone who enjoys love stories (Price-Blythwood said that the film is a love story and basketball is a backdrop) or anyone who enjoys basketball because this movie has tons of action. Also, in the commentary edition, the women talked about how certain things in the movie got attention because they were "black" but I want to note that I am a white, teenage female, probably one of the last people this movie was supposed to be marketed to. I think anyone can enjoy this movie because the acting is dynamic and the special features are plentiful!

Refresing and Nostalgic Charmer -- Buy It!
Love and Basketball is loaded with cliches. The writing is solid, but not special. The film feels a bit long and tedious.

Yet, we absolutely love this film!

We have viewed this film at least five times. Following each viewing, we have become more engrossed with the story of Quincy and Monica.

Superior acting joins this life-then-sports story to engross and mesmerize the audience. The actors and director inject Halle Berry-body into a Calista Flockhart-script. Lesser actors would have failed first-time diretor Gina Prince.

Lathan and Epps give superior performances -- subtle and highly effective. They believably portray high school teens and world-hardened adults. Lathan is budding into a superstar. Epps acts better than most superstars.

Love and Basketball offers fresh perspective on young love between two people who happen to be African-Americans. Do not let the title fool you -- this story focuses on love first, and how love finds a home between these two basketball players. The basketball theme highlights the mental and physical preparation necessary to win, not live competition.

Also refreshing: this is a sports story told from the point-of-view of Lathan's character. She is driven, yet sensitive. You will root for this character who is, "still a cocky (...)."

Furthermore, this film is not an "urban" drama. Actors of any race could have played the major roles.

The soundtrack provides historical and romantic perspective. This film will make you remember the wonderful joys of young love and the accompanying inexperience.

Don't waste anymore time reading reviews -- buy this video!

Love and Basketball
This is the best movie I have seen in a long time. I first saw the movie on TV; it was obvious that some scenes were deleted. I bougth the DVD and I have watched it everyday (sometimes more than once a day). This is a classic love story. I loved the way Ms. Prince-Bythewood portrayed the characters (Monica & Quincy)during the stages of their lives - youth, teenages to young adults. The transformation was very realistic and you saw the devlopment & maturity at each stage. Sanaa & Omar did an outstanding job depicting the writer\director's vision. At the conclusion of each viewing, I am sad because I want to see more. I wish it had been a 3hr movie or the DVD included all deleted scenes. I can't get enough of this movie. It is GREAT!

I love - Love and Basketball
This movie is great. I love the storyline. It is very real and not far fetched from reality. It is wonderful to see this type of love story, where there is no a great deal of sexual contact throughout the entire movie. It had a story which I appreciated. This movie is one of my favorites and one of the best. I am happy it did well for the director. Hopefully she will make more quality films of this nature, that I will own.

Great Movie
A must see. I really enjoyed this film. I think Sanaa Latham & Omar Epps are two actors who I hope will be around for years to come. This is a double love story. The love of the game of Basketball and just simply (being in love). They both gave stunning performances. Sanaa is not just another pretty face in Hollywood. She is a terrific actress. I personally know Omar Epps Mother (She is the Principal at a Elementary School in New York). She said, her Son could act& I must agree with her. Excellent Movie I could watch over and over again. I makes you feel all fuzzy inside. ... Read more

Reviews (110)

Cast better than inept direction
While I don't have a problem with new interpretations of Shakespeare, I didn't find this all that new, just confused. Updating Shakespeare is also fine, if it serves a purpose, or at least doesn't interfere with the story, but those bicycles were ridiculous, and simply not funny. There was no point of reference, no reason for them to be there, no punchline. Likewise with Helena and Hermia's little mudbath...generally, the direction was absolutely horrible. The film is quite entertaining though, thanks to some very hard work from some of the cast. And that does not mean Calista Flockhart and Michelle Pfieffer (C.F. is grating, and M.P. obviously not comfortable with the text). It means Kevin Kline, Stanley Tucci, and Rupert Everett among the stars, but especially to some of the secondary characters: Anna Friel as a grounded Hermia (mud bath excepted) Sophie Marceau as an actually likeable Hyppolyta, and the great Roger Rees, as the most memorable Peter Quince I've ever seen. The music is gorgeous, and the scenery is nice, although having actually taken the trouble to go to Tuscany, Hoffman decides to film the magical forest on a really horrible, cheesy, creaking sound stage. Watch it for the cast.

Ah the Tuscan Hills!
Wow, what a great movie! But of course if you're a traditionalist closed to new interpretations, lock yourself back in your room with your Turner Classic movies. And if you've never had an English class where you liked Shakespeare or if you've never read and enjoyed an Elizabethan comedy and/or tragedy, forget about this movie. The language will just confuse you too much.

But if you can get past your conservative views and are open to the language, then watch A Midsummer Night's Dream.

I think that after five hundred years, it's amazing that these plays are still around and can generate such mainstream attention. I also feel that after that long, a fresh adaptation is more than welcome, especially if you've been subjected to the less than glamorous BBC version.

I felt that the setting (the Italian Athens you've never heard of) and anachronistic props (bikes with lights) actually lend to the farcical quality of this movie. It is a comedy and it is supposed to be funny, so lighten up and enjoy the fantastic performances of Michelle Pfeiffer (my FAVORITE Fairy Queen), Rupert Everett (fairy king--pun intended?), Kevin Kline as Bottom (he makes an Ass of himself--heehaw), and the myriad of other wonderful actors and actresses that breathe life into an old play.

And before you take offense to a director's interpretations, you might inquire as to the reasons for them before you denounce his movie. And if you really want the Bard's opinion, Joseph Fiennes could probably give it to you.

All good things, JOE

Not perfect, but certainly worth watching
To make Shakespeare accessible, you have to make it entertaining. Not just entertaining to those who already know and love his work, but entertaining to those who have never picked up a Folger edition of anything in their lives.

I teach English to teenagers. Teenagers, who gasp in horror at the mention of Shakespeare. Teenagers, with their 30 second attention spans, faulty grasp of the modern English they supposedly speak, and affection for the physical comedy of the likes of "Jackass."

So, how do we make teenagers like Shakespeare? We edit. So, naturally, some of the best speeches are missing or drastically shortened (remember, 30 second attention spans); the physical, often silly humor is accented; and the women mud wrestle. So what?

This movie is entertaining. At times, it is enchanting. It is fast-paced, visually interesting, and funny. The emphasis is shifted away from the complexities of the language because it is the language, the very thing we love about Shakespeare, that makes these plays inaccessible to the majority of the American movie audience.

I use this film because it is easy to understand. The actors have faces my students recognize, and it gets them excited about Shakespeare.

What this film does is to put the content of the play within the grasp of its modern audience. Shakespeare himself would have done no less.

An occasional dream
One of Shakespeare's most beloved works finally gets a modern cinematic makeover, good news for all of those who'd rather not see Mickey Rooney's Puck again. Unfortunately the latest retelling leaves much to be desired. Though mostly enjoyable, this film could use a good shot of fairy dust.

The story concerns three sets of lovers - Hermia and Lysander, Helena and Demetrius, and fairy royalty Titania and Oberon. The first pair loves each other but cannot marry because Hermia is betrothed to Demetrius, the object of Helena's desperate affection. When Hermia and Lysander steal away, the second couple makes chase and all four end up lost in the woods where our third pair, the quarreling fairy king and queen, reside. Oberon, dissatisfied with all about him, enlists his servant, Puck, to make amends. Puck is to place a spell on Demetrius so that he will fall in love with Helena, but a case of mistaken identity causes Lysander to become smitten with her. Meanwhile, a traveling actors troupe, led by Nick Bottom, stumbles into the woods for a late-night rehearsal. They prepare a play for the Duke's wedding and soon become the object of the fairies' mischief.

With the shell of Shakespeare's original, this movie pulls of adequate amounts of wit and humor; clearly the script is better than most. Despite Puck's much abbreviated role, it remains a light comedy and surreal and magical in every sense. The costuming, makeup, and Italian backdrop add to the enchantment and are some of the most enjoyable aspects of an aesthetically pleasing film. I loved the energy of Monte Athena in turn-of-the-century Italy (punctuated by a soundtrack of renowned operatic talent), although it added little to the understanding of the story or the updated time period.

My main qualm for this otherwise fanciful retelling is the distracted acting, which ranges from inspiring to embarrassing. Shakespeare's language, archaic by our standards, depends on talented actors and directors to lift it and his beautiful stories from obscurity. Kevin Kline proves that you don't need an English accent to perform Shakespeare effectively. His Nick Bottom is the most rounded character in the film, wholly human and rich with emotions thick enough to dip your fingers through. Anna Friel's Hermia acutely defines the play's romance and innocence. Along with Kline, she seems the most comfortable in her role and possesses a grace and naturalness absent from the other female characters. Dominic West gives an amusing and (sometimes) smitten Lysander to Friel's Hermia. I also liked Roger Rees' affectionate Peter Quince. The remainder of the cast spirals downward. Calista Flockhart as Hermia and Michelle Pfieffer as Titania appear uncomfortable and rather unsure of their characters, as if they are too afraid of fouling up the Bard's work to dig deeply into it. Rupert Everett's Oberon is tired and melancholy to a point of boredom. I am still trying to figure out why David Strathrain, who lacks the nobleness of his character, was cast as the Duke. Poor Sophie Marceau should have stuck with Mel Gibson. Though I would not have picked Stanley Tucci for Puck, he provides a slightly amusing if ineffectual performance, as does Christian Bale as Demetrius.

Because of the spotty acting, the film never gels completely. An unfamiliarity with the play by certain actors interrupts otherwise fluid scenes. Those who act well in this film make it worth watching; the others leave us wanting more.

Kline and Flockhart shine!!!
3.5 stars. This is a moderately enjoyable Shakespearean comedy with only two stand-out performances. Calista Flockhart, of "Ally McBeal" fame, shows here that her range and understanding of the poetic language of Shakespear is both impressive and fluent. She steals every scene she is in. Speaking of scene-stealing, Kevin Kline, a veteran of the stage and Shakespearean theater, has the best performance here. He hams up the goofyness of his character and makes him ultimately hilarious and endearing. Many of the other actors are merely okay. Michelle Pfeiffer, often a great actress, seems to struggle here. She sounds like she understands iambic pentameter well, but fails to emote any feeling behind the words; except for her scenes with Kevin Kline, she is simply mediocre. Also, the character of Puck, played by Stanley Tucci, is traditionally portrayed as more mischievous and problem-causing than the lap-dog of Oberon as he is portrayed here. All in all, this is certainly above par, with great costumes and fine sets and scenery. It just doesn't come together as a whole. This film is fun in moments, but eventually feels incomplete. ... Read more

Reviews (57)

Bawdy Good Fun!
Totally irreverent and unabashed Paint Your Wagon is bawdy good fun for the whole family! In spite of the critics' remarks about its morals or lack of them, I found the story to be true to life in the old west. In watching the documentary "Ken Burn's presents The West," one learns that many decent law abiding folk abandoned all sense of morality and manners once out on the American Frontier.

The music as with all Lerner and Loewe films is excellent, especially the unforgettable song, "They Call The Wind Maria." Clint Eastwood sings beautifully and most probably could have had a nice singing career had he not gone to tough guy films and spahgetti Westerns. Lee Marvin and Jean Seberg compliment a fine cast of actors that make this musical very enjoyable and a believable picture of life in the Old West.

Adapted by Paddy Chayefsky (remember "Marty?") the musical is filmed on location in a beautiful wilderness (supposedly) in California which is about to become a state. Reckless, raucous and full of good fun it makes Rogers and Hamerstein's "Oklahoma" look dull and tame by comparison. Like the song "With A Little Bit Of Luck" in the musical, My Fair Lady, Lerner and Loewe tend to celebrate the lesser (and more real) qualities of humanity with a tongue-in-cheek sense of humor. Thus so I dare say I enjoy Lerner and Loewe much more than Rogers and Hammerstein.

Bawdy Good Fun!
Totally irreverent and unabashed Paint Your Wagon is bawdy good fun for the whole family! In spite of the critics' remarks about its morals or lack of them, I found the story to be true to life in the old west. In watching the documentary "Ken Burn's presents The West," one learns that many decent law abiding folk abandoned all sense of morality and manners once out on the American Frontier.

The music as with all Lerner and Loewe films is excellent, especially the unforgettable song, "They Call The Wind Maria." Clint Eastwood sings beautifully and most probably could have had a nice singing career had he not gone to tough guy films and spahgetti Westerns. Lee Marvin and Jean Seberg compliment a fine cast of actors that make this musical very enjoyable and a believable picture of life in the Old West.

Adapted by Paddy Chayefsky (remember "Marty?") the musical is filmed on location in a beautiful wilderness (supposedly) in California which is about to become a state. Reckless, raucous and full of good fun it makes Rogers and Hamerstein's "Oklahoma" look dull and tame by comparison. Like the song "With A Little Bit Of Luck" in the musical, My Fair Lady, Lerner and Loewe tend to celebrate the lesser (and more real) qualities of humanity with a tongue-in-cheek sense of humor. Thus so I dare say I enjoy Lerner and Loewe much more than Rogers and Hammerstein.

The movie they tried to ruin
"Paint Your Wagon" is almost a textbook case in how to ruin a film version of halfway decent musical. Take a minor Lerner & Lowe hit, blow it up all out of proportion, cast three non-singers for the main leads, and remove most traces of the whimsy and irony that made this moderately popular in the first place. That the result is STILL somewhat entertaining is almost a miracle. A lot of the credit has to go Lee Marvin, who plays his trademark drunken Westerner to the hilt. But Clint Eastwood and Jean Seberg are bland to the point of nonexistence. A standout (he's hard to miss) is Harve Presnell, an actual singer who belts out the movie's big hit, "They Call the Wind Maria" then promptly disappears. There's a lot of "what-in-the-world-were-they-thinking?" in this one. But it's still worth a couple hours of your time.

Good Old Fun
Wow, how can you not love Clint Eastwood's singing? This movie is fun and hilarious. A little action and a lot of laughter. The characters are witty and the plot is creative. I would recomend this movie to anyone, unless you don't agree with drinking, smoking and gambling. Just watch the movie and enjoy.

My first true laugh
Thirty years ago when I as a young buck watched this movie, it was a delightful surprise. That Lee Marvin was so funny. You never forget that first kiss,well you never forget that first really uncontrollable laugh either. Lee Marvin, like alot of heavies, had a gift for comedy. The part of the movie when Marvin thinks he is in hell is so classic. The closing song is bittersweet. It is hard to say good-bye to all the great characters. Ah to be so young and innocent again! ... Read more

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Bob Hope is in top form in this Technicolor parody of pirate pictures, doing his best vaudeville shtick as an inept performer trying to save princess Virginia Mayo from the evil clutches of governor Walter Slezak and pirate Victor McLaglen. It's all ridiculous fun, of course, but if you're a fan of Hope, you never tire of his self-effacing gags and double-entendres. His out-of-place show biz jabs were always clever, and they're all the funnier in this period setting--particularly the Bing Crosby jokes. But Walter Brennan nearly steals the film as a wacky pirate scheming to steal buried treasure, and tattooing the map on Hope's chest. Yet the two best routines are when Hope tries to conceal his chest while taking a bath with Slezak, and when he tries to impersonate McLaglen as "the Hook." --Bill Desowitz ... Read more

Reviews (10)

Bob Hope as the classic cowardly pirate
"The Princess and the Pirate" is one of my favourite Bob Hope comedies right up there with "My Favourite Blonde" and "The Ghost Breakers". During the war years escapism was high on peoples wish list and the period saw an influx of top grade pirate adventures set in far off lands on screen such as "The Sea Hawk", and "The Black Swan". Bob Hope, ever quick to pick up on the latest popular trends created his own mini classic here in "The Princess and the Pirate", with a roushing send up of the whole Pirate genre that suited his comic talents to a tee.

This film has it all, from cut throat pirates to beautiful maidens in distress, fantastic galleons filled with treasure, beautiful technicolour, swashbuckling sword play and at the centre the comic Hope in one of his famous coward roles filled with hilarious one liners. Of course no Hope film would be complete without a few Bing Crosby jokes and they are laid on in abundance here. Even San Goldwyn who produced this film comes in for a comic slaying! Bob Hope playsSylvester the Great a second rate performing act who unknowingly gets involved with a group of cut throat pirates headed bythe notorious "The Hook' played superbly by Victor Mclaglen. In a plot too convoluted to lay out here Hope unknowingly gets a rare treasure map tatooed onto his chest and thus becomes the target for the greedy pirates bent on retreiving the treasure. Along the way Sylvester becomes involved with the Princess Margaret (played by the lovely Virginia Mayo)who is being held as a captive by the pirates and who in a surprise twist at the finale, after romancing Hope throughout the entire film suddenly runs into the arms of a well known rival of Hope's whos name I wont mention here!!

The film is full of wonderful scenes and performances. Walter Brennan in a distinct change of pace literally steals the show as the wacky featherhead, the giggling pirate who tattoes the map onto Hope's chest. Bob Hope's quip upon hearing him giggling to "hurry up and lay that egg" is probably one of the funniest lines in the whole film. Virginia Mayo while perhaps not the best leading lady that Bob Hope had in his films is cooly beautiful as Princess Margaret but does perhaps lack a bit of the fire that a Maureen O'Hara type would have brought to the role. Bob Hope I feel has one of his very best roles here. Whether he is playing the wisecracking Sylvester ducking from cut throat killers or dressed as a cackling old gypsy womanto avoid detection on the pirate ship, romancing the Princess or deceiving the dreaded Hook and the govenor, he is in fine form full of the lovable quips and Crosby insults that were his stock in trade. Hilarious scenes abound throughout "The Princess and the Pirate". Stand outs are the priceless scene where Hope and the princess arrive at the boarding house in port to find a room for the night and find that the previous occupant had mysteriously "checked out" while leaving all his clothes! and the absolute rib tickler where Bob ends up sharing a bath with the corrupt governer La Roche (Walter Slezak in another funny performance) and tries to hide the tattoo of the treasure map from him, that one is guaranteed to have you laughing till you drop!.

The overall look of this production is lavish and no expenses was ever spared on Bob Hope films around this time. The colour is beautiful and the costumes, sets, and period flavour are top notch. For a fun filled, hour and a half of pure mayhem and Hope madness "The Princess and the Pirate", is unsurpassed. If you are a Hope fan like I am you cannot miss this one to see him at the absolute peak of his abilities and comic timing. Enjoy a rousing time on the high seas with Bob Hope at his cowardly best!!

a great and beautiful film!
This film is very good, so entertaining and colorful.It's packed, with glamoour, romance, comedy, and adventure.A little of everything.Virginia Mayo is wonderful in it and so is Bob Hope.

Classic Gut-buster
My siblings and I caught this movie on Sunday afternoon TV once, and laughed until we cried.Very silly gags interspersed with hilarious one-liners make this oldie stay fresh.I'm not someone who generally likes classic comedy, and I LOVE this movie!

Good, simple pic
Everytime Bob Hope made a picture in a costume, people would cringe.It doesn't have to be that way, as this movie is heads and tails above "Cassanova's Big Night".This is a fun, silly pirate movie that I loved as a kid, and still love now as a twenty-something unemployed male unable to graduate from a state college.

Good, simple pic
Everytime Bob Hope made a picture in a costume, people would cringe.It doesn't have to be that way, as this movie is heads and tails above "Cassanova's Big Night".This is a fun, silly pirate movie that I loved as a kid, and still love now as a twenty-something unemployed male unable to graduate from a state college. ... Read more

Reviews (897)

"No hay banda! There is no band. It is all an illusion."
David Lynch's "Mulholland Drive" is a whole lot of nothing. People have attached various meanings to the images, dialogue, and events in it, but this has been a waste of a tremendous amount of time. "Mulholland Drive" is nothing more than a failed-television pilot that was edited together with some newly-shot material so that all the previously-shot footage would not go to waste. To think that some people believe that the end product is a momentous creative accomplishment is mind-boggling because "Mulholland Drive" is all smoke and absolutely no fire.

Wide-eyed Betty Elms (Naomi Watts) arrives in Los Angeles hoping to become a major star in the entertainment industry. Rita (Laura Elena Harring) has been targeted for death but has her life spared when an accident enables her to escape her fate. The lives of the two women become strangely intertwined when Betty finds the amnesiac Rita taking a shower in her aunt's apartment. In the course of trying to find out who Rita really is, the two women come across a movie director named Adam Kesher (Justin Theroux) who might hold some of the answers the women are seeking. Before all is said and done, a decomposing body is discovered which proves to be the key to unraveling the mystery behind Rita's identity and the strange relationship she has with Betty.

So what did Lynch intend to accomplish with "Mulholland Drive"? Did he want to create a surrealist work that would redefine the film narrative? Did he want to create a post-modern film noir that was so stylish and complex that it would belong to a category all its own? Did he want to prove that a film could effectively tell a story using only symbols and metaphors? Did he want to create the cinematic version of the cosmic joke? The more you think about it, it seems the "cosmic joke" choice might be the correct answer - and boy, did Lynch pull a fast one by tricking Universal into releasing this film and tricking us into watching it. Truth be told, "Mulholland Drive" is not the crowning achievement of his career - it is instead incontrovertible proof that Lynch has crossed over from being a director who makes "unique" films to being a director who makes "incomprehensible" films. The fine performances by Watts, Harring, and Theroux are wasted here as is the beautiful production design and cinematography. It is too bad that all of these separate elements did not find a home in a better production. "Mulholland Drive" is simply the equivalent of an abstract painting in which people see whatever they believe they see when looking at it. If you believe that pointless ambiguity is a desired goal of the creative process then this film is for you. Look elsewhere if you're not entertained by staring at nothingness.

a beautiful masterwork
This film has a haunting beauty that is akin to experiencing Klee upon the first time. The mystery and sensuality wrecks havoc of all your senses. I relished the experience.

Midgets!
This film is David Lynch doing what he does best: screwing with people's heads until they want to smash their VCRs. There's everything you expect from Lynch; bizarre, dreamlike situations, whacked-out characters with no clearly defined purpose, an inexplicably foreboding atmosphere. Oh, and of course, the entire cast shifting identities in the last half hour. While I loved it, there was one particular moment which was a bit too unsettling, even for Lynch. You see, there's this elderly couple who appear at the beginning. They're kind of strange, and have smiles plastered on their faces. They disappear for the next two hours, which is nothing new. Near the end, they show up again - as...hyperactive two-inch tall midgets. Even Eraserhead's singing worm creature didn't disturb me as much. I mean, midgets are kind of disturbing, and old people who can't keep smiling are also kind of disturbing, and when you combine the two...

25354. IRS97, stick to reviewing Charlton Heston movies
... Because apparently that's all you know.
Your recent attacks on 'Age' for her response to your original aggresively offensive review attacking anyone who has a taste for Lynch's art are as 'ignorant' as your original review was.
Age, as most people who admire Lynch's art, has a passion for the art of film and music.
Dirge9 (whom I do not know!) recently wrote a superb review of Mulholland and what it truly is.
A lot of reviewers (besides myself and my group of 7 artists)
have responded to your 'movies are just movies mentality'.
And, your conservatism shows IT'S age.
Comparing the art of Lynch to the 'art' of someone like Charlton Heston is excrutiatingly laughable.
I can see why, as an American conservative, you 'get' Heston, the most arrogant Hollywood actor of all time. There's even an 'in joke' in Mulholland with the casting of Chad Everett (who brilliantly parodies his own Hollywood image) that is comparable to the like and mentality of Heston, the once president of the Hollywood Actors Union who blatantly attacked Ed Asner for his political stances and had enough Hollywood clout to see to it that 'Lou Grant' was taken off the air.
Mulholland is so anti-Hollywood in every frame. It mocks Hollwood's 'The story must be clear, cohesive and literal' mentality.
This film pulls the rug out from under the Hollywood type viewer's feet in every sense imaginable.
Hollywood is a facade and Mulholland mocks that facade. Nothing is as it seems, hence the two halves of the film. First, we have the facade, then the ugly truth comes out and does so in such a way that it brilliantly leaves the viewer scratching his head.
'What the hell just happened?' is the typical response.
Admittedly, this film is not at all friendly to the Hollywood type viewer (aka yourself).
it's amusing too that in looking now at all of your reviews that you liked 'The Shining' (another anti-Hollywood film), anD detested both 'Twister' and 'Zardoz'.
'Age', in the college we attended, wrote reviews very similar to your views on those three films.
And yet,even though you, like her, pointed out the downright ignorance of 'Twister', and the Hollywood hyper pretentiousness of Zardoz, and praised the brillance of that horror epic, 'The Shining' you did not 'get' the similar sentiments of Lynch's 'Mulholland and 'Lost Highway'.
There are movies and there are films and Mulholland fits squarely into the latter.
Film is as much a visual 'art form' as painting is, while 'movies' are valid forms of entertainment, usually created by Hollywood business men.
Europe is far more advanced in it's thinking regarding film as an art form and Lynch has a very European artist's frame of thinking.
Another reviewer recently wrote of 'elitistic taste' and wrote that this is something to strive for.
Mulholland is a perfect example of a film being for 'eltistic taste' and like Dirge9 I agree that the fact that this film gets the passionate reviews that it does, is refreshing because it proves that Lynch's art is indeed challenging and every negative review you give it further proves this point.

and another thing, part two
I notice my previous review is getting only "unhelpful" votes. So let me try to explain myself yet again. David Lynch is interested in making preposterous movies. David Lynch is perniciously interested in making movies that are basically terrible, yet terrible in a dissociative way. The essence of a David Lynch movie is that it is a load of horse puckey, to quote the apartment manager in Mulholland drive. What's that? You want examples? Well, lets take another of Lynch's movies, Lost Highway. Bill Pullman's character is established as morosely mellow and more or less inert. Cut to: a scene of him playing his saxophone in a club, "wailing on it" as they say. This is in total contradiction to what we have just seen - contradiction being the main form of literary humor - but more importantly, Pullman is a very, very bad saxophone player. His playing is preposterous. One cannot take him seriously as a musician. Another example, from the same movie, is Richard Pryor as the garage manager on the phone to a potential customer. He says, "We got eight guys here. I'll let you talk to five of them; and if you can get that price from ONE of them, I'll let you ask the other three." Any questions? Is this not self-evidently complete and utter nonsense? And what about the fact that halfway through the movie Bill Pullman turns into a totally different guy and so is let out of jail. After all, since he is not the same guy they put in there, they gotta let him out. That follows, don't it? Am I making myself clear?
No? Okay, what about David Bowie in Fire Walk With Me? He plays a Texan. I am sure he was cast as a Texan precisely because David Lynch figured on Bowie being unable to do a convincing accent. He says to his casting director, "Let's have Bowie play the Texan. He'll do a terrible job and it'll sound like sh*t." Am I getting through to you people now? David Lynch intentionally makes very bad movies. What?!?!? Another example?!?!? Well, how's about Laura Palmer saying to her boyfriend, "I'm long gone, like a turkey in the corn." "Don't say that. A turkey's one of the dumbest birds there is." (tears falling down her cheek)"Gobble...gobble...gobble..." Can't you see what I'm saying to you?!?!?
DO YOU BEGIN TO SEE THERE IS NO BOY THERE IN THE DARK ROOM?!??! ... Read more

Description

Includes the following movies, Abbott and Costello Meet Frankenstein Mexican Hayride Abbott and Costello Meet the Killer, Boris Karloff Abbott and Costello in the Foreign Legion Abbott and Costello Meet the Invisible Man Comin' Round the Mountain Lost in Alaska ... Read more

Reviews (7)

Except for A&C Meet Frankenstein...these are bombs!
Universal has squished another 8 Abbott & Costello movies out on a 2 disc set that will obviously please the ardent fans, but these films (with one exception) are really AWFUL.

The only one worth any note here is A&C MEET FRANKENSTEIN which actually has a good script, and a clever way of intergrating Universal's horror franchise with their then-hugely popular comedy team. It's the only A&C film I can sit through (except for their earliest).

SKIP THIS DUD!

The best of Abbott & Costello Vol. 1
I have waited so long and now to have them released is fantastic. These are true comedy and can now be shown to my grandkids to experience a good laugh without swearing. Kudos to Universal for releasing these gems and hopefully more soon.

This DVD collection is a must - for any A&C Fans
I remember growing up watching old Abbott and Costello movies on Sunday afternoons with my Dad (along with the classic monster movies and the old Blondie shows). Buying these DVD's is like reliving great memories from my youth. The picture quality on these DVD's is outstanding - they are very well done. This third volume in this series is going to be the best of them all - this DVD will have some of my all time favorite A&C movies. I have watched the first two volumes numerous times since purchasing them and look forward to this next volume with great anticipation.

Worthy of More Than 5 Stars...
I just can't get enough of Abbott and Costello!

I waited for quite a few years for ANY Abbott and Costello movies to hit DVD. There were very few in print. It was frustrating.

Well, the wait paid off big time. The first two sets were incredible. Universal has gone the extra mile and these sets are winners on so many levels.

Each set thus far includes 8 HIGH QUALITY films for under $20!

When I say HIGH QUALITY, I'm not just talking about the quality of the prints, which is very high, but the movies themselves are not lost turkeys. These are the truly all classics, and this set includes some of the great Universal Monster tie-ins, which were previously sold individually for more than the price of this set of 8!

Based upon the track record for classic movies going out of print, I suggest you buy them while they are still in this format.

keep em coming!
This is what offering a great value is all about! I've got vol. 1 & 2 already and this one on order. This will be one of my favs for sure! 8 movies, fantastic quality, all for under $20!!! Man, the CD music industry needs to stand up and take notice of what's happening in the DVD industry. This is one of many great collections that have/are coming out. The Universal Monsters, The Marx Brothers, Don Knotts and several other collections all reasonably priced. You can't even rent movies this cheap. Vol 1 & 2 of this series are stellar for quality and the packaging is top notch and very convenient, they take up very little space in a storage unit. I'm not sure how many movies are left to release after this but if there's enough to do another vol 4 please do so! Thanks a million Universal Studios! ... Read more

Amazon.com

With dizzying cinematic tricks and astonishing performances, Francis Coppola's 1992 version of the oft-filmed Dracula story is one of the most exuberant, extravagant films of the 1990s. Gary Oldman and Winona Ryder, as the Count and Mina Murray, are quite a pair of star-crossed lovers. She's betrothed to another man; he can't kick the habit of feeding off the living. Anthony Hopkins plays Van Helsing, the vampire slayer, with tongue firmly in cheek. Tom Waits is great fun as Renfield, the hapless slave of Dracula who craves the blood of insects and cats. Sadie Frost is a sexy Lucy Westenra. And poor Keanu Reeves, as Jonathan Harker, has the misfortune to be seduced by Dracula's three half-naked wives. There's a little bit of everything in this version of Dracula: gore, high-speed horseback chases, passion, and longing. ... Read more

Reviews (345)

The Best Dracula Movie I've Ever Seen!
Francis Ford Coppola does an excellent job retelling the Dracula tale using actual history blended with legend. Gary Oldman is excellent as the Count. Oldman's portrayal of the Count as a tortured man longing for the lost love of his life acutally had me feel sorry for the man. When he observes the portrait of Mina(Winona Ryder) and remembers his lost bride it is truly an awesome scene. Oldman's Count can also be bloodthirsty as well! Sir Anthony Hopkins as Professor Van Helsing is very fun to watch. To say that Van Helsing is a little nuts is an understatement! The music is also classic and it really sets the mood during the entire film. Winona Ryder as Mina playing a woman torn between the Count and her intended husband(Kneau Reeves) is well done. The most awesome scene is when the Count receives Mina's letter saying that she'll never see him again. You can feel the heartache and pain in the Count and also feel his anger. Awesome! A must see for the true Dracula fan!

16:9 HDTV/480p DVD/5.1 sound = SUPERBIT DRACULA !!!
This review is about "SUPERBIT COLLECTION" an outstanding Home Theatre version of Bram Stokers Dracula, a Francis Ford Coppola film.

Columbia Pictures has raised the bar on DVD video and sound quality with the new "SUPERBIT" series movies. This feature improves the picture by doubling the bit rate digital transfer. Simply, twice the picture quality of existing DVD transfers. Also the sound has been enhanced equally in performance.

NOTE: GOODS NEWS - All this can be enjoyed on existing DVD players with noticeable improvements. BAD NEWS - Its not really bad news its really the "BOTTOM LINE NEWS" - the "SUPERBIT COLLECTION IS FOR YOU IF" you have; a Home Theatre, HDTV WideScreen (Enhanced 16:9)w/Component Video, Progressive Scan DVD (480p) w/Component Video & DTS or 5.1 Sound environment. IF you have this then the "SUPERBIT COLLECTION" Dracula explodes of the screen!!!!!!

Summary: SUPERBIT Dracula directed by Francis Ford Copplola is a very beautiful photographed eerie love story. With a story line more to the tragedy of Dracula (brillantly played by Gary Oldman)than the viciousness of vampires. The detailed scenes & colors explode off the screen with this "SUPERBIT" version film. The 5.1 sound is crystal clear and adds immensely to the eeriness of this dark gothic horror film. This SUPERBIT detailed film makes for an unbelievable visual experience. Coppola does a grand job providing us with an unsusual twist in the story of Dracula.

This is the best "SUPERBIT" transfer so far in the Columbia Pictures Collection. Just remember, "SUPERBIT" was developed to give the Home Theatre owner a new improved DVD experience and they have done this with "Bram Stokers, Dracula". Enjoy.

Bram's Stoker's best
You can't go wrong with Drakula, and this is the best translation to film of Bram Stoker's Masterpiece to date.

A classic telling of a classic tale
Francis Ford Coppola breathed new life in to the classic vampire story by Bram Stoker, keeping faith with much of the original novel while adding his own touches that made it an artistic wonder.

The best parts of the movie are those that remain true to the book: Jonathan Harker's travel to the castle and fateful meeting with the Count; Harker's confrontation with Dracula's three vampire lovers; the newly arisen Lucy Westenra confrontation as a vampire with her loved ones in the cemetery; and the exciting race with the sun and the gypsies taking the coffin-bound Dracula to his castle.

The script follows Dracula's strengths and vulnerabilities faithfully. The Dracula of this movie walks in the daylight -- just as in the novel.

Even when the movie departs from the original and the plot lags with the romance of Dracula and Mina, Coppola creates breathtaking images with their own potent spell that held me enchanted.

Overall the performances are well done with one or two notable exceptions. Sadie Frost, however, steals the movie in the role of Lucy Westenra.

The movie, in my opinion, would have been better with more emphasis on horror. Dracula should be more scary than sympathetic.

Still, this is one of my favorite vampire movies ever and well worth repeated viewings.

The best vampire movie ever!
Francis Ford Coppola (The Godfather, Apocalypse now) delivers the best vampire movie ever. "Dracula" has great performances from Gary Oldman, Winona Ryder, Anthony Hopkins and Monica Bellucci (!). The only bad performance comes from Keanu Reeves -- everytime time he's on screen he looks like a pale moron. Anthony Hopkins role is even shorter, yet, he's great, as always. "Dracula" is very well written and directed, it has great sound & visual effects, a haunting soundtrack and it is very scary and erotic(!), see Monica Bellucci (Irreversible, The Passion Of The Christ) as one of Dracula's sexy undead brides.

This version of "Dracula" is fascinating because it's so different from the Bram Stocker famous novel. In the novel there was no mentioning of a love story between Dracula and Mina. In this film exists a sad love story.
There is a scene where Dracula and Mina drink Absinthe. That scene is hypnotic. It proves the film's tagline to be right: love never dies. See it for yourself if you don't believe me. ... Read more

Reviews (853)

One of the best movies EVER!
As a musical theater purist, I was concerned that a movie musical with 3 of Hollywoods A list stars would be a hinderance rather than a help in the "revival" of the genre. I must say that I was blown away by the sheer genius and excellence of the film.
Catherine Zeta-Jones' Velma was equal to, if not better than Bebe Neuwerth's ( Brodway revival). Her beautiful voice and masterful dance skill is worthy of the great white way. A Tony may have been a more appropriate award as opposed to her much deserved Oscar. Although Rene Zellwegers voice was a little shaky in the begining she brought out a tough side in Roxy that was not there in neither the original nor the revival stage versions. Then my biggest fear, Richard Gere as Billy Flinn, was in a word perfect. You can't ask for a better fit, and what a shocker to see that wonderful tapdance!
With great costumes,Fosse-like choreography, expert lighting and singing (by many broadway veterans in the chours as extras) this dark comedy shines. Also with great cameos and supporting performances by the great Chita Rivera ( original broadway cast),John C. Reily (oscar nominated),Lucy Liu, and Christine Baranski this film shines as one of the greatest ever made, not just as a musical, but as a film. Rob Marshall's directorial debut deserves all of it's accolades...and all that jazz.

Sizzling and sexy musical entertainment.
I have just seen one of the best movie musicals in years. "Chicago," directed by Rob Marshall and starring Catherine Zeta-Jones, Renee Zellweger and Richard Gere, will knock you out of your seats. This stylish adaptation is smart, sassy and gorgeously put together.

Catherine Zeta-Jones is red hot as the murderous Velma Kelly. Velma washes the blood of her victims off her hands, and then sings and dances on stage as if killing people is all in a day's work. Zeta-Jones struts across the screen as if she owns it. She is sultry, sexy and a very talented singer and dancer. Renee Zellweger does fine work as the low class Roxie Hart, a selfish and conniving young woman who longs to be a musical star. Like Velma, Roxie lands in jail after committing murder. Richard Gere effectively plays their shyster lawyer, Billy Flynn, with roguish charm and a twinkle in his eye. Also outstanding are Queen Latifah, as an avaricious warden, and John C. Reilly, as Roxie's hapless husband.

The movie takes place in the 1920's during the Jazz Age. It is the era of Prohibition, fast women, and an "anything goes" attitude. Rob Marshall has an assured touch, and he directs this material with panache. The swinging score by Kander and Ebb goes perfectly with the wonderful costumes, sets and choreography. I have not enjoyed a movie musical this much in years, and I recommend "Chicago" highly.

Manipulating the System
The 2002 Oscar winner for Best Picture,"Chicago" is a musical which has the late Bob Fosse's choreography stamped all over it, although it's really anybody's guess as to whether or not he would have been pleased with this film version of his 1975 stage hit. Happily, the acting was great and the leads did their own singing and dancing.
The story is based on the real-life cases of Beulah Annan and Belva Gaertner, renamed respectively as Roxie Hart and Velma Kelly (There was a real Roxie Hart as well, who committed murder in Indiana in the 1910s), who were exhonerated of murder charges by a flashy lawyer in the 1920s.
The story begins on a snowy night at the Onyx Club in the Chicago of Al Capone, where the booze flows heavily despite Prohibition laws, and a brassy Velma (Catherine Zeta-Jones) arrives at work late, stopping to hide the gun she has just used to kill her husband and sister after catching them in bed together. She performs the rousing number, "All That Jazz" shortly thereafter as if nothing has happened.
Watching her is ex-chorine Roxie, played by a slender, shiny-complexioned and pixie-faced Renee Zellweger, whose unquenchable desire for fame has led her to cheat on her mechanic husband with a slickster furniture salesman (Dominic West)who falsely claims he has connections that can revamp Roxie's career.
Soon, Roxie and Fred Casley scurry over to the Hart's apartment to continue their affair. When Roxie asks Fred, as she has before, when he will introduce her to the club manager, and help her return to showbusiness, Fred admits that he lied. The following confrontation becomes violent and Roxie fatally shoots Fred as he tries to leave.
Amos Hart, Roxie's dim-witted but devoted husband(John C. Reilly) tries to cover for her at first as Taye Diggs' Bandleader/Announcer leads us further into the action by introducing Roxie's first number, "That Funny Honey", which changes tones as the investigator mentions the victim's name and Amos becomes aware of his wife's infidelity.
Roxie is arrested and taken to the Cook County Jail, where Chita Rivera, who originated the role of Velma Kelly on Broadway,has a cameo appearance as inmate Nickie.
We are then introduced to Matron Mama Morton(a pretty, regal, and matronly Queen Latifah), and the vaudville numbers continue as she sings the racy and more-than-highly suggestive "When You're Good to Mama".
As she begins her time in prison, we get to know Roxie's inmates during "The Cell Block Tango". Judging from the visuals, where most of the inmates' handkerchiefs came out red as they finished giving details of their crimes and the Hungarian immigrant's was white, we are to believe that Katalin Helinszki (Ekaterina Chtchelkanova), who was accused of the most heinous of the murders, is innocent.
Soon after, Mama Morton pulls a few strings, Defense Attorney Billy Flynn (Richard Gere, whose early training in stage musicals, like that of Catherine Zeta-Jones' serves him well here) arrives to represent Roxie, who also has push-over journalist/sob-sister, Mary Sunshine(Christine Baranski)in her corner.
The song "We Both Reached for the Gun" is based on headlines from the actual case, and has the feel of a hymn sung at a revival meeting. It is reflective of Roxie's false repentance for her misdeeds.
As the publicity surrounding Roxie grows, and the opportunistic Flynn begins to devote more time to her than to his previous client, Velma, another potentially lucrative case appears for Billy when Lucy Liu's pineapple heiress, Kitty Baxter committs a triple homicide(Note that his discussion of this case with dinner guests would not have taken place today), forcing Roxie and Velma to use a few tricks to win back Billy's attention, including a fake pregnancy.
Onstage, as the murder-as-entertainment scenario continues, we are treated to the long-suffering but loyal Amos' "Mr. Cellophane", and his devotion to his unfaithful and ungrateful wife is heart-rending. But at least he gets more attention than the offscreen family of Fred Casley, who might have given the story an interesting perspective if included.
Roxie's falling-out with Billy over his selected courtroom attire for her ends abruptly upon her observation of the tragic results of a poor woman's inability to get proper representation. Noteworthy is the strong anti-immigrant sentiment of the time.
Ultimately, Flynn, Velma, and Roxie, razzle-dazzle 'em in court. Lies win out over truth, and style, in the form of Flynn, Velma and Roxie, wins over substance in the form of Colm Feore's prosecutor, Martin Harrison, Katalin Helinszki, and Amos, and the Hart's neighbor, Mrs. Borusewiz (Jayne Eastwood), who also took the witness stand, as often happens in life.
Although acquitted, things didn't end so happily for the real Beulah Annan, whose life ended in a sanitarium in 1928.Belva Gaertner lived to see her story told onstage the year before.
But the man-manipulating Roxie Hart and Velma Kelly live to dazzle the world again, and our rollicking tale of cynical truth ends on a positive note for our main players.
All one could do in the end is heave a sigh, enjoy the show, and "All That Jazz"!

Too Much Music
I saw nothing on the cover to indicate this was mainly a musical. The minimal story line was squeezed in between 110 minutes of singing and dancing..... I would describe as "interpretive modern jazz". We finally used "fast forward" to speed through this dancing and at the end threw the VHS tape in the rubbish. What a disappointment.

The DVD release is shameful
Don't get me wrong. I love this movie more than just about any other movie in existence. The problem is that whenever you get a big-budget, Oscar-winning movie, the initial release on DVD is always going to have at least 2 discs and 2-3 hours of special features. So naturally, I eagerly awaited the release, so I could bask in the sheer excessiveness of the entire product, but instead, I watched as the curtain rose to reveal a DVD that, from my perspective, can only boast of having a 3-minute-long musical number deleted from the theatrical cut of the film. I was crestfallen, and proceeded to wait until they unveiled the real prize, the multi-disc extravaganza that I had expected from the start. But still I wait, so I am forced to say that the DVD is only worth renting, but not worth the $20.00 that the distributors continue to ask for. The movie is incredible from start to finish, but it's just not worth spending $20.00 on this, only to see Miramax release a 4-disc set the moment you take the plastic off the case. I personally will wait until they release it in a DVD set that truly does this masterpiece justice. ... Read more

Reviews (12)

DOCTOR DOLITLE LOOKS GREAT ON DVD!
If you haven't seen the underrated original DR. DOLITLE in widescreen stereo as you will be able to on DVD, you haven't seen it! The photography is outstanding (shot in TODD-AO 70MM) and the orchestrations and songs sound great! The Laser Disc was the only way to experience this oustanding family musical...until now. Sadly, though, two of the films best songs, "Where Are The Words" and the beautiful "Something In Your Smile" were cut from the film right before its release and are not restored here as hoped; be sure to check them out on the soundtrack, available on CD (you can hear the melodies play in the overture, opening credits, and exit music). Still, this is a great looking, great sounding musical for everyone! Many muusicals of the late Sixties were unfairly compared (or indeed did try to emulate) "The Sound of Music" and "Mary Poppins" As time has gone on, they can be finally apprecaited as the outstanding entertainments some of them are, like DOCTOR DOLITTLE.

An Overlooked Treasure!
"Dr. Dolittle" is one of the most enjoyable family movies to view again and again. You'll find yourself humming the delightful "Talk To The Animals" for days! From the magical island to the giant snail and the 'push me-pull you', this movie is filled with wonderful cinema moments. The DVD version has obvious advantages, but I give 2 thumbs up even for the VHS version. Get the popcorn and enjoy this overlooked treasure!

Oh, Eddie Murphy...
What were you thinking? I'll admit the 1998 remake was entertaining, the way "Wings" is at one o'clock in the morning when nothing else is on, but, like "The Nutty Professor" Murphy's kid-friendly remake looks like a crime against cinema when placed next to its source material. First off, this is a musical with a beautiful score by Leslie Bricusse (who wrote the songs for "Willy Wonka" and "Stop the World, I Want To Get Off" with longtime partner Anthony Newley, who stars in this film). Also, Rex Harrison WORKED to learn to talk to animals. It wasn't a magical power he was born with, the man studied! He doesn't need cheesy (if well-cast) celebrity voiceovers and computer-generated mouth-movement to convince us, either. So if you want your kids to settle for second best and, as a result, drag you to mediocre kiddy-fair after mediocre kiddy-fair (which, in the age of "The Cat in the Hat" is pretty bad) let 'em have Eddie Murphy. But if you want your kids to have taste and appreciate a quality piece of filmmaking, rent this film immediately. Even if you have no kids, buy it, rent it, whatever.

Never Appreciated Enough
This 1967 box office dud, came a few years too late to be appreciated. Although it had several Oscar nominations and a couple wins, it came at a time when musicals had fallen out of favor and had huge, overblown budgets. It still has many charms, including a very sincere performance by Rex Harrison. He talk-sings his way through the score like he did in "My Fair Lady", and actually performs many of his songs live on set. Composer/actor Anthony Newley made his American film debut and shows us all why he was such an amazing talent. The DVD looks and sounds great, if you've never seen the movie in all it's wide-screen glory, you need to see it this way. The sound is full-bodied and is very typical of 1960's sound technology. Fox always had a great sound department, and on a good sound system, you'll hear an awesome score. Highly recommended for the pre-computer effects generation. The film was cut after it's initial road-show version and there's 2 songs on the soundtrack album that are not in the film. Maybe someday the road-show version will show up again, but don't count on it. Also recommend getting the CD of the score with the missing songs.

A wonderful, timeless, and funny film!
I highly recommend this film for people of all ages It's a great film for the entire family to watch. Rex Harrison is absolutly brilliant as Doctor Dolittle. He's a wonderful actor in every film that he does. It deserves all the stars it can get. It's well worth the price and a film I never tire of watching. ... Read more

Reviews (351)

A Predictable, But Delightful and Optimistic Gem
Pretty Anne Hathaway, who, interestingly enough, has the same name as Shakespeare's wife, plays the lead character in a modern fairy tale that the Bard himself might have found amusing.
Hathaway's Mia Thermopolis is a gawky teen living with her artist mother (gently and generously portrayed by Caroline Goodall) in San Francisco (whereas, in Meg Cabot's book, her home was New York). She attends a private school via the financial support of her father, who had passed away shortly before the story begins, has a best friend involved in social activism, (played by a loud and cynical Heather Matarazzo), a crush on a heartthrob who doesn't notice her, and a clique of annoying cheerleaders who constantly taunt her, led by pop singer, Mandy Moore.
One day, a meeting with her grandmother changes her life, and Mia discovers that her father was the Crown Prince of Genovia. While reluctant to accept her heritage at first, Mia gradually warms to the idea. As the very regal Queen Clarice, Julie Andrews combines her two Broadway roles in "Camelot" and "My Fair Lady" as she begins the process of training the gawky Granddaughter she had never met before for the role she may one day have on the world stage. Scenes of Mia's Princess lessons are reminiscent of scenes in the film, "Gigi".
The makeover scene is enjoyable to watch, as we see Mia turn from looking like Sarah Jessica Parker's character in "Square Pegs" to looking more like Queen Rania of Jordan. She is truly beautiful with her big, sparkling doe eyes and softened hair as she sees her outwardly polished self in the mirror.
Her friend, Lilly, taunts her about her metamorphosis, while Lilly's brother, Michael, played by an adorably sweet Robert Schwartzman, admires it. After a few tumultuous and embarassing incidents, Mia must make a final decision about where she belongs, and is ultimately influenced by her best friend's opinion in so doing. Genovia may receive a new heiress, and the prospective Princess might be on her way to finding true love as well.
All the while, it is the cool-headed Hector Elizondo's Joseph, the head of the Queen's security detail, who helps the young girl through her dilemma, providing sage advice, and helping to reconcile both grandmother and granddaughter after Mia generates some bad press.
The books on which this film was based have a bit more of an edge and may be more cynical. The premise is a teenage girl's answer to the 1991 film, "King Ralph". But once again, Disney has provided viewers with light and wholesome entertainment.

DELIGHTFUL FAMILY FILM
In the great tradition of such Disney live-action family films as The Parent Trap, Garry Marshall spins a perfectly fine fairy tale with The Princess Diaries. Featuring a sparkling performances from natural comedienne Anne Hathaway and seasoned vet Julie Andrews, this movie is one virtually all members of your family can enjoy together -- it is truly G-rated, and in this case, the G-rating does not mean boring. A nerdy San Francisco highschooler is dumbfounded -- and not terribly happy -- to learn that she is in fact royalty -- and the chaos that ensues is both compelling and highly entertaining. What a welcome sight to see Julie Andrews -- the 60s queen of G-films -- return to form in the role of a Queenly grandmother! The movie has the amiable pacing and gentle humor of a romantic comedy, and unfolds in a way that is predictable without being flat. The score, laden with pop music, adds to the fresh warm-hearted gloss. Watch for a minor car accident, and its subsequent scene, to earn the biggest laugh, though there are giggles and smiles aplenty.

PRETTY GOOD!
PRETTY GOOD MOVIE!GREAT ACTORS,GREAT EVERYTHING!JULIE ANDREWS IS REAL GOOD AS THE GRANDMOTHER!ME AND MY MOM LOVED IT!WE LAUGHED THE WHOLE TIME!

really cute
this was a really cute movie, really different from the books which i think are better. Something for the whole family to watch.

The book is better!
Apparently based on some of the reviews I've seen here, a plethora of people do not seem to know that the movie is based upon (or is supposed to be) the book "The Princess Diaries" by Meg Cabot, I believe.

This movie is cute. However, this is not to say that it barely follows the book. The only things that are in the movie that are like the book, are the fact that Mia acquires princess lessons, goes out with Josh to the dance, finds out she's a princess, Mia's mother dates one of her teachers, Lilly yells at her when she sees her hair, and a few other things.

In the movie, when Lilly sees that her friend is turning to someone similar to Lana, she becomes angry. In the book, she ignores her for quite a large bit of the story. In The movie gives the impression that Mia's grandmother is a loving woman but they have not spoken in fifteen years. In the novel, Mia does speak to her grandmother but never was able to figure out that she was a princess (in the book grandmother is a princess, not a queen) of Genovia herself. In addition, Mia's grandmother is not the nicest of people. Furthermore, the Prince of Genovia, Mia's father is still alive. The only thing is that he can not have any more children.

I think you understand my meaning. Please, read the book instead. ... Read more

Reviews (424)

Absolutely Effective
Most movies I've seen about the Vietnam War have been depressing. "Platoon" and "Hamburger Hill" come to mind, as they are there to remind us that Vietnam was a real shock to us back in the 60's and 70's. Yes, we remember we pulled out, lost if you want to say, but I don't go to a movie to get depressed. Randall Wallace's "We Were Soldiers" is not a depressing movie by any means, but shows that heroes were made in a war we look down on even today.

From the book "We Were Soldiers...And Young", the main character is Lt. Col. Hal Moore (Mel Gibson), a family man put in charge of, for the most part, green officers and men. The film also stars Sam Eliott, Chris Klein, Madeline Stowe, Keri Russell, and Berry Pepper. The majority of the movie takes place in Vietnam, where Moore and his 7th Cavalry fights 4000 NVA's while there are only 300 with Moore.

The battle scenes (which comprise the movie pretty much) are gory. Now, this isn't the goriest battle sequences you've ever seen, but it ranks number three in my book ("Black Hawk Down" and "Saving Private Ryan" taking the other two) for realistic wounds and such. The battle is hot and exciting, featuring infantry, air force, artillery, the whole deal. Some of the most frightening scenes come at night, when we see how close the NVA's really get to the lines. Wallace effectively knows when to change scenes at different places of the battle, and the changing it to back home with the soldiers' wives.

Gibson of course performs admirably here. He plays Moore to detail as not only a father of seven, but a father of three hundred. Sam Eliott was casted brilliantly as the gruff Sgt. Major, Barry Pepper as the journalist who would write the book along with Moore, Klein as an upcoming platoon leader that meets his demise, and Russell and Stowe clean up at home. Once again a great ensemble cast, and a great film. A little lengthy, but this film makes it worthwhile. "We Were Soldiers" is a rather positive look on Vietnam, thankfully conveyed by Wallace and Gibson.

I knew that Wallace had written the flop "Pearl Harbor", but the last time that he and Gibson got together was "Braveheart", and we all know how successful that movie was. "We Were Soldiers" is no different, with intense battles, emotion, and the reminder that heroes can just be ordinary people.

Hard to connect to depiction of early Vietnam War combat
"We Were Soldiers" is an good-but-not-great post-"Private Ryan" Vietnam War film. I had read the excellent book by retired General Moore, which describes his experience in leading a battalion into the Ia Drang Valley in 1965, and nearly getting overrun in a day-and-night battle. The Ia Drang battle took place when the news from Vietnam wasn't quite the nightly dinner-table companion, and when helicopter assaults were still new. Mel Gibson is good as Moore, but lots of people could have played this part. The movie doesn't let us get to know most other characters, so it feels more like a high-octane A&E documentary than a theatrical drama.

I don't know why I had trouble completely connecting with the movie. Perhaps the main reason is after so many movies dealing with the late-war period like "Apocalypse Now", and "Platoon", it's a bit of a culture shock seeing earnest, crew-cut soldiers that look like they stepped off of "Sands of Iwo Jima." We're used to seeing our average Vietnam grunt as a stoned-out disaffected short-timer. This isn't the director's fault - the Oliver Stone version of the war was four years in the future, but in might as well have been forty.

So what remains is a conventional war story which could have just as well taken place on Okinawa or in Korea. The political and spiritual upheaval caused by the war was just a glimmer, and the film can't really address it. The brief scenes of Colonel Moore's Vietnamese officer counterpart are interesting but far too short. The North Vietnamese soldiers, at least, are humans, we see them as individuals with histories and feelings, and rather than mindless insects or worse, sadists ("Deerhunter").

Recommended reading: Moore's book, "We Were Soldiers", is better than the movie. Another account of the battle is Larry Gwin's book, "Baptism" which follows a different battalion which, while walking back from the Ia Drang, was ambushed and nearly wiped out.

New wave propaganda
It is highly disappointing to watch Mel Gibson giving his high credibility (Patriot; Braveheart) as humanistic actor in this cheap propaganda. There is nothing in the movie but (a) 45 minutes of wasting time before going to Vietnam and (b) 90 minutes of violent extremist Vietnamese wanting to humiliate the west (by liberating their country??) challenged by few American heroes.
Opposite to 1800 Vietnamese, there were almost 360 Americans, supported by artillery, helicopters and extensive use of Napalm bombs by jet fighters. What is heroic on this? Why making a movie about it? Are we back to the 50's to celebrate American heroism of WWII?
Am glad that I saw the film on cable and did not specifically pay for it; the film is very boring, repeated and vague.

very good
the war scenes are outstanding, but the scenes with the women getting the cards were too sappy. dvd has good extras. the irish song was kind of strange at first, but it and the rest of the music was very good.

Great movie...
This is a really great movie. The war scenes were great as well as the acting. My heart really went out to the wives of the men when they started receiving the messages that their loved one had passed on. I recommend anybody to see this movie. I won't forget this movie for a long time to come. ... Read more

Description

A young boy is awakened during a storm to witness a flying saucer land in the field behind his home. No one will believe his story as, one by one, the townspeople are captured and put under the control of sinister forces from the planet Mars! Brilliantly created by visionary set designer and director William Cameron Menzies (designer of "Gone with the Wind" and H.G. Wells' "Things to Come") with a haunting musical score by Raoul Kraushaar, this golden age sci-fi classic has lost none of its chilling power. Surreal imagery brought to terrifying life in a Cinecolor world just beyond our nightmares! ... Read more

Reviews (47)

Prelude to "Taken"
The prototype for later scifi movies, "Invaders from Mars" a 1953 Color film will take you along an exciting course... implants are introduced as well as theories about an underground Martian civilization are well integrated into the plot of the film.

I thought the ending was very novel for it's time... a time loop. The British edition is also featured on the DVD and is interesting but not as original as the American version... You decide which ending you like.

This film is also probably the fore runner to the abduction experiences recounted by so many these days...

The special effects are of course almost childlike by todays standards...particularly the explosions and the sand pit scenes...but other scenes where the alien head uses telepathy are ahead of their time and were later used by Star trek episodes later.

A classic 1950's Sci-Fi
If you like 1950's Sci-Fi movies, or enjoy watching them with your kids (I love educating my kids to the classics),this is the perfect "watch-at-night-with-popcorn movie." There are no whiz-bang effects (ballons and something that looks like boiling spaghetti sauce are used inside Martian tunnels under the sandpit) and the Martian costumes are pretty silly, but the story and character development more than make up for any shortcomings. I own both the VHS and DVD of this movie and I love the DVD. I don't think a print worthy of total restoration exists and the audio is just OK (no spectacular Surround effects) but the DVD does have original trailers on it and it does not have the inherent pifalls of tape (drop outs, even worse color and audio). My kids (and even my wife) get hooked on this film when I play it. The suspense starts right away and the film gets you "inside" David (the starring character in the movie) so you feel his frustration in his attempts to reveal the secrets of the "Sand Pit." Everyone, at some point in their lives, will have a nightmare where they run from an enemy and can never escape. This is the movie made from that nightmare.

oh, come on!
This is one badly made, poorly directed, cheesy 1950's sci-fi movie. And I'm a collector of this stuff! At least you can understand about Ed Woods' "Bride of the Monster", etc, because they were made on about $75 and in one take only. This movie doesn't have that excuse. The inflated condoms passing for..what, exactly? on the walls of the underground tunnels, the boiling Campbell's soup image intended to depict...what, exactly? when the Martian ray gun is pointed at the condoms on the walls, the absolutely laughable Martian costumes with the zippers up the back. I tried to convince my kids that the zippers were ridges on the Martians' backs but hey my kids have seen zippers before. I enjoyed the avant garde minimalist sets and it would have been interesting if it had been intended. This thing is really bad and that's where all the pleasure can be drawn from it. Enjoy!

Form ruins substance
While the term "classic" is thoroughly overused to describe movies, "Invaders from Mars" is definitely a sci-fi classic in the truest sense. Sadly, this version of the movie is simply atrocious. As another reviewer here correctly stated, "What you get is a scratchy, jumpy film with more interference lines than you used to get on TV before cable. Stay away from this version." I found the poor picture quality so distracting that it ruined the experience of watching the film.

No communists just aliens
Yes, this has been one of my all time favs, it scared the bedoobies out of me as a kid, along with The Preying Mantis, Invasion of the Body Snatchers, and The Fly. But some of us kids who stayed awake frozen at with fear at night hearing strange noises due to the movies and our imaginations were not afraid of communists, but that our parents could turn into something OTHER than our parents, (i.e., alien monsters who had destroyed our REAL parents) only we would know it and the other grown-ups would not believe that our parents were aliens, either because they were also aliens or because we just "kids". I have no idea if this movie would have such an impact on me today, if I were to see it for the first time as a grown-up, but it is a memory that I won't forget. Now I have a lot of fun watching it, when I was little I was just really scared. And it really is a GOOD MOVIE...I am thankful that i