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| 61. Say Anything... Director: Cameron Crowe | |
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Reviews (182)
Unlike most films, which begin with a screenplay, producer, James L. Brooks asked Cameron Crowe to write the story in prose first. The result was a 90-page novella that became the outline for the film, and from which Crowe wrote the final screenplay. This movie stars John Cusack (who must have been about 19) as Lloyd Dobler, an eternal optimist who seeks to capture the heart of Diane Court (Ione Skye). He surprises just about everyone-including himself-when she returns the sentiment. But Diane's over possessive, divorced Dad (John Mahoney) doesn't approve and it's going to take more than just the power of love to conquer all. This is my favourite movie by Cameron Crowe. As with all his movies, the dialogue is true to life and flows. Every aspect of this film borders on unbelievable brilliance. John Cusack is terrific as Lloyd Dobler, the sweetest guy in the whole world. He's one of those guys that girls would love to have, but one of those guys that guys would love to be. The situations are true to life situations teens would absolutely be put in (I love watching Lloyd make his first phone call to Diane -- it reminded me of me) Ione Skye is also great as the object of Lloyd's affection torn between her love for her father and her love for Lloyd. Besides being Cameron Crowe's best film, this movie also sports the greatest love scene of all time (I won't ruin it for those who haven't seen it), and can give inspiration to any guy who has ever wanted a girl as much as Lloyd. Guaranteed though, after seeing this particular scene, be prepared to fall in love with Peter Gabriel's Song "In Your Eyes". If you haven't read through all of this (if you got bored, I don't blame you), just read this last paragraph. This is a terrific movie. One that you can watch over and over again without getting tired of it. If you haven't seen it, you are indeed missing out. Roger Ebert declared it one of the best films of the year in 1989. - "We just don't want to see you get hurt" "I wanna get hurt"
HOWEVER...John Cusack's best role will always be that of Walter Gibson in "The Sure Thing".... which needs to be released on DVD IMMEDIATELY. "Say Anything" is a different film than "The Sure Thing." It is in a class all by itself. It is quite simply marvelous, poignant and forever endearing. It deserves so much more than 5 starts! 10 stars for this beautiful film. What can be said about this film that hasn't already been said? It is the perfect love story. Lloyd meets girl. Lloyd falls in love with girl. Girl's father objects to Lloyd. Lloyd loses girl. Lloyd wins her back. True love reigns. This DVD is PACKED. Worth every cent you will pay should you wish to own a classic gem. There is commentary by director Cameron Crowe, John Cusack, & Ione Skye!! (Right there, worth the price!) There are so many behind the scenes stories and anecdotes to be listened to here. There are theatrical and television trailers, 10 deleted scenes, 13 extended scenes & 5 alternate scenes with commentary!! What more could you want?! DO NOT miss out on owning this DVD. If you've by some chance never seen "Say Anything" do yourself a favor and do so right away! You're truly missing out. SPOILER FOR THOSE WHO MAY NOT HAVE SEEN IT.... No matter how many times I have seen this masterpiece, I still get choked up when Lloyd tells Diane, "You've just described every success story." And then we wait for the "ding" along with them. And then... the "ding." CUT TO BLACK. (Gets me every time.) I love this movie. Absolutely love it.
A dorky but confident guy falls head over heels in love with the school's super brainy girl. Things happen, ups and downs ensue, all leading to an ending that is so satisfying, so overwhelmingly right, that immediately we fall back into step. My minor grouse with the story was how conveniently the solid parental characterization of the girl's father turns out to be such a snake. One wonders if teenagers may not pick up from this the tired and rather sad message that parents are not to be trusted, no matter how sincere. But that doesn't detract Say Anything from being a hot recommendation from me, particularly if you have a thing for lovey-dovey light dramas. It generally maintains an intelligent and realistic contour, which is more than one can say for most romantic comedies being made today.
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| 62. Pirates of the Caribbean - The Curse of the Black Pearl (UMD Mini For PSP) Director: Gore Verbinski | |
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| 63. Agatha Christie's Miss Marple - Collection 1 Director: Christopher Petit | |
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Description Reviews (27)
I did look it up to find that all of Agatha Christie's full Miss Marple novels were made in to movies with Joan Hickson as Miss Jane Marple. And this set has 5. Collection 2 (1986) ASIN: 630340488X, contains 5 more. Then there are three individual films not in the collection boxes. If you do not obtain them all you will be haunted for the rest of your life wondering what you missed.
"Sleeping Murder" This film is an excellent adaptation of Agatha Christie's book. The actors were well chosen. Géraldine Alexander and John Moulder-Brown is a convincing newly wed couple. The couple gets to solve the lion's share of the mystery with guidance from Miss Marple of who warned them not to pursue the mystery. The location is beautiful and requires a vision of the sea. As with most Marple mysteries everyone and no one did it. In fact we are not sure that there was an "it" to did? "A Caribbean Mystery" A relative of Aunt Jane's pays her way for a rest in the West Indies. There she is still sort of out of place with the exception of talkative Major Palgrave who turns up dead. Aunt Jane is teaming up with and usually out guessing another guest (the exocentric millionaire) Mr. Rafael. In the process a few more murders show up and everyone looks suspicious. This story introduces you to Jason Rafiel who will turn up again in "Agatha Christie's Miss Marple, V. 7: Nemesis (1986) ASIN: 6303404855. "The Mirror Cracked from Side to Side" Aunt Jane finds herself at a local an annual summer garden party hosted by the new owners of Gossington Hall. The new owner is an aging movie star who is at odds with the studio producing the latest movie. A visitor mysteriously dies. People start dropping like flies and the Movie Star (Marina) knows she is next. The title of the movie is taken from "The Lady of Shallot" Joan Hickson is Miss Marple. Agatha Christie always considered her as the ideal Miss Marple; she shows this through her reserve savvy. Jane takes an interactive interest in the mystery and yet each character as part of the discovery, stands on their own. The ending of the story is as is in life, it is appropriate not black and white judgmental. "4.50 From Paddington" A woman is being strangled and there is a witness. The police are can not find any evidence. So it is up to Miss Marple with help from Lucy Eyelesbarrow an independent maid. Notice how Aunt Jane is always several steps ahead of the others in planning. Watch the expressions when Aunt Jane grates on David Horovitch as Detective Inspector Slack. "...When one of us is clever enough to find the body." The story does not totally follow the book yet it has the unmistakable Aunt Jane feel. John Hallam has fun playing randy Cedric Crackenthorpe watch him again playing "Lord Rhysart" in "A Morbid Taste for Bones" (1997) 156938195X
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| 64. The A-Team - Season Two | |
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Amazon.com Only during the 1980s could this peculiar blend of lefty politics and military fetishism have thrived. Though supposedly mercenaries-for-hire, the A-Team usually finds itself defending the downtrodden and helpless out of sheer cussedness. In the second season they helped abused migrant workers form a union--which, naturally, required transmogrifying farm equipment into a cabbage-shooting cannon. Other underdogs included the disenfranchised heir to an African diamond mine; an independent cab company being squeezed by big business; and a pacifist commune harassed by bigots. The last of these prompted Hannibal to muse ponderously on the unappreciated role of the soldier, who fights so others don't have to--after which Murdock and B.A. began punching each other over a bag of pecans. Self-aware and self-mocking, The A-Team pushed the TV action/adventure genre to laughable extremes. --Bret Fetzer Reviews (11)
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| 65. Gosford Park - Collector's Edition Director: Robert Altman | |
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Description
Reviews (343)
The reason Gosford Park has such great insight is the film's screenwriter, Julian Fellows who himself grew up as part of the English aristocracy. Much of what makes this film fun is the idiosyncrasies of its characters and their world that Fellows has personal experience with. A maid and driver stand in the pouring rain until their mistress gets in the car. Servants only refer to each other by their master's name, and they maintain the same hierarchy as their masters so that a duke's servant is treated better by other servants than a baron's. Only married women are allowed to have breakfast in bed; unmarried women must go to the dining room. What a strange world they lived in, especially to someone like me who grew up in a middle class New York neighborhood. The spine of Gosford Park is, without question, NOT the murder mystery. In fact, the murder mystery plot is about 5% of the movie-if that. It's what's known in film lingo as a McGuffin, a device that helps propel the plot in a story but is of little importance in itself. If a viewer turns to the murder mystery plot for what this movie is all about, they will most likely be sorely disappointed, seemingly like many of the negative reviewers here were. The key to enjoying this movie is to think about what it's like to live in a society that is extremely oriented by class. What must it take to keep it going? As I alluded earlier, pretense and hypocrisy grease the gears of high society. From scene to scene, we peep around corners and into bedrooms to see characters trying to hide one secret or another. And in the end, we see the unpleasant consequences of this duplicity. This is definitely not a film that lays out its purpose before the audience. Since the almost 60 characters (for a chuckle, look under product details above for the colossal cast list) each add something unique to the larger picture, and since the audience is usually only told something once, you definitely have to be your own detective. However, Julian Fellows does a brilliant job interweaving these characters into a solid whole, and he definitely deserves the Oscar he received for the screenplay. Since this is a complex and subtle film, multiple viewings are helpful, but unlike some other reviewers, this is something I really enjoyed. Like a good album, each time with it reveals another layer and increases your appreciation. Robert Altman, the director, says in his DVD commentary (which was boring except for a few insights, but Julian Fellow's commentary was excellent) that the film is "like looking in through the windows of a house, you only get part of the picture at a time." I think this analogy fits nicely, especially since the film is set in a house. Altman also acknowledges what some of the negative reviewers complain about, saying he meant the audience to be left wondering after the first viewing. He didn't intend this movie for the "wham, bam, thank you ma'am" set. In fact, Altman went out of his way to insert curse words, guaranteeing an R rating so that "14 year old boys couldn't walk off the street and watch it." And of course, last but not least, the acting was great. Gosford Park has an excellent ensemble cast with not a single weak link. Maggie Smith as the snobbish Aunt makes you smile; Kelly MacDonald as the Aunt's young, innocent maid makes you want to give her a big wet kiss (maybe that's just me); and Clive Owen's cool restraint as a mysterious footman keeps you following him around the screen. All through, Gosford Park is a movie very well done.
On the surface this appears to be a very formulistic murder mystery. It has the classic setting, 1930's period, an isolated English manor house filled with guests for a weekend shooting party, and all of the servants both resident and visiting. Everybody has secrets, the tension is so thick it could be cut with a knife and there is conveniently one missing from the kitchen. For more than half the film we see motives offered and wait for the murder and yet after it occurs it becomes evident that this is NOT a murder mystery at all! The film has been compared to Upstairs Downstairs and it does involve the lives of those both above and below stairs, but it is much more than that. The various stories are added layer by layer some, such as the imposter in the servants' hall are obvious while others like the secret abortion are only alluded in a couple of lines. The various stories are, while interesting, not really the point of the film either. This is a beautifully drawn portrait of a way of life that is long gone and will probably never return. Almost everyone has read about or seen depictions of English Country Life in the '20's and '30's. It is a setting that has been used in drama, comedy, romance and of course mystery genres for years but Gosford Park makes it clear that we have only the faintest ideas of what that life was really like. The genius of this film is that it takes all the information that could have been spread out in a PBS documentary series and used fiction to illustrate the same points in a much more effective and enjoyable way. The cast is huge and filled with actors, both well known and soon to be well known. No one is given such a large role that it becomes their film and yet each performer manages to turn their scenes into a polished little gem. The extras included in the DVD are wonderful. They include deleted scenes (with commentary), features on the making of, and authenticity of the movies as well as Q & A with cast and filmakers. The best of the extras by far are the commentaries with the director, Robert Altman and screenwriter, Julian Oscar. I highly recommend the purchase (as opposed to the renting) of this film. It is so packed with detail that it would be impossible to absorb it all in just one or two viewings.
The "below stairs" lives of the servants are also fully revealed, as they share living quarters, eat meals together, tend to the laundry and cooking, and gossip about their employers. The butler Jennings (Alan Bates) and the head housekeeper (Helen Mirren) run the household and try to guarantee that no real-world cares will intrude upon the lives of their employers. Since "upstairs" and "downstairs" occasionally meet very privately at night, secrets abound, many of them secrets of long standing. When Sir William is poisoned and stabbed ("Trust Sir William to be murdered twice"), nearly everyone has a motive for wanting him dead. For director Robert Altman, the primary focus of the film is on the characters, their way of life, and their values, with the murder mystery secondary. Set in late November, the end of the year 1932, the action takes place when this secure aristocratic lifestyle is also nearing its end, something that the arrival of the newly rich Hollywood characters, Novello and Weissman, illustrates. Dramatic cinematography (by Andrew Dunn) emphasizes the cold and rainy dreariness of the weekend, and suggests parallels with the coldness of the dying aristocracy. Interior shots reveal the contrasts between the elegant and mannered lives of the "upstairs" characters and the hardworking daily lives of the "downstairs" characters, who adhere to their own rigid social codes. Every detail rings true, and as the characters' lives and interrelationships are revealed obliquely in brief snippets of seemingly unrelated conversations, a broad picture of the upstairs and downstairs lifestyles gradually emerges. Fully developed, many-leveled, wonderfully acted, often funny, and impeccably directed and filmed, this is a film one can watch again and again with delight. Mary Whipple
Apparently many people are impressed by this mannerism and consider it a sign of artistry. On the whole, I find it pretentious and irritating. In one of the supplementary features on the DVD, Altman, his screenwriter and a handful of the actors from Gosford Park are interviewed in front of a studio audience. Altman and the writer rattle on about how every scene is shot by two cameras that are always in motion, so that the actors are never sure whether they are going to be foreground or atmosphere, or what angle they'll be seen from. Does Altman really think he invented the idea of shooting a scene from multiple angles, and choosing one during editing? And why is a camera that's gliding and panning constantly somehow more "truthful" than one that's framing the character or group that the director believes is most essential to telling the story at that moment? It can be said in Altman's favor, though, that he never makes a merely conventional or routine film; they are all a bit eccentric (a compliment in my book) and, despite my reservations about the camera and sound-recording style, usually offer a fresh view of the theme or its environment. Gosford Park is your standard Agatha Christie-style murder mystery set among a dinner-jacketed, evening-gowned crowd in an English manor house in 1932 -- except, in this case, the doings of the upper crust are set against the army of servants below stairs who work their tails off to make everything straight, gleaming and smooth for their social betters. Altman and his screenwriter Julian Fellows do a very creditable and humane job of conveying the personalities and individuality of the servants; they aren't just symbols of The Oppressed. The characters of the gentry, though, while ably portrayed (the acting talent makes sure of that), are almost universally so sour, rude and calculating that it's hard not to feel that there's a touch of old-fashioned, left-wing agit-prop involved. (The one exception is Jeremy Northam, who plays Ivor Novello -- a real singer and film star of the period -- with considerable charm.) I can believe that an assembly of English bluebloods in that era might have carried within themselves much wickedness, but they would have been far too polished to display it as openly and crudely as they do in Gosford Park. Altman recruited a clutch of A-list British stage and film actors, and they don't fail him. Altman's casual attitude toward the basics of craftsmanship (as opposed to displaying his self-assumed creative genius) ensures that you will be lucky to figure out who half the characters are and their relationships with one another by the time of the denouement, but their cultivated swinishness holds the attention anyway. I think actors love playing obnoxious and unlikeable characters; these seem to be enjoying their roles, and you will, too. The English have a term, "curate's egg." The meaning is, "parts of it are very good." ... Read more | |
| 66. Titanic Director: James Cameron | |
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An undersea expedition, led by explorer Brock Lovett (Bill Paxton), is searching for a valuable diamond aboard the wreckage of the Titanic. The team, instead finds a drawing of seventeen-year-old Rose DeWitt Bukater, (Kate Winslet) who is on the way to her wedding to wealthy tycoon, Cal Hockley (Billy Zane). Now an old woman (Gloria Stuart) Rose tells her story of the fateful voyage to the team. While the ship races to meet its fate with an iceberg, Rose falls in love with Jack Dawson (Leonardo DiCaprio) a free-spirited artist and third-class passenger who ignites a passion inside her. The film itself is a technical marvel. Cameron and his crew recreated the ship and her history with such skill and percision that it's easy to go along for the ride. I liked the way the fictional story of Jack and Rose was interlaced with actual historical figures and facts. For example "The Unsinkable" Molly Brown (Kathy Bates), Captain Edward J. Smith (Bernard Hill), and shipbuilders J. Bruce Ismay (Jonathan Hyde) & Thomas Andrews (Victor Garber), all have a place within the love story. Speaking of which, for me, it's Stuart that sells the romance. Acting as "narrator", she makes it possible to care about these characters more than you would have otherwise. The chemistry between DiCaprio and Winslet is very apparent and Zane is pitch perfect as Cal. The sinking sequence is really something and no disaster film since has matched its scope. As it stands right now, the DVD doesn't have any bonus material on it, save for the theatrical trailer. Enough time has passed that another edition is warranted. That said, the bare bones DVD is recomended. For some additiional perspective on the history of the disaster, I also suggest, James Cameron's documentary Ghosts Of The Abyss.
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| 67. Monty Python's Life of Brian Director: Terry Jones | |
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Amazon.com essential video Life of Brian, you see, is about a chap named Brian (Graham Chapman) born December 25 in a hovel not far from a soon-to-be-famous Bethlehem manger. Brian is mistaken for the messiah and, therefore, manipulated, abused, and exploited by various religious and political factions. And it's really, really funny. Particularly memorable bits include the brassy Shirley Bassey/James Bond-like title song; the bitter rivalry between the anti-Roman resistance groups, the Judean People's Front and the People's Front of Judea; Michael Palin's turn as a lisping, risible Pontius Pilate; Brian urging a throng of false-idol worshippers to think for themselves--to which they reply en masse "Yes, we must think for ourselves!"; the fact that everything Brian does, including losing his sandal in an attempt to flee these wackos, is interpreted as "a sign." Life of Brian is not only one of Monty Python's funniest achievements, it's also the group's sharpest and smartest sustained satire. Blessed are the Pythons. --Jim Emerson Reviews (186)
The story revolves around Brian, a very unlucky resident of Judea who just happened to be born the same day the Christ child was born. Missing his chance at glory, Brian lives his life selling animal parts at the Coliseum, dominated by a violent mother who is very "friendly" to the Roman occupiers. The rest of Brian's environment is inhabited by a very wild bunch. The neo- or archo-Marxist group, the People's Front of Judea, battles the Romans daily by holding meeting after violent meeting, plotting against the legions and their arch rivals, the Judean People's Front. The Romans, on the other hand, are led by the Pontius Pilate, who, contrary to Biblical reports, has quite a lisp and an endearing sense of stupidity. When Brian rebels against his mother and joins up with the wild band of revolutionaries, his life is changed forever. Quite by accident, Brian is then thought to be the messiah, although he is quite reluctant in his leadership. Satirically, this movie is absolutely ruthless. Everything is skewered, everything. The performances are all fantastic, especially that of John Cleese, who is just the man in this movie, playing about six separate characters. Joke after joke hits the viewer, which results in just non-stop humor. It's just a wonderful movie by the Python pioneers who really revolutionized comedy. The Criterion DVD edition is great, with tons of hilarious extras that are worth the price on their own. To the people that use this to either justify their atheism or believe it to be an attack on their religion, calm down. It's a comedy for God's sake, why do the opinions of some British comedians affect your outlook on life? Just laugh damn it!
I thoroughly enjoyed rewatching the movie, but it was a great surprise to find that this DVD comes packed with some great bonus materials. Several full-length, revealing interviews with the cast go into more Python history than just that surrounding this flick. And a rather large collection of scenes cut from the final release are also quite interesting. The video and audio quality seem to be on par with most of the other DVD movies I've seen so far, despite the film's age. All in all, a great addition to any Python collection.
The funniest thing to come from England since The Stamp Act, Monty Python's Flying Circus could always be depended upon to provide the world with brilliantly twisted humor. The LIFE OF BRIAN is no less a comic masterpiece than anything else these boys have done. Ostensibly a parody of the life of Jesus, LIFE OF BRIAN is a hilarious attack on liberalism, conservatism, colonialism, individualism, communalism, organized religion, disorganized religion, fanaticism, feminism... take your pick of any of a hundred topics. It doesn't matter, it's still brilliant. And the script and direction holds it perfectly all together, even if there's a space ship chase sequence thrown in for the hell of it. Once again, the members of MPFC each play several roles and every viewer has his or her favorites, so what the hell, I'll mention mine. Michael Palin, while playing a wonderfully foppy Pontius Pilate, is equally hilarious as a twitchy, hyperactive leper that Jesus had cured. Instead of being grateful, he complains that his rehabilitation has ruined his livelihood as a beggar. (Speaking of rehabilitation, Palin plays the part like a junkie in need of a fix.) John Cleese has several great moments, but his role as a Centurion turned sadistic Latin teacher is nothing short of genius. Everyone who has studied Latin will be beside themselves during this scene. And Terry Jones as Brian's mom still stuns me 25 years later. "My Brian is not the messiah! He's a very naughty, naughty boy." Monty Python's LIFE OF BRIAN is irreverent, brilliant, and ingenius and this edition, complete with outtakes, behind-the-scenes footage, and interviews make this package worth the price. Whether you are an individual or not, "Monty Python's Life of Brian - Criterion Collection" will save your comic soul.
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| 68. Summer Magic Director: James Neilson | |
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| 69. Into the Woods Director: James Lapine | |
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Into the Woods is simply amazing... I prefer the first act over the second, though...The first is funny, heartwarming, and hilarious as we follow the Baker and his Wife into the woods to find a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold to break the curse that is keeping them from having a child. The second act is a lot more deep and dark when the giant arrives and upsets the whole kingdom. It's sad but still very enjoyable. If you are thinking of buying this video, DO! I promise you WON'T regret it. (btw, that ending phrase sounds SO corny but oh well, that's me.)
Anyhoo, I saw this musical in high school (let me rephrase: I saw this video in high school...oh wait, I forgot. I DID see the play in high school too. Weird. But the video came first, so...end of aside) and have loved it ever since. I am an optimistic person by nature and like the phrase "happily ever after." I don't understand why our cyncial society is so determined to sink that phrase in the cruel, unforgiving sea of reality (for more on this subject see Cervantes' soliloquoy in "Man of La Mancha"). It is, however, always a great relief to me when I see that "Non-happy ever after" type shows generally always prove themselves wrong. The ending to this musical is...not what you'd expect! Ha! Thought I was gonna spoil it, didn't ya? But just the same it is a happy one. If any ending can be called happy in the wake of horror and death, and I say sure. Sondheim's best work, in my book. Bernadette Peters is as wonderful as always as the Wicked Witch, and since the most recent revival had (Shudder!) Vanessa Williams in the role, this is the show for you. I reckon.
Now of course, the Witch does something (duh)! she makes the Baker and his Wife in order to get a child to get a golden slipper (Cinderella) a cape as red as blood (Little Red Ridding Hood) a cow as white as milk (Jack) and hair as yellow as corn (Rapunzel). Of course, they get all the things with a lot of obsticals. Duh, I mean come on people it's not like they're really going to get all those stuff easy cheesy in a 3 hour play. That's where they sing their other hit song "Into the Woods". Anyhow, Jack killed the Giant and the wife has come back to find Jack and guess what-- you'll have to find out what happens. So ha! It's so good it's magical. Starring Bernadette Peters (the Witch) Kim Crosby (Cinderella) Danelle Fernland (Little Red Ridding Hood) Pamela Winslow (Rapunzel) Ben Wright (Jack) Chip Zien (Baker) Joanna Gleason (the Baker's Wife) and of course the Narrator, who does do a lot-- (Tom Aldredge) HOPE YOU ENJOY! (I saw the 2001 one, so I can't say which one's better) SEE YA! I GUESS YOU'LL BE ON YOUR JOURNEY!
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| 70. Spaceballs (Collector's Edition) Director: Mel Brooks | |
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| 71. Ocean's Eleven (Widescreen Edition) Director: Steven Soderbergh | |
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Amazon.com essential video | |