Reviews (62)

A Bad Life Decision
A Place in the Sun, 1951
Running time: 120 minutes in black & white
Director: George Stephens
Studio: Paramount Studio
Actors/Actresses: Montgomery Clift (George Eastman)
Elizabeth Taylor (Angela Vickers)
Shelly Winters (Alice Tripp--name is symbolic of her behavior)
Awards/Nominations: Oscar won in 1952 for best cinematography, black & white; best costume design, black & white; best director; best film editing; best music; and best writing.
Nominated for an Oscar in 1952 for best actor and actress in a leading role and best picture.
DGA Award won in 1952 for outstanding directorial achievement in motion pictures.
Golden Globe won in 1952 for best motion picture drama.
Silver Ribbon Award won in 1952 for best director of a foreign film.
NBR Award won in 1951 for best picture.
PGA Hall of Fame for Motion Pictures Award won in 1997.
WGA Screen Award won in 1952 for best written American drama and nominated for the Robert Meltzer Award.
Genre: Romantic Tragedy

In summary, the movie includes the trials and tribulations of a love triangle between a smart nice guy, a rich nice woman, and a manipulating possessive working-class woman. George Eastman hitchhikes from Kansas City to his uncle's swimsuit factory to work. Once there, he is given a position boxing merchandise by his not-too-friendly cousin. Prior to his employment, George is informed that he is not to have romantic relations with his fellow co-workers as a condition of employment. Unfortunately, George broke this rule by dating and ultimately getting one of his coworkers pregnant. While dating her (Alice), he falls in love with Angela Vickers, a high-class woman that is well-known throughout the comunity and by Charles Eastman (George's rich uncle). Instead of telling Angela about Alice and vice versa, George "drives himself crazy" and eventually commits the ultimate crime. What may astonish the viewer is that even after learning of George's hideous crime, Angela confesses that she still loves him.

Both George and Alice would have different lives at the end of the movie if George had stayed in Kansas City! He also should have been honest with both women in order to alleviate stress for both he and Alice. This movie was given four stars due to its relativeness to society and its great plot for the time period. It was interesting throughout the whole movie.

What Chemistry
The first time I viewed A Place In The Sun it did not have much of an impact on me. Perhaps I was too young, plus I did not understand Montgomery Clift's acting style. Subsequent viewings have made me realize the quality of this film. Clift stars as the poor relation of an important family who begins to work his way up. He first has a relationship with plain working girl Shelley Winters. Then he meets the real love of his life, beautiful, wealthy Elizabeth Taylor. From that point, things become very complicated for all concerned. Clift was an actor that played everything deeply, and his performances are always painfully real, just like this one, in which you can feel the conflicts that tear him apart. Winters is excellent in her tragic role, while Taylor, besides looking unbelievably beautiful, brings a lot of honesty to her character. The chemistry between the Clift and Taylor is palpable, and their on screen kiss is one of the most memorable you will ever see. Although there is a sense of doom that permeates the movie, the actors make every moment a great one. Some of elements of the story may seem dated, but it is played with such honesty and intensity that you will appreciate it for the very fine film it is.

Heartbreaking & Realistic
Ever wanted something you couldn't have? Ever wanted it so badly you'd kill to have it? In "A Place in the Sun" George Eastman (Montgomery Clift), a poor young man with big dreams, deals with these questions as he tries to make it to the top of the social ladder in spite of social prejudices from the richer Eastman clan.
As he pursues his dream of social grandeur, he falls in love with the beautiful and unatttainable Angela Vickers (Elizabeth Taylor), a rich socialite. But just as his dreams begin to come true, George is confronted by his ex girlfriend (Shelly Winters), a poor factory employee, who is pregnant with his baby and threatens to destroy his newly attained social lifestyle. Having made it to the top, however, George is determined to stay there at any cost - a decision that leads to tragic results.

Memorable performances
Excellent movie about the tragic consequences of pushing too hard to obtain the american dream. Montgomery Clift gives a realistic performance as the poor kid who makes it to the top at a high price. Liz Taylor is believable as the rich beauty who falls in love with Clift, and Shelly Winters is especially memorable as the poor factory worker who gets shoved aside by Clift after he meets Taylor. Beautifully made movie that makes you really get into the mind and heart of its protagonists. Highly Recommended.

Tragedy Turned to Melodrama
It was probably inevitable that "An American Tragedy," in its evolution to screen, would become more about the doomed love affair of Montgomery Clift and Elizabeth Taylor than the moral and ethical dilemmas that really form the foundation of Theodore Dreiser's novel. After all, doomed love is a bigger sell, especially when you have the romantic faces of Clift and Taylor swooning together in extreme close-up.

I'm not a fan of doing book to movie comparisons. I figure that film and literature are two different art forms, so I shouldn't compare their rendering of the story anymore than I would compare the same story as presented in a painting as opposed to a ballet. So I tried to take the film on its own merits (admittedly difficult to do, since I watched the movie on the same day I finished the book), but even at that, I think the movie falls short.

Clift plays George Eastman, poor nephew to a rich, socially elite family in a small New York state factory town. He's been invited by his uncle to come and work in the Eastman factory, giving him an entre into a world of luxury that has always been out of his grasp due to his family's humble position (they run a mission and preach on the streets). George strikes up a love affair with Alice Tripp (Shelley Winters), a girl who works with him in the factory, but his attentions for her quickly fade when he becomes interested in Angela Vickers, another member of the rich set, played by Liz Taylor. Complications ensue, and George finds himself and his situation spiralling drastically out of control, with an ending more tragic than he ever thought possible.

George Stevens directs the film with a sure hand, and there are some breathtaking displays of directorial skill. For example, one that stands out in my mind comes when the camera focuses on a radio reporting a possible murder, while the young, rich kids with whom George has struck up a friendship goof off in the water in the background. There are also some great uses of dissolve editing, though the technique is somewhat overused.

But there are many problems with the film, notably its pacing. Much time is spent on George's love triangle with Alice and Angela, while the script races through the trial and George's ultimate fate, as if the screenwriter realized he only had two hours to tell his story when he'd already wasted an hour and a half on front-end material. Rushing through the end blunts much of the story's original intent and power, as that is where the majority of moral questions arise.

Also, the character Shelley Winters plays is so drab and mousy, that one doesn't understand why George would entangle himself with her in the first place. But Clift does a great job with the lead role, delivering a performance of raw nerve.

It befuddles me somewhat as to why this movie is quite so acclaimed. I can only imagine that its reception has to do with cultural moods at the time it was released and that it just hasn't aged well. It came out in 1951, a big year for literary adaptations ("A Streetcar Named Desire" and "Death of a Salesman" were both given big-screen treatments that year), and you only need to compare "Sun" to "Streetcar" to see how short it falls at capturing the essence of a ture literary classic.

Grade: B- ... Read more

Amazon.com

When Father Peter Clifford (Peter Tompkinson) comes from Manchester to the small Irish village of Ballykissangel, he knows he will be facing some opposition. After all, what is an English priest doing in Ireland, of all places? He soon finds out that the town of Ballykissangel poses many more challenges than just accepting the unfamiliar priest. The delightfully mischievous cast of characters include Brian Quigley, the local businessman and entrepreneur; Donal and Liam, his faithful sidekicks; Siobhan, the frequently prescient veterinarian; and the tough owner of Fitzgerald's Bar, Assumpta. As the characters become more familiar throughout the series, their tribulations and triumphs are all the more realistic. The intricate characterizations, beautiful scenery, and delightfully dry humor ensure that fans of the English series All Creatures Great and Small will also enjoy Ballykissangel, and savor its distinctly Irish twist. --Amanda Powter ... Read more

Reviews (3)

Brilliant DVD combo
The wonderful thing about this DVD combo is that we BallyK fans are rewarded with neat little features such as a tour of Avoca (BallyK) and a really well made documentary on the success of the series featuring interviews with all of the past and more recent cast. If you love the series like I do, it's just wonderful to have series one and two available at any time and to be able to flip through to inspiring scenes or particularly touching moments.
I just wish they would release the other series...I actually love the show all the way to series 6 so let's keep our fingers crossed...
Marc

Ballykissangel Series 1-3 = Human Relationships
I wish they would release Series 3 too. Ballykissangel can be broken down into three parts: Assumpta and Father Peter era (Series 1-3), Father Aidan era (Series 4 and 5) and the aussie priest era (Series 6) Now, the only ones in my opinion worth watching is the first three series and they are absolutely brilliant. They do not mock the Catholic religion but focuses on human relationships (especially in a small village)and interaction between the characters especially when an event rocks the boat e.g. loss of Niamh's baby. The audience see bonds of friendship strengthen and in most cases the villagers are one big family. Now the books A new arrival and A sense of place are series one and two respectively and are worth buying too. The only thing that spoils it for me is the fact Kieran Prendville did not write a sequel to these two books and that the BBC have not released Series 3 on DVD.

Irish "Exposure"....
This is a fantastic show which my mother hooked me on a few years ago. If you've never caught an episode on PBS, now is your chance. Unlike glitzy American prime-time soap operas, these characters have a great deal of depth and the status quo can change, dramatically, at any time. If you liked the quirky characters and situations of "Northern Exposure", you will love this show! ... Read more

Reviews (51)

Wild and unconventional
Ichi the killer is one of the latest offerings from acclaimed cult director Takashi Miike of "Audition" and "Dead or Alive" fame. It is an exploration of the seedy underworld of Yakuza gangs and street violence in Tokyo. More specifically, the film focuses on the torture devices and off-the-wall techniques the Yakuza famously employ to extract information that is of use to them. Jijii (played by Tetsuo director Shinya Tsukamato) is a former Yakuza gang member who seeks revenge against some of the Yakuza who he feels wronged him. He doesn't kill the Yakuza by himself but uses his hypnotist powers to control the mind and make a killer out of "Ichi", a young tortured soul. One of the people Ichi slays is a sadistic yakuza boss who has a reputation of beating up and mistreating prostitutes. Kakishara (the man who's face is on the cover) wants revenge for the murder of his boss and will stop at nothing to get his hands on Ichi.

The Miike staples are all here; a high body count, scenes of torture and misoginy and lots of dark humor. The biggest strength of this film is the characters. Although all are an unlikeable bunch, they are fascinating nonetheless especially Kakishara who looks like he came straight out of a manga comic book. His face is scarred with 4 deep cuts, 2 on each cheekbones, 1 on his forehead and 1 across his chin. When he smokes cigarettes he is able to blow the smoke out of those cuts! This guy is an extreme sadochist who's so hardcore that he will slash his own tongue in front of his gang members just to prove his mettle and then calmly answer his cell phone afterwards and who invites others to punch him in the face because he relishes the pain. With Kakishara Miike truly has created a cult figure for the ages within Japanese cinema.

Being an off-kilter Japanese flick this scores quite high in the weirdness and odd humor departments. In one scene a cop sniffs a dead woman's crotch in hopes that the scent will lead him to her killer (!). We have a character named Karen whose speech keeps alternating between Japanese and English but no one seems to notice... And then of course there's Ichi the feared killer a grown man who constantly breaks down crying like a baby after killing people.

Anyone seeking a high-octane Asian actioner might be disappointed. Battle Royale this is certainly not. The film tends to drag on in between scenes of action and torture. I found the film to be quite hard to stomach at times with its constant scenes of woman-beating and rape and torture. The fact that the movie seems to try to hide under the veil of extremity and cartoonish violence did not lessen my unease at seeing such things. Although I generally dislike sadistic violence I do love gore but again I found myself disappointed in this department. When Ichi slashes people in half with the knife under the sole of his boot it so looks to be a CGI that it is laughable. There is also a scene where Ichi kills a dozen or so Yakuza members in a small room but it's somewhat concealed, all the viewer really sees are the guts flying out of the room but not the action itself. I found this strange because this is a movie with a very violent nature but in some cases like these it seemed to avoid any opportunities to show off lots of gore.

Heaps of praise has been lavished on this film since its inaugural release and though I found Ichi the Killer to be worthwhile viewing I wouldn't go so far as to say that it's Miike's best work or that it's anywhere close to being the goriest or most violent film ever, as its reputation may lead some to believe. When all is said and done it is however an entertaining and zany bloodbath, of which the japanese have been producing lots of in recent years.

c'mon guys
Anyone who tries to take this film seriously is a fool and they're missing the point. Have you seen Dead Or Alive? Remember the last fifteen minutes of the final showdown and how over the top ridiculous it is? Ichi the Killer is pure entertainment in the same vein filled with scene after scene of gratuitous violence and torture for the sake of shock value. Kind of like those Lucio Fulci zombie flicks from the 70s. Throats slashed, tongues cut off, hot oil, razor sharp needles, the list goes on. The first hour or so focuses more on the violent aspects of the characters and the second hour focuses more on the characters themselves. It could have been a bit better if it did explain more about how the characters became the way they are but it certianly didn't detract from the story: a run-of-the-mill mob revenge flick. The only thing about this film I didn't like was the extreme violence, forced sex and mutilation of women. Perhaps this was a way of expressing how vile these characters really are but it seemed to be the only extreme thing about the movie I felt to be a bit unnecessary. Outside of that a very entertaining film. See this if you're a gore fan.

Psychologically a good study... otherwise, pretty bad.
For the name of the movie "Ichi the Killer"... that's not Ichi on the front cover. That's Kakihara (a completely insane member of the Anjo gang who REALLY enjoys inflicting and recieving pain).

Psychologically, this movie covers a lot of the most base of human desire. The stuff nobody really wants to see in themselves if they're halfway balanced.

This film also glorifies violence against women, torture, dismeboweling, amputation and more...

It sprays more blood than "Kill Bill"; and then takes it a step further with Kakihara using skewers, hooks and scissors to torture his victims as he searches for "The Boss".

I'm glad I watched it, but not so thrilled I'm going to watch it again anytime soon. The plot had a lot of potential if they would have stepped back from the massive amounts of violence long enough to actually explain why several characters are the way they are.

Ichi (which is Japanese for "one", and explains the "1" on the back of his suit) is almost like what would happen if a superhero went completely insane... it does explain around how Ichi became what he is, but all in all, it doesn't do it so well you feel anything for him as a character except that he has issues... a LOT of issues.

Kakihara is a sado-masochist who happens to be the most interesting character in the movie... but it still wasn't enough to really save this movie in my opinion.

I'd probably suggest renting this one...

Not so deep as intended.
First of all I have never been bothered by excessive gore and violence. I also occasionally enjoy a David Lynch or David Cronenberg film (which as a previous reviewer noted, it does resemble).
This film while certainly being ultra-violent, and trying to be as esoteric and non-conforming to genre as possible somehow fell short for me. Which is strange because that certainly sounds like my kind of movie.
The main problem was that this film wants you to have some sort of connection to its characters. Cries out for it in fact. However, this is a problem since the whole film was rather cartoonish in its aspect.
The characters were all caricatures; exagerrated beyond any real human in their worst traits. Now this can work from an artistic standpoint, but there has to be something or someone firmly connected to reality to give perspective. The closest thing to that was the minor character of a disgraced police officer who never really has enough meaningfull on-screen time, until the characters are all fully established, to have any real bearing on the viewers reception of the film.
Without that it was a dream-like haze of gore, and depravity with no grounding influence.
Kind of fun, but not really as deep as it was intended to be.
I will say there was quite a good deal of humor in the movie though. I'll never forget the scene where Kakihara has just finished cutting off the end of his own tongue as an "apology" in front of a room full of yakuza and then calmly takes a cell phone call: "he-o?". Pure genius.
Ah well. It could have been better.

only rent or buy the unrated edition
i made the mistake of renting this from my local commercial video store and as i waited in line i noticed that my copy was R-rated but i thought nothing of it. once i got home and popped the DVD in my player i was purely disappointed. the violent scenes are so completely edited out that at times i found myself scratching my head thinking "well what happened there?" such as the tempura/hot oil scene or the slicing the guy in half scene. i mean what happened to the prostitute? she trys to kill him and the next thing i know there's blood all over the wall and ichi is screaming. talk about major letdown. the editing completely ruins the continuity of the film and i found myself shutting off the movie less than an hour in and returning it to the video store complaining all the way. the next day i found the unrated version at the local independent video store and it was everything i expected in all of its blood splattered glory. great action packed film for those who are not squeamish. ... Read more

Amazon.com

Be Cool takes its own advice: It's slick, Hollywood entertainment that kills two amusing hours with relative ease and comfort. Better than leftovers but not as tasty as a full-course meal, this sequel to 1995's hit comedy Get Shorty (and based on Elmore Leonard's 1999 sequel novel) finds former loan shark Chili Palmer (John Travolta) itching to get out of the movie business, so he hooks up with a newly widowed music executive (Uma Thurman) to launch the career of an up-'n-coming Beyoncé-like singer (newcomer Christina Milian). A mock-black manager (Vince Vaughn), his sleazy boss (Harvey Keitel), and an upscale gangsta-rap executive (Cedric the Entertainer) all have a competing stake in the fast-rising pop diva's future, and this sets the plot rolling in a fun but rather hand-me-down fashion that lacks the savvy panache of Get Shorty but still provides plenty of lightweight humor. The Rock and Outkast's André Benjamin provide the best laughs in supporting roles that effortlessly relieve the movie from the symptoms of sequelitis. --Jeff Shannon ... Read more

Reviews (28)

A real family classic!
Jim Douglas (played by Dean Jones) is a broken-down, has been racecar driver. But, when he finds himself saddled with an innocuous little Volkswagen Beetle, he suddenly finds that he can get a lot more out of it than anyone thought possible. Jim's kooky friend Tennessee Steinmetz (Buddy Hackett) keeps trying to tell him that this car is special, it has a heart and feelings, but Jim knows that a car is a car, is a car, right? And now that he is winning races, his chief competitor, Richard Thorndyke (David Tomlinson), is out to get that inexplicable little car! [Color, released in 1968, with a running time of 1:47.]

This is a fantastic movie, and a real family classic! I loved this movie as a kid, and couldn't wait to introduce my children to it. As expected, they loved it, especially the scenes where Herbie seemed to swallow Thorndyke and when he "oiled" on his leg! The DVD set is excellent, containing a nice Disney cartoon short, and lots of other neat extras. My family and I all love this DVD set, and highly recommend it to you!

I Love This 2 Disc Special Edition DVD SET of The Love Bug.
When this DVD was put out I bought a copy of it and I have watched it a dozen times Already. I really loved the specail features that they had on this DVD.

Here Is A Brief Description:

Jim Douglas (Dean Jones), is a down on luck race car Driver who finds Herbie at Thorndike Motors Owned By Peter Thorndike ( David Tomlinson). Well when Jim Finds the car. Herbie falls for him like a ton of bricks. The next day Jim finds Herbie Parked in front of the Firehouse that he and Tennesse Stienmetz (Buddy Hackett) live in. Well Jim buys the car from Mr. Thorndike and gains back his pride as he wins race after race. And falls in love with the Beautiful Carol (Michelle Lee).

Great Movie 5 Star Rating.

Disney almost got this DVD right
For the most part, this is one of Disney's few successes when it comes to releasing a movie on DVD. However, even with this DVD, there are some issues. The scene in Chinatown is strangely out of focus, while the rest of the movie appears just fine. Did the engineer fall asleep while he was doing the transfer, or just what happened?

In spite of that, I will say that this is one Disney DVD you are PROBABLY safe in buying. Maybe it came out before they started cutting corners so severely.

Cute but should not be rated G
I recently rented this movie for my three year old son who loves cars. I did see this movie when I was going up (though I did not remember the exact details) but now that I have seen it as a parent, I have some concerns about it.

Though the moive is rated G, it has a few things about it that I don't find appropriate for young children.

The dialogue is riddled with words like "stupid" and "idiot,"-- words I prefer to keep out of my son's vocabulary, at least for now.

I also find the character, Mr. Thorndike, to have an anger management problem. In the majority of his scenes, he is yelling at the top of his lungs and calling his sidekick, Havershaw, a series of derogatory names-- definitely not a characteristic I want my son to emulate. Finally, while I appreciate the whole appeal of a car having human qualities, I find the scene where Herbie tries to commit suicide a bit much for a kid's movie. Having to explain what the car was doing was difficult.

Overall, though the movie has cute qualities, I wish that the attributes I mentioned were not included. Call me a protective parent but seems to me that today's kids are considered rude because they are exposed to media like this that are considered acceptable.

Sorry to the die-hard Herbie fans, but this movie is not all its cracked up to be.

my favorite disney movie
there is no disney movie that could top this one. the race scenes with cute music playing went excellent with this movie. the cross country race at the end of the movie was one of the best slapstick race scenes i ever saw. this is like smokey and the bandit type movie. A LOT OF FUN TO WATCH. ... Read more

Reviews (38)

Choreography of a Kiss
The newly released DVD of 20th Century Fox's production of W. Somerset Maugham's "The Razor's Edge" is a cinematic treasure. The direction by Edmond Goulding is top notch and captures the glamour and decadence of post World War I Paris in glittering perfection. Much praise must go to the art and set direction by Richard Day and Nathan Juran. Over 80 sets were constructed; some only glimpsed for a few moments evoke the period and splendor of the time and place. The production values of this picture are of the highest quality of this, Fox's "Important Picture for 1946".Goulding was famous for long takes and he is aided by the brilliant cinematographer Arthur C. Miller. The score by Alfred Newman is magnificent though surprisingly sparse for a film from the 1940's His use of source music and songs of the period help to inform the viewer of character and mood. His main theme is majestic and stirring and its reprise at the end is something near to epic played against a close-up of Tyrone Power and dissolves into the crashing waves against a tramp steamer.
Though a little too old and too handsome for the role of Larry Darell Tyrone Power, turns in a beautifully felt performance of a man in search for himself and his place in the world. A very modern and complex idea for the 1940's involving a trip to India and consultations with a guru. Gene Tierney is perfect as the woman who loves him and will stop at nothing to get him. This underrated beauty gives one of her best performances in an unsympathetic role.Anne Baxter, who won her Oscar as Sophie, is at times touching, real and yet manages to chew her share of the scenery toward the end of the picture. She is just plain fun to watch. But the picture is completely stolen by the wonderful, prissy and perfect performance of Clifton Web. His bravery as an actor in his last scene when he cries "There are going to be fireworks" is to be applauded. He perfectly captures the futile collapse of a shallow man as not many in Hollywood at that time might have dared.
There is one scene that epitomizes the skill and craft of film making in the end of the golden age and that is the chapter on the DVD entitled "Last Fling". All the powers of the actors, director, cinematographer, set designers, lighting technicians, and composer come together in this nearly silent montage and the subsequent scene at dawn in Tierney's Paris apartment. Larry's and Isabel's night on the town moves through a sumptuous Paris nightclub, to a Russian restaurant, and on to a hot jazz club where a fist fight ensues. Watch the extras in this scene. They are the stars here and each have a tale to tell in there brief moments on screen. I was reminded of Scorsese's Coconut Grove scenes in "The Aviator" by this impeccably directed montage and wondered if it had in fact influence him being the film historian he is.
But the best is yet to come, upon arriving home Isabel and Larry move through a brilliantly choreographed scene that leads up to a kiss and then a rejection. There is no dialog, only the pantomime of the actors and the accompaniment of the musical score. In this we learn all we need to of her motives and desire and his reaction and acceptance. It is very sexy and intense and the only bit of clothing that is lost is her shawl.
It is brilliant and movie storytelling at its best.
There is also a wonderful commentary by film historians Anthony Slide and Robert Brichard. Also included is a Fox Movietone News reel of other aspects relating to the film. Don't miss this wonderful classic from Fox's brilliant Studio Classics collection. They really know how to present their treasures to us as few other studios do.

Seeker, visionary.
This is my favorite movie of all time.It is intellectually, artistically, soulfully, authentic, honest, rare, uplifting, and truly divine.A masterpiece.

BRAVO!

Krystyna
Virginia Beach
www.krystynavabeach.com
www.loveabye.com
www.ceb-associates.com

The title says it all!
Just think about the title. Have you ever heard the expression "Walking the razors edge?"That is what Larry in the movie was looking for.He was looking for self-realization and god-realization.His journey began in the war.Why was he alive and others died?What was his purpose? It had to be more than this daily existance.His experiences had given him reason to ponder more than the ordinary life.He had to find the finer path to walk, that razors edge.Not quite here and not quite there. With what he learned he also was trying to help others as well. The coin with Sophies husband got him back on his feet.The invitation before the death of the Uncle. Anyway, This is one heck of a movie and I would recommend it highly.

Still moves me.
I first saw this movie in the late 80's as a late, late show.I then took 12 months of looking in every book store to find a copy of the book.I was young and lost.This movie spoke to me and told me it was alright to feel the things I felt.I have just watched it again and it still talks to me.I shared tonight's experience with my husband and close friends.They did not understand my feelings for the movie but still enjoyed it.I am now going to read the book again (I lost the book twice and had to hunt to purchase two more copies!)I am also waiting in anticipation of the DVD release.

Watch it and be moved!

Why isn't this out on DVD? (Skip the Bill Murray version!)
This 1946 version of "The Razor's Edge" is FAR superior to the 1980s Bill Murray version.Nothing against Murray, but we was WRONG in the lead.The original 1946 version was moving.It was acted brilliantly, directed with love, filmed in beautiful shades or grey, and hauntingly scored.Why isn't this out on DVD?Its a real shame that some studios keep some films hostage and won't release them on DVD.The book is literally impossible to film, yet the 1946 version makes a successful effort.Its a very moving, spiritual movie that I would reccomend to anyone.See it! ... Read more

Reviews (30)

Star-Studded Recounting of Legendary Nazi Trials
This star-studded film vividly captures the characters on all 3 sides of the spectrum: The accused, the victims, and the international tribunal judging the perpetrators of unspeakable atrocities against fellow human beings. It is shocking to see how many of the people responsible for the gruesome deaths of millions justified their actions.

After hearing witnesses who often were tortured, mamed by sadistic doctors, and had their loved ones murdered, I can not grasp the fact that the majority of those on trial were released after serving minimal prison terms. Some of them are still among us, while millions of victims lie in their graves at the hands of an evil minority!

Stellar performances by an International cast. Most noteworthy are Montgomery Clift and Judy Garland as testifying victims, Maximilian Schell as Prosecutor (Oscar Winner), Marlene Dietrich as wife of a defendant, and an elderly Spencer Tracy, trying to make sense of it all.

Effective use of B&W photography, first rate sets and costumes, along with many other production values, make this a timeless Classic. Although considerd over-long by some, I recommend this film to be shown to high school classes as a reminder that these things happened in a not so distant past.*****

SCHELL, TRACY, GARLAND, LANCASTER, CLIFT & WIDMARK GREAT!
This is a superb film by Stanley Kramer with an unbelievably great cast at the height of their craft. Each of the legendary actors were at the top of their performances in the reinactment of the Judge's Trial at Nuremberg. The world was tired of the Nuremberg trials. This one was a mopping up operation. Against a backdrop of an escalating Cold War with the Soviet Union, the selling out of justice by prominent Nazi judges serving the Third Reich is put on trial. Spencer Tracey plays Judge Dan Haywood, a retired Maine circuit court judge brought out of mothballs to serve as the chief justice. Amazingly, the usual action actor Burt Lancaster plays the top Nazi judge who at first does not recognize the Nuremberg tribunal's authority to judge him. For some mysterious reason, critics over the years failed to acknowledge the tremendous acting job he did in convincingly carrying off what was perhaps this film's most dynamic character change. However, my personal favorite was Maximillian Schell whose quintessential Germanic Hans Rolfe, the defense attorney released the full range of this incredible actor's virtuosity. For this he deservedly won an Academy Award Oscar.

One thousand words are not enough to celebrate this timeless film: Judy Garland (in perhaps her last film role) delivers a heartbreaking middle aging Irene Hoffman, reliving her experiences of Nazi cruelty on the witness stand; once again. However, not very good was the young Canadian actor, William Shatner playing Army Captain Byers, the aide de camp to Judge Haywood (Tracy). [The Starship Enterprise didn't seem to improve Shatner's skills any.] Richard Widmark (the moody, hostile prosecutor) and Montgomery Clift [who begged for the role he was willing to play without pay!] were excellent. Clift plays a slightly retarded German laborer, sterilized by Nazi doctors because of his mental slowness. This is among the very best films made by Kramer in the decade of the 1960s. Amazingly, it was released one year after INHERIT THE WIND, another Tracy-Kramer classic!

MASTERPIECE
What happens when Stanley Kramer teams Tracy, Dietrich, Garland, Schell, Clift, Lancaster and Widmark in a drama based on the trials in pos-war Nuremberg??? It`s vintage Hollywood; still 1 IF not THE BEST about the horrors from World War II ..... The film should be in every school-library across the world

MASTERPIECE
What happens when Stanley Kraner teams Tracy, Dietrich, Garland, Schell, Clift, Lancaster and Widmark in a drama based on the trials in pos-war Nuremberg??? It`s vintage Hollywood; still 1 IF not THE BEST about the horrors from World War II ..... The film should be in every school-library across the world

Wooooooooow
Ok, you`ll get Garland, Dietrich, Clift, Tracy, Widmark & Schell - the production headed by Stanley Kramer.... the result is pure Hollywood vintage combined with horrors from the 2nd World War??? But indeed; it is a masterpiece.... It should be in every school-library all over the world:-) ... Read more

Reviews (225)

English Romance At Its Finest
Jane Austen is a fine writer, but her wordiness tends to drain the life from many of her characters. Thankfully, Emma Thompson recognized the limitations of the novel and adapted her screenplay accordingly, enhancing the humor of the original story and adding more drama to make the film more enchanting. A cast was then chosen, made up of very talented thespians, including Miss Thompson herself. Add to that splendid English landscapes, excellent directing, and superb cinematography, and what emerges is a modern masterpiece.

This is not a movie for action fans; it is far too cerebral and requires a serious attention span. For those who enjoy a good love story well told, this is it. The characters are three-dimensional and their dilemmas full of human drama, bound as they are by the morals and manners of the times. Three sisters and their mother are left virtually penniless by the stricture against females inheriting property then in place in English law. The half-brother to the Dashwood women receives it all, but his selfish wife talks him out of helping his stepmother and half-sisters. It is up to the two older girls---sensible Eleanor and passionate Marianne---to seek their fortunes in romance while lacking a dowry to help them.

Eleanor finds her soulmate in shy, retiring Edward Ferrars, brother of the selfish sister-in-law. Her budding romance is shelved when his sister makes it clear that Eleanor is "unsuitable" for Edward. The sisters and their mother then go to stay in a cottage owned by a kindly relative, Sir John, and his mother-in-law, the irrepressible Mrs. Jennings. The old woman is a confirmed gossip and matchmaker, bound to see one of the two sisters hitched up to Colonel Brandon, the most eligible bachelor in the area.

Brandon first sees Marianne singing a melancholy song and is incurably smitten. She in turn loses her heart to a dashing young man named Willoughby, who is her ideal of a Victorian-era gentleman, complete with a pocket book of sonnets. Brandon, who loves her more than his own happiness, steps aside and even encourages their relationship, despite his dislike for the handsome rogue.

Things take an unexpected turn for the worse for both sisters---Willoughby drops Marianne and flees to London with no explanation and Eleanor discovers that Edward is engaged to a shallow young woman named Lucy Steele. The ensuing twists and turns in the plot make this film both agonizing and entertaining to watch. Mercifully, everyone winds up happy at the end with the right person as a spouse.

The whole film is solidly done, but it is the acting that really shines. Thompson is perfect for the role of the calmer sister, while Winslett is brilliant as the mercurial Marianne. Grant is endearing as the gentle Edward; Rickman finally gets to display his considerable ability to act the part of a very good and unselfish man. The rest of the cast keeps pace with the leads, and Hugh Laurie is indescribably funny as the sarcastic Mr. Palmer. One very beautiful aspect of this movie, along with the tendency to get drawn into the story, is the haunting and evocative musical score.

All in all, this is a wonderful example of a film genre that is so often overlooked in today's world---period romance. More movies like this one desperately need to be produced. Buy this one today because it's a gem.

JANE AUSTEN'S TIMELESS CLASSIC COMES TO LIFE
This film is so beautifully realized, in its scope and execution, that I have nothing but praise for both screenwriter/actress - Emma Thompson and director Ang Lee. Based on the novel by Jane Austen, the film follows the exploits of Mary-Anne (Kate Winslet) and Eleanor (Thompson) Dashwood; two angelic sisters determined to find romance amidst the sublime grandeur of the English countryside. Also stars Hugh Grant and Alan Rickman.
Columbia's transfer is, on the whole, gorgeous. Colors are well represented and fine detail is rendered accurately. Contrast levels are subtle, as they should be and dark scenes are accurately represented with only a slight loss of fine detail to speak of. Unfortunately, there are several scenes that exhibit pixelization that breaks apart background information. There is also the inclusion of some minor edge enhancement that, while not terribly obtrusive, is nevertheless present. This special edition includes a wonderful featurette and Emma Thompson's witty acceptance speech at the Golden Globes - a real treat. FINAL WORD: There's no costume drama of the 90's more poignantly captured. A British legend becomes an American Movie Classic. Get this one!

A classic based on a classic
It seems that for a few years, Hollywood couldn't turn out Austen movies fast enough. This is the only English production of the bunch, and it is wonderful.

The casting is perfect. I thought it very silly that Emma Thompson was going to be the 19 year old Eleanor, and since she produced the movie I thought that was just silly vanity. But she is actually perfect as the too-sensible-for-her-own-good Eleanor. Kate Winslet is great as flaky Marianne. Even little Margaret (Austen's only fully-realized child character) is great as the spunky pre-teen. I remember when the movie came out one reviewer said that Hugh Grant's character "looks like he's forgotten to take the coat hanger out of his clothing" and that is so true... but he's so good as the clueless cad.

The film is beautifully shot, with great sets and scenery. It's a little hard for a modern person to understand why the Dashwoods were so upset to have to move to such a charming cottage! Historical perspective is maintained in the movie, though.

It is also very well written, with my very favourite line in any movie appearing (though I've read the book twice looking for it). Truly words to live by, Mrs. Dashwood tells blabbermouth Margaret that if she can't think of anything appropriate to say, "please keep your conversation to the roads and the weather!" Advice that has never failed me yet :-)

Great commentaries (contains spoilers)
When I first heard this film was being made and that Emma Thompson and Hugh Grant were going to be in it, I thought, "Yes! Hugh Grant as Willoughby and Emma Thompson as the unpleasant sister-in-law!" But no. However, the commentaries explain the casting and then it made more sense. By the way, Kate Winslet is perfect and Alan Rickman gets the girl.

Very Good Indeed!
This is a wonderful movie with a wonderful cast and beautiful script. I don't really know what else to say except that I absolutely adore this film. Alan Rickman is superb as Colonel Brandon, I fall in love with him over and over again each time I watch this movie. He's wonderful, as is Hugh Grant as Edward Ferrars. Both characters are so likeable and real, they fit perfectly with their characters and make each viewing as enjoyable as the last. Kate Winslet, as well, is one of my favorite actresses. She fits so well in period pieces like this one.

This film is great whether or not you've read the book. It's good all on it's own. My only complaint is that I cannot picture Eleanor as only 19. While I've always pictured her well above her years, I have a difficult time accepting her age in the film. This is overlooked by Emma Thompson's brilliant portrayal of her. ... Read more

Reviews (2)

All the fun and action no mush
This movie is like a study of Bond and Bourn "The Bourne Identity (TV Miniseries) (1988)", action movies. Toss in the innocent enthusiasm as in "If Looks Could Kill (1991)", There are gadgets women plots and sub plots. But this movie is mostly about action. This is not one of those thinking movies or really a talkie. It does hold your attention.
Xander Cage is an innocent dissident minding his own business. The business being stealing the governor's car and displaying reckless abandonment all in the cause of freedom. He is pressed into serves ala "Remo Williams - The Adventure Begins (1985)" in lieu of a prison sentence. It seems that the NSA needs someone of his reputation and abilities for short time. Will he comply and if so how short of a time? Will he quit when he is told to do so? And is there a love interest or just one of those "spy vs. spy" things?

As good as it gets
The movie XXX is already a good movie then put it on the psp then it's great as good graphic as any game ... Read more

Reviews (49)

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

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

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

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

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

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

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

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

Reviews (105)

Save the Last Dance For Me
A clever late 90's Japanese film with English subtitles about ballroom dance lessons. No, this isn't your Arthur Murray dance studio. The cast is a memorable diverse, intriguing, group of characters taking dance lessons. Since the Japanese are reserved about public intimacy, dance lessons should be of a clandestine nature. The consensus in the movie is that men are considered losers if they take dance lessons or is it "just a reason to hold a woman in your arms."

The story focuses on Mr. Shugyima, a workacholic who spots an attractive woman through a window. Burdened with a mortgage and life's pressures, he seeks dance lessons to get closer.

Another character, a balding, quirky, looney Japanese/Latino, Mr. Aoki, has been dancing for five years, he wears a long frizzy wig piled loosely on his head because he believes the wig gives him inspiration to be like his idol, Donny Burns, a Latin dance king. The funny contortionist facial movements work equally with his suave, cool, bawdy dance numbers. He comes across like a combination Don Juan and Madonna striking a pose! A dance partner offends him when she refuses to dance with him as he dances "creepy."

An unusual treat is the Drifter's song "Save the Last Dance For Me." It is the only English lyrical song, quite fitting for the occasion. This movie is a gem, full of humor and silliness. See it!......MzRizz.

"Shall We Dansu?"-great story and cast!
This has to be the best Japanese movie I've ever seen and my all time favorite! It's the story of a 40 something year-old salaryman who, after seemingly attaining all his goals in life, a wife and child, a company position with a bright future and a new house, begins to ponder if there's more to life than just the "9 to 5" grind and mortgage payments. During his train rides home from work, he notices a beautiful young woman standing in front of the window of a dance school. What happens after that might seem obvious, but me believe it's not...Even if you don't understand one word of Japanese, the subtitled version, like the touching story are so well written, that you'll want to watch it over and over again. I hope the rumors of this movie coming out in U.S. theatres are true because it's sure to be a hit, until then i'll be waiting for this one on DVD! Aoki-san Gambatte!

to dance is to be free!!!!
This is the tale of Sugiyama, a Japanese "salaryman" who, in the tradition of modern-day Japan, essentially lives to work depsite the boredom and neglect of his family. On his morning commute aboard the train, he sees a beautiful dance instructor in he classroom. He decides to sign up and finds a life outside the office and his family via dancing. His wife hires a detective to find out what he is doing and why he smells like perfume when he gets back.

The great thing about this movie, and what I believe is true for everyone in every nation, is that everyone needs a passion that has absolutely nothing to do with their job or any of the skills required for it. Something to do just for the sake of enjoying yourself. As his coworker and fellow dance fanatic Aoki says, it makes him feel free.

The fact that they have to hide their hobby at work is hilarious. Aoki says their improved posture is a dead giveaway. They are caught ballroom dancing in the men's room so Sugiyama pretends he has just fainted and Aoki happened to catch him.

Humorous with a message, this is a great flick.

Gai-jin rates Shall We Dance as Ichi-ban (number one) Movie
I first saw Shall We Dance? on the big screen and was captivated by its storyline and cast of characters. I felt then, as I do now, that this was a film out of the ordinary. Viewers can relate to the various personalities and their dreams or desires. Because I am an expatriate living in Japan, I enjoyed the glimpse into the daily lives of my neighbors. Ichi-ban movie...a heart-warming story that you won't get tired watching over and over again. It needs to come on DVD a.s.a.p.

Save the Last Dance for me!!
This is a clever late 90's Japanese film with English subtitles about ballroom dance lessons. No, this isn't your Arthur Murray dance studio. The subtitles are very easy to read and clearly defined. The cast is a memorable diverse, intriguing, group of characters taking dance lessons.

Since the Japanese are reserved about public intimacy, dance lessons are of a clandestine nature. The consensus here is that men are considered losers if they take dance lessons or lessons are just a reason to hold a woman in your arms.

The story focus is on Mr. Shugiyama, an overworked middle-aged man with a wife, daughter at home. From his commute, he spots a beautiful woman in a window as she teaches her students dance steps.

His intention is to meet the girl, but she blatantly tells him that she takes this serious and if he is there just to meet her, then he should not take lessons. She adamantly informs him that this is a classroom, not a disco. To "save face", he hangs in there and learns to dance rather than become a failure.

The array of characters:
A balding, quirky, Mr. Aoki, has been dancing for five years, he wears a long frizzy wig piled loosely on his head because he believes the wig gives him inspiration to be like his idol, Donny Burns, a Latin dance king. While he dances, he gives these funny facial movements that equate with his suave, cool, bawdy dance numbers. He comes across like a combination Don Juan and Madonna striking a pose! He is known to dance "creepy."

An extremely shy and reserved heavy-set man with thick glasses gets his fulfillment learning to dance. He becomes alive once he learns the steps.

Also, an abrasive dance instructor who isn't afraid to spew her insults when needed and she trades verbal jabs with the male customers.

As the movie reaches the climax, a number of dance halls and amateur dance contests are held.

An unusual treat is the Drifter's song "Save the Last Dance For Me." It is the only English lyrical song, quite fitting for the occasion. This movie is a gem, full of humor and silliness. See it!......MzRizz. ... Read more

Reviews (317)

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

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

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

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

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

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

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

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

Reviews (135)

Warriors Come Out To Play!
This 1979 Walter Hill Film is said to be based upon a real Coney Island street gangs events. The ficticious gang the Warriors heads on the Subway to the Bronx from the most distant part of Brooklyn to meet the head of a gang named (Cyrus). Once in a Bronx Park, Gang Leader (Cyrus) preaches that if every gang in the city would unite, they could take over. During this speech Cyrus get's shot and a Warrior member is accused of the murder. Mayhem then breaks loose as Cops move in and the Warriors have to make it back to Brooklyn via Subway with all gangs hunting for them. Thus begins the urban nightmare when trains had graffitti and gangs fought with bats and switchblades. If this story is based on some real experinces the real gang from Coney Island were truly Warriors. For those unfamiliar 28 miles on the subway in the middle of the night with the cops and gangs chasing you makes the wild west seem like Disneyland. The plot is silly but the movie makes up for it with it's comic book like action and the ability to touch the fear of any urbanites. From gangs made up wearing Yankee Baseball Uniforms to Gangs on Skates the chase scenes are great. An emotional statement accompanies a suprise ending. This movie was a sleeper, partially because theatres would refuse to show it due to it's instigation of violence. As I was growing up not far from the movies origin I was put under the impression that this story depicted some true experiences. No gang related film ever came close to this urban rollercoaster ride.

COME OUT TO PLAAYY YAAA!
I remember when I first saw the "Warriors" back in 79, I was hooked on the realization and authenticity of NYC gang life that was portrayed on screen.It isn't your average gang movie where a bunch of punks is menacing innocent folks for 94 minutes. This cult classic gives you: a superb story plot,real NYC locations especially Coney Island(no Hollywood movie studios),creativity in the wardrobes of various gangs(some scary/funny),great fighting scenes(no guns-good ole fashioned punches,kicks,bats & switchblades) and very memorable one-liner dialogues."CAN YOU DIG IT,COME OUT TO PLAYY-YAA and CAN YOU COUNT SUCKAS" is repeated still to this day from us average folks and even some of todays rappers.I'm from NYC and I enjoyed the scenery and grittiness of this movie-subways stations and cars sprawled with graffiti & the huge corridors of the IND lines.The subway scenes cannot get any more real than that.From Cyrus's magnetic speech,the shooting which started the pandemonium,the twists and turbulent flight home and the final justice given to the Rogues the "Warriors" is magnetic and fascinating to watch.I just bought the VHS copy today and I'm gonna watch it over and over again! It's also good to watch with a couple of friends especially if they grew up in that time.Generation X may think it's funny/corny compared to the violence and gangs we have today.Finally,the beginning of the movie where they are being introduced is cut out unfortuna tely but this collectors' item is good enough to place in my "Movie Hall of Fame".can you dig it,Can You Dig It,CAN YOU DIG IT!

classic
This film brings back some wicked good memories... I give it 4 stars for content, (music, cast, story) and an extra star for the memories. Is it an award winning dialogue filled film with award winning performances? No, but it was well made and when you want to go back to the late 70s early 80s jump in your time machine(dvd player) and pop in this film , it is a way of time traveling back to this time period and rewatching how it was.

dont miss
One of my favorite films,"the warriors" recalls a more simple time,when gangs were cool and they didnt carry automatic weapons,and they did the fighting with bats and fists.Its an excellent trip through a single night in new york city.The armies of the night number 100,000;they outnumber the police 5 to 1; tonight they're after the warriors-a street gang blamed unfairly for a rival gang leaders death.dont miss this classic ride.

Warrriorrssss....Come out to playyyyyyyayy
LMAO....This movie owned badly. It came out a long time ago, but I saw it on DVD about a month ago. Gangs from the 70's are sooooooooo much different than gangs today. Like we might have bloods, and crips today. But the gangs back then actually had meaning, and a concept. A nice example is the Orphans. They all dressed up in raggidy !@# clothing, and kept to themselves. They had a gang like, they all dressed up in baseball uniforms, and wielded bats as weapons. Also, guns were rare back then. I mean some people had guns, but when the term "Are you packing" was said, people had whatever they can fight with. 2X4, Bath, Pipes, Bricks. Thats real....lol ... Read more

Reviews (10)

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

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

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

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

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

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