Reviews (5)

Pretty Good as vampire movies go
Let's face it, if you're a fan of the genre, you know that most vampire movies suck (no pun intended). This one doesn't. It's actually pretty good, especially if you like a view that's sympathetic to the vampires. The vampires in this movie are a subspecies of humans, with their own society and laws. Sounds sort of like Kindred, The Embraced, doesn't it? It even has the stylish old-world vampires at odds with the younger, rebel vampires. It also has the beautiful blonde human reporter who's in love with one of the vampires. The movie has some good twists, attractive women, cool settings...and it's entertaining.

I Love This Movie!
This is one of the few vampire movies I could watch again and again. It's not very gory but it's very entertaining nonetheless. It stars Jason London, and he plays his role as that of vampire-who-doesn'-t know-he's-a-vampire very well. Blood Ties has its very funny moments as well (I'm not sure they were supposed to be that funny...). Get this movie today. Happy watching!

Views more like a murder drama than a vampire movie...
Frankly, I'm surprised it even got an R rating. The story isn't half bad, except they break the cardinal rule that vampires can't exist in the daylight. In most ways they don't even seem like vampires--just a strange branch of humanity who can feed on blood when riled enough. Anyway, don't expect any nudity. What scenes there are could probably be boadcast without censorship, in my opinion. The violence must be what makes it restricted, but again compared to most vampire movies of today, the violence is very tame.

If you're looking for a borderline R vampire flick to watch with teen members of the family, this is it. Enjoy the tale. But, hardcore horror fans will think this extremely disappointing....

"Only Revenge Is Sweeter Than Blood"
"Blood Ties" begins in Anchor, Texas, where three S.C.A.V. (Southern Coalition Against Vampirism) members murder a teen's parents and shoot the young man (Cody Puckett, played by Jason London) with a crossbow before setting the house on fire. Luckily he escapes--or rather, the Amish-looking trio allow him to get away so they can follow him to "the others".

Wounded, 17-year-old Cody seeks the rich, corrupted Uncle Eli Chelarin (Patrick Bauchau) in Long Beach, California. Here Cody meets a few other relatives: Butcherbird "Butch" Vlad (Salvator Xuereb), Eli's rebellious nephew and the apparent leader of the Shrikes (the young troublemakers of the family, which Cody becomes a part of); Harry Martin, aka Harlevon Martinesque (uncertain spelling; played by Harley Venton), another one of Eli's nephews, as well as a reporter for the 'Long Beach Post-Gazette' and Cody's "guardian"; and Celia (Michelle Johnson), Eli's younger halfsister and lover. She's also Harry's occasional lover, which, by the way, if you hadn't noticed, makes her his half-aunt. Grossed out? Then you may not want to watch this one, because there's more incest involving cousins. Nothing graphic though.

In the movie, Harry is one of the leading characters who is trying to track down these "vampire" hunters before they can hurt anyone else. His semi-assistant is D.A. Amy Lauren (Kim Johnston Ulrich), who had tried to put Butch in jail at the beginning of "Blood Ties", but failed because of Eli's monetary charm. Amy's more of a blond-haired-blue-eyed sexual distraction for Harry, though, than any real help.

Although "Blood Ties" is essentially a vampire/horror movie, it doesn't rely on fangs or other vampire myths at all. It's more of a tongue-in-cheek soap opera drama with a hint of vampirism that's more racially charged than scary. This is noticeable in how the word "vampire" is considered a derogatory term, even though that's what they are; "Carpathian" is the appropriate term. Another example of racial undertones in this movie is when the redheaded Western Regional S.C.A.V. member (Grace Zabriskie) spouts off how terrible it is to have to sit with "one of them" on the bus or be with one in the same room. She continues by saying the "vampires" sole purpose is to steal other people's spouses, jobs, parking spaces, etc. Concerning "vampires" it sounds absurd, I know, but realize there's more to this movie than just cursory blood and guts, although the violence is quite tame and nonexistent compared to today's standards. There is some bloodletting, but no graphic vein-ripping, limb-tearing scenes here.

Sure, it's pretty cheesy at times too, i.e., the choreographed dancing of the Shrikes, but "Blood Ties" wasn't meant to be a serious film. It had aired back in May of 1991 on Fox as a pilot, but apparently it didn't take as a series. I remember watching it back then and pretty much fell in love with it at first viewing since it combines my two favorite genres (horror and comedy) and spotlights "vampires" (my favorite type of monster). I simply can't wait for the DVD version to come out this June!

Another fresh twist on the vampire theme
Excuse me -- not "vampire"! That's an ugly word, a slur. These folks preferred to be called "Carpathian -Americans," thankyouverymuch.

And most of what you've heard about ... Carpathians ... is untrue. Wild, exaggerated, ugly tales. (Except the thing about liking the taste of blood. That's true. But that was long ago. They're civilized now. Didn't _your_ ethnic ancestors do some pretty gross things hundreds of years ago?)

"Blood Ties" looks at an extended clan of, uh, Carpathian-Americans as just another group of immigrants, living in Long Beach, CA. There's the first generation -- conservative, with strong ties to the old country and the old ways. The second generation -- assimilationist, more "American" in their thinking. And the young third generation -- rediscovering their heritage, militantly proud of it, and a little bit spoiled.

These immigrants, however, are also victims of prejudice and hate ... which turns deadly ... There are "vampire hunters" abroad, and they are the bad guys.

Suspenseful, sexy, sometimes humorous and maybe even thought-provoking. I don' t think this was exactly a big-budget movie, but it was very entertaining. I wish it could have become a TV series. And I loved the "Carpathian" music -- especially the tune that plays at the beginning and ending. I wish I could get a recording of it. ... Read more

Reviews (3)

great movie
hey this is a pretty good movie i recorded this from the disney channel in about 1998 trust me dawg if i liked it yawl will like it

Pretty Good
This movie is definitely a good kid's movie. The kids learn how to manipulate their parents to get everything they want, including getting rid of their evil big brother, Tyler. The characters are pretty well played, especially the part of the big brother, James Marsden, as Tyler. I remember I used to cringe, because he's almost too believable. He plays the evil part really well. If you're under thirteen, this movie is a very good way to fill the afternoon.

Kids love it on D-Channel -- hard to find as rental...
The Cochran kids have figured out how to control their parents -- even get them to send evil older brother to boarding school. Nice fantasy. ... Read more

Reviews (16)

Stunning evocation of love and war
Sweden never had a civil war, but Ingmar Bergman imagined it in this brilliant film. Like Stephen Spielberg's "Saving Private Ryan", "Shame" brings home the horror of wholesale butchery without a drop of sentimentality. Unlike that movie, though, "Shame" comes nowhere near hero-worship. In fact, I think it's actually the more masterful of the two films, for it evokes war's brutality on a much smaller scale and yet with greater subtlety and closer attention to the impact of destruction on individuals.

Filmed in 1968, at the height of the Cold War, "Shame" portrays the ordeal of a young couple named Jan and Eva Rosenberg (Max von Sydow and Liv Ullmann), who own a small farm on a remote island in Sweden and who struggle to survive as the conflict that ravages the mainland spills over and starts to engulfs them. Jan and Eva are thoroughly apolitical and want nothing to do with the war. While obviously evoking the competing totalitarian ideologies of the Cold War (communism & capitalism), Bergman's genius is that he never actually identifies what these two competing ideologies are. By doing so, he creates a film that has no explicit political message unless it be that war is hell. The film forces us to step outside our own narrow political prejudices and look directly at the effects of war on humanity, irrespective of politics. For Bergman, belief systems are totally irrelevant. By not even telling us what they are here in the first place, he focuses exclusively on the human tragedy involved.

Moreover, by setting this conflict in Sweden, an affluent Western country that has never been involved in a major modern war, Bergman makes us consider what war must feel like when it shows up in one of "our" societies. This is no a faraway place, and it has not been ravaged by ancient feuds and incessant hatreds down through history. It is as close to "us" here in the West as could be. Furthermore, by setting "Shame" in a country as pristine and "virgin" as Sweden, Bergman brings home to us with crushing force what most Europeans and Americans are now unable to fathom in hindsight due to so many decades of adjustment to it -- the savage, soul-splitting nightmare that devoured Europe in the 20th century and tore civilization apart at its very seams.

The visual impact of this film is also stunning. For while Scandinavian filmmakers had already filmed such incredible movies in color as "Elvira Madigan" (1967), Bergman chose to film this one in black and white. The effect of the black-and-white still-shots of Sydow and Ullmann's faces is remarkable (and what a face Sydow has!). The script and plot is phenomenal, alternating masterfully between understated and yet overpowering scenes of love and war.

Brilliant movie. Five stars.

Bergman's War Movie; And One Of His Very Best
One doesn't think of Ingmar Bergman as a director of action or thriller (genre) movies. But he directs the war sequences in "Shame" with stunning confidence. It seems he could have made many more big (even epic) movies if he had been so inclined. This film features Bergman veterans Von Sydow and Ullmann as ordinary people who are turned into refugees by a ferocious war in which they get caught. They lose everything, are harassed, beaten and exploited. Eventually the neurotic Von Sydow proves he will do anything to survive. Simone Weil once wrote "the great mystery of life is not suffering, but affliction." That is: suffering brings out the best in some people, others it turns into beasts. This movie asks that most painful question: what would you do in the same situation? The film presents a harrowing landscape of hell on earth that ends in a climax that will inevitably remind you of "Titanic", although Bergman did it first. It's more immediately accessible than many of Bergman's other movies because the anguish here takes external form, not just emotionally interior terror. A neglected masterpiece that should be seen at least as often as his other great works.

Great film; bad commentary by Gervais
Among the Bergman films I have seen, this is an unusually realistic and absorbing film. In fact, I recommend this film to people who probably would not appreciate or enjoy his other films.

But for the same reasons I recommend the film to mainstream filmgoers, I fear that the film might not reward repeat viewing in the same way as Bergman's more difficult films (like Persona, The Silence, perhaps Cries & Whispers). Of course, not everyone buys DVDs for the same reasons I do.

Anyway, I'm writing this review mainly to warn viewers of this DVD not to expect much from the audio commentary by Marc Gervais. He speaks mostly of other films, of the actors, of the varying degrees of greyness, and of his own mundane middle-class lifestyle. On the latter point, consider the fact that Gervais completely ignores the great "shame" monologue when he naively talks about how waiting in a crowded doctor's office is probably the closest thing any film viewer has experienced to the concentration camp-like environment which the protagonists must endure.

Worst of all, Gervais gets the war all wrong. He doesn't realize that the final bombardment defeats the invaders ...at least for a while, at least on that part of the island. He doesn't realize that the government doesn't change hands -- it just gets incredibly repressive, just like governments do in wartime. He actually believes that Jacobi acts as a traitor following the invasion of the island.

In making these mistakes, Gervais obviously misses so many clues that contradict Gervais' interpretation. For example, there is the silence following the big bombardment -- indicating that the invaders have been put down. Then there is the reaction of the camp officials to Ullman's participation in the filmed interview. Plus, the camp officials speak of the invaders liquidating nearly all the citizens (note that the events & scenes onscreen indicate that the citizens might have been killed in the crossfire more than anything else). Finally, there are many smaller clues that Gervais should have recognized later. Like when Jacobi speaks of having just visited his son in the military while his son was on leave -- something that would be impossible if Jacobi were acting as traitor or even living in rebel-controlled territory.

Generally, Gervais seems oblivious to the different ideological discourse on each side. Yet somehow Gervais lived through the 1960s and the Cold War without learning how to recognize the discourse and behavior of reactionary regimes or even the most stereotypical discourse of the orthodox, dogmatic left.

As a result of his misinterpretation, Gervais misses the fact that a once-friendly & benign government becomes arbitrarily cruel and repressive to it's own people. He also misses the fact that the govt bombs its own territory -- nearly destroying our couple's house -- to finally "pacify" part of the island. Finally, he misses the way in which the danger comes from one side, then from the other side, then from the other again, then of course from within.

I discuss this at length only because this is a matter of completely misreading the film, of the plot itself, of essentially conflating two different characters at various points.

True, both sides are shown to be equally guilty in this film. And Bergman dresses them in identical uniforms. But still, I expect better from a scholar's commentary ...and from any DVD release from such a significant -- and notoriously challenging -- director as Ingmar Bergman.

PS: If you like 'Shame', don't miss 'Come and See'. The recent 'Bloody Sunday' also serves a similar purpose -- to document and demonstrate the power of war to reshape individuals in the most horrifying ways.

MGM corrected the OAR problem
MGM recalled the original issues of "Hour of the Wolf" and "Shame" because they were presented in a fake widescreen that cropped the top and bottom of the film. These are masterpieces that should not be missed, and they are now beautifully presented in their proper aspect ration of 1.33:1 with the entire image now intact.

One of the five gems of Bergman
This film is simply extraordinary. The performances given por Von Sydow and (one of my female icons) Liv Ullman, are superb.
It's just the genius of Bergman what it makes the great difference. The story increases gradually in organic intensity. The passions and the hopeless get together and produce an efervescence state very close to the paranoid.
¡A real landmark in the story of the cinema!. ... Read more

Reviews (21)

A chilling and entertaining movie
"Albino Alligator" is a movie about three thieves that take a few people at a New Orleans bar hostage. The criminals don't really mean any of the hostages any harm, at least not until the police start to wait right outside the bar and the three criminals don't know what to do to get out with freedom still on their side.

"Albino Alligator" is a pretty good movie, especially when you consider that it was the first movie that Kevin Spacey directed. It's not the best movie of its kind, but it's not bad either. It all happens inside a bar in the basement of a building and the plot doesn't change much the whole movie, but it does have a few interesting twists that keep the movie from being boring. All three of the criminals do a great job in the acting department, especially Matt Dillon. The hostages, led by Faye Dunaway, also do a good job of acting. This movie is both chilling and entertaining, and I recommend anybody who likes movies that center around criminals and hostages to get "Albino Alligator."

Confusing, convoluted, and under-developed plot.
When a new screenwriter is trying to get his script made, the best way to draw attention (nee money) is to attach a star, someone with visibility, someone bankable. Surprisingly, I don't think stars really read a lot of scripts, certainly not all the way through, certainly not with a mindset toward how to make this into a good, completed film.

At the time this film was made, Kevin Spacey was hot, very hot. His performances in Seven, Swimming with Sharks, and The Usual Suspects had brought him not only rave reviews, but an Academy Award. His want to direct, this inherent heat, plus his ability to attract additional star power, namely Faye Dunaway, Matt Dillon, and Gary Sinise, and a spec script from a first time writer had the financial backing it needed.

Maybe Albino Alligator would have been a weak film in even the most accomplished hands, it certainly is a weak film in this first time director's. The premise is sketchy, the through line distorted and vague. Some of the characterizations seem forced, or contrived, as if, for example, Faye Dunaway (or Gary Sinise)'s part were quickly created or expanded to accommodate their agreeing to particpate.

Many good young film makers are making daring, exciting, edgy films right now. This is not one of them.

Say What....?
....the ultimo movie about a bungled heist job and the crooks are holed out somewheres is....Reservior Dogs. This has great actors in it...I enjoyed seeing, f'instance, Dame Dunaway...but, she, Sinise, Dillon, Mantegna, and perpetual co-lister Faison had a poor dialog to work with. Imagine if QT had written it. Or, my favorite tough guy screenwriter, David Mamet. Fortunately though, Spacey will have something to build on develop a director's repertoire...

Strong debuts from Kevin Spacey and Christian Forte
Strong, strong debuts from Kevin Spacey as director and Christian Forte as writer. Strong cast, except for Faye Dunaway, who is apparently still channeling Joan Crawford, or maybe Bette Davis. Sinise is a winner, as is Dillon. Nice to see M. Emmett Walsh still getting quality work. Has its share of "first-time director" problems, including a number of really awkward transitions and jump cuts right in the middle of the second act, but Spacey is a directing talent to watch for in the future. Too bad Forte didn't follow-up such a muscular debut with something equally well-crafted.

A Mixed Bag
Director Kevin Spacey leads a superb cast who do reasonably well considering the material. Don't get me wrong, the film's idea is a good one. But this script seems more suitable as a play, than a film. Being that most of the film takes place in a one room bar. Faye Dunaway is great, as well as Gary Sinise in a subdued role. But Matt Dillion's tough guy routine seems a little forced, and by the end of the film it's a little tired. However, this is suitable start as Spacey's debut. It's enjoyable too watch, especially if you let yourself sink into it, and try not too deconstruct it's flaws. ... Read more

Reviews (16)

Not as good as I expected but still awesome!
This movie was no where near as good as I expected. It had many flaws. However it does have good acting and a lot of money was probably dumped on this movie. I would recommend this to anyone who likes inhabited or leprechaun. Check it out, you won't be disapointed but its probably not what you will expect.

anyway this movie is about a little goblin, rumplestiltskin, who stills babies...and that is the main plot. its pretty cool!

SCARY
I remember watching this film as a little girl and to be honest it terrified me.

I now have been trying to find this film for sometime but forgot the title and well I obviously found it.

I think that this film is a GREAT horror film and will have everyone hat watches it scared as hell.

Yes, this was in theaters
To answer your question, yes this movie was in theatures and I saw it not once, but twice. If you are going to judge this film on its filmatic achievements, or wonderful acting, its definitely not for you because the movie itself is horrible, and never quite reaches the bar that Leprechaun set for it. However, if you like funny horror flicks or are a fan of the Leprechaun series you should check it out, its pretty funny. One scene in particular sees good ole Rumple lose his head. The head is trying to tell the body where to go to find the head, its quite humorus.

theatrical or not?
Im jw if anyone knows if this movie played in theatres or if it was straight to video. to my prior knowledge it is direct to video but a reviewer said they saw it in theatres. anybody know?

Amazing
This movie is by far the greatest I have ever seen. 5 stars all the way. ... Read more

Amazon.com

Igor Stravinsky's The Rake's Progress occupies two worlds. Thestory, the ironically moralizing attitudes, and many musical and verbal detailsare inspired by the 18th century. But it is modern in rhythm and harmony and inits psychology--Freudianism and existentialism in a powdered wig. Eachproduction must find its own balance between these polarities, and this crisp,stylish treatment, taped at the Salzburg Festival in 1996, leans heavily towardmodernity. The Faustian story of ne'er-do-well Tom Rakewell is told in symbolsfrom its beginning (when he succumbs instantly to the temptations of thediabolical Nick Shadow) to the final mad scene. The props include a small,earthbound airplane, signifying Tom's flights of fancy, and some supernumerarieswearing ape costumes and capering about, symbolizing perhaps his obsessions. Thecostumes are modern: Tom in a T-shirt, Anne Trulove (his fiancée) in adress so simple it looks like a slip, Nick in a mafia-style pinstripe suit.Designer Jorg Immendorff, a prominent German painter, is ingenious and self-indulgent in his staging. He portrays Tom as an artist not unlike himself. Butif ever an opera had its visual elements clearly prescribed, it is The Rake'sProgress--inspired by a set of engravings by William Hogarth thathave no resemblance to Immendorff's staging.

There have been first-class productions that respected Hogarth's vision. One ofthem is sure to find its way to home video eventually, and those who are upsetby visual tampering with an opera's original concept might want to wait. But theSalzburg audience applauds it thoroughly in this production. Stravinsky's musicis well handled. Jerry Hadley brings both pathos and humor to the title role,Dawn Upshaw puts a lot of personality into the rather bland, goody-goody role ofAnne, and they have an expert supporting cast. --Joe McLellan ... Read more

Reviews (2)

A travesty
Wait for the excellent Glyndebourne production with Hockney sets to appear. This production is really silly and works counter to the marvelous score.

The is the One to Have!
So far this 1996 Salzburg Festival production of 'The Rake's Progress', Stravinsky's 'Mozartian opera,' is the only one to make it to DVD. But frankly I don't think you need look any further; from the opening scene set in Tom's painter's studio (with Anne as his demure model) to the amusingly staged epilog that is an homage to that of 'Don Giovanni,' the production never flags, impelled smoothly by the alert conducting of Sylvain Cambreling. The production, conceived and directed by Peter Mussbach with set/costume design by Jörg Immendorff, goes from triumph to triumph. The stage action, scenery and costumes, although not always immediately clear in intent, are colorful, amusing, always engaging.

The cast could hardly be bettered. Jerry Hadley, sometimes not a very inspired actor, makes a believable and sympathetically tragic Tom Rakewell in this tale of a young man ruined by wealth and temptation. His singing is pointed, if not always innately beautiful. Dawn Upshaw, as Anne Trulove, is delectable both visually and aurally. It is hard, frankly, to imagine a better Anne. Her two big scenes, 'No word from Tom ... I go, I go to him,' and 'Gently little boat' are beautifully sung and emotionally moving. Nick Shadow, sung by Monte Pederson kitted out as a kind of Daddy Warbucks, is both vocally superb and dramatically menacing. Contralto Jane Henschel as Baba the Turk is hilarious but also sings the part's coloratura as well as I've ever heard. Not a small woman, Henschel is light on her feet and her nimble moves onstage contribute conspicuously to her impersonation of the nattering bearded lady. Linda Ormiston's licentious Mother Goose, Barry Banks's oily Sellem, and Jonathan Best's stalwart Trulove contribute vocally and visually well-drawn characterizations to round out, along with the almost omnipresent Vienna State Opera chorus, a top-drawer cast.

The production was directed for TV by Brian Large. Is there anyone better doing this sort of thing? If so, I don't know who.

I give this DVD my strongest recommendation.

Review by Scott Morrison. ... Read more

Amazon.com

Most generation gaps focus on conservative parents and radical kids, but My Son the Fanatic depicts the opposite: taxi driver Parvez (Om Puri) can't understand why his son has turned to Muslim fundamentalism, calling the Western world of their corner of London corrupt and driven by sex. Meanwhile, Parvez finds himself working for a hedonistic German businessman (Stellan Skarsgård from Breaking the Waves and Good Will Hunting) who has more or less hired a prostitute named Bettina (Rachel Griffiths from Hilary and Jackie and Children of the Revolution), with whom Parvez has become friends. As Parvez's wife also turns towards fundamental ways, and a Muslim holy man comes to live in their house, Parvez turns more and more to Bettina for solace. Their friendship turns more intimate, bringing the family conflict to a head. This could be little more than a midlife crisis fantasy, but My Son the Fanatic thickens its story with cultural details and well-developed characters. The performances are rich and affecting; Om Puri is charming and sympathetic, and makes Parvez's moral conflicts genuine and understandable. Though Bettina, as a hooker with a heart of gold, isa bit of a stereotype, Griffiths's integrity as an actress makes the character compelling. An affecting film that doesn't provide easy answers to the difficult questions it explores. Written by Hanif Kureishi (My Beautiful Laundrette, Sammy and Rosie Get Laid). --Bret Fetzer ... Read more

Reviews (11)

Slightly flawed gem...
You might want to rent the film first before you buy the DVD--though I didn't and don't regret it. It was hyped as a "funny" film, but I did not laugh much, though it is very very wry.

The story takes place in London, England and most of the characters are Pakistani immigrants or their children. Two exceptions are the Scottish(?) prostitute played by Rachel Griffins (Betinna, aka Sandra) and the German businessman played by Stellen Skaarsgard. If you have any problems understanding accents this film could drive you mad. The German business man says "I speak better English than you" to the Pakistanni taxi driver, and since he has a heavy German accent be warned.

Although the story takes place among Pakistanni immigrants living in modern Britain, it could have been any non-English group of immigrants with 'different' religious convictions (Mennonites, Jews, Jehovah's Witnesses, Mormans). These folks just happen to be Muslim.

Although assimilation is the background issue, the story is more complex. The core issue the film explores is "What is a good man?" At one point, Parvez the father says to his son Farid, "There are many ways to be a good man."

The son is unhappy with his life as a second generation Muslim living in London, and turns to what he believes are his roots. The father abandoned these roots long ago, and has no inclination to revisit them. The two of them inevitably clash.

Eventually, the son discovers his father has a very unorthodox relationship with a prostitute named Bettina. And, the father is involved in activities the son describes as 'pimping.' It's hard not to sympathize with the son's disillusionment and disappointment, and yet the son seems bent on taking up a new life style that is equally harsh where women are concerned.

Is it better to be a man who helps his female friend the whore acquire clients, or better to be the man who spits in the faces of women, burns down brothels, and makes his mother enshroud herself and eat alone in the kitchen? This is a complex morality play.

The gentle humor adds to the humanity of this fine film
The theme of immigrant children rejecting traditional values is a common one. But in this 1997 British gem, there's a twist. This screenplay, by Hanif Kuresshi, tells a story of a Pakistani-British taxicab driver whose only son reverts to Moslem fundamentalism much to his father's displeasure. It's a modern story, and we've all become painfully aware of these issues lately.

Om Puri, with his weathered pock-marked face, has the ability to create a character that is easy to identify with. He's a foreigner, the victim of racial prejudice. He has also become alienated from his family. And yet, he is bursting with vitality and is full of wisdom. When his son breaks his engagement with an English girl and turns to fundamentalism, he's horrified as it is against the basic principles of the secular life he has chosen for himself. He has nobody to turn to as a friend with the exception of Rachel Griffiths, cast in the role of a prostitute he chauffeurs around. She, too, is alienated, and as their relationship grows, the story become more complex.

Many of the scenes are shot inside the cab, and even though it took me a few minutes to get adjusted to the fact that the driver's seat is on the right in England, it really gave me the feeling of what a cabdriver's day-to-day life is like. The cross-cultural conflicts are sharp and grating as the son invites a visiting holy man to stay in their house and the young extremists demonstrate for moral decency. I could certainly identify with the father's dilemma as he grappled with his own complex moral choices. There's gentle humor too, and it adds to the humanity of the film, although I could never call it a comedy. It's simply an offbeat story with some unlikely people dealing with very real issues. Definitely recommended.

Father and Son
Somewhat similar to movies like "Bend It Like Beckam" or "East is East", "My Son the Fanatic" is an interesting effort that wisely approaches subjects like the generational gap, the clash of cultures, family ties and social disorder. Presenting a credible and realistic atmosphere with solid acting (Om Puri is particularly great), compelling characters, witty dialogue, a good plot and a fine mix between drama and comedy, this cinematic experience doesn`t quite reach classic status but manages to deliver a strong and convincing movie. The pacing is a bit uneven, though, and some more comedy-oriented moments wouldn`t hurt. Still, a good flick nonetheless.

Recommended.

A TRUE MARVEL WITH COMPLEX BUT REAL CHARACTERS
Made in 1997 (ps: pre-911) it is remarkable how a movie so simple in its narrative, and so in the shadow of critical cinema, could depict such smack-dab nuances of eastern immigrants at odds with a western setting or how the cultural assimilation of trans-national immigrants doesn't always look like a rainbow colored day at the beach.

But despite that seemingly ho-hum central tack, there are many conflicts studied very poignantly -- modern versus mediaeval, father versus son, fidelity versus emotional satisfaction, ethnic conservatism (ok, fanaticism) versus open minded cosmopolitanism, Good House Husband versus Bad Man Who Befriends Prostitutes, Decent Living Taxi Driver versus Someone Who Became Filthy Rich...and each is sublte yet hard-hitting in its simplicity.

Without giving away too much about the plot, there is no ordinary character in the movie, certainly no ordinary Muslim. The father (Parvez, played wonderfully by Om Puri) is a cabbie who flirts about in a relationship with a streetside floozy whom he finds more uplifting (no pun intended) than his standpat wife back home who disapproves of his free-wheeling ways and even finds his interests in jazz "too trumpety". The other Muslim, the son, is at loggerheads with his peers in throes of non-acceptance and instead gets inveigled into Islamic fundamentalism as an escape. This contrast is very, very credible, real and amusing.

Particularly noteworthy are Udayan's idiosynchratic implications about what constitutes "right" or "wrong" character. Parvez's prostitute girlfriend has a loving heart, a sharp mind and a vivacious presence despite her ostracization from the Good People Club. The son and his other right-wing Islamic acolyte buddies come off as annoyingly childish in a thoughtless "promiscuity" of their own.

For instance, they invite a Pakistani Maulvi to sermonize/"guide", and a hilarious TRUE moment pops up when the Maulvi requests the non-approving father for some help with his immigration into England.

Another VERY, VERY quiet 5 second scene that leaves an indelible impact is the depiction of male chauvinism dominating orthodox Islam where Parvez's wife is huddled in the kitchen for dinner, behind a closed door, and refuses to come out to dine with the men of the house in fear of doing something "inappropriate" in the presence of the supposed Maulvi.

The movie has many light-hearted moments and the cinematography is unexpectedly stunning. All this emotional, moral tussle between father, son, wife, romantic interest etc leads to a denouement that is hardly a resolution of sorts but is deeply moving. Everyone makes a choice (and I found the choice of Parvez's wife particularly startling) in favor of freedom from personal and social shackles. Made me think for days and recommend this movie to everyone I care about.

This is probably not your average East Meets West type ethnic take and certainly not a look into typical Muslim life as it makes no pretense of being. Yet, as a movie that tackles very touching, very identifiable themes of how simple convictions about life and love can sway people into/away from relationships, it comes HIGHLY, HIGHLY RECOMMENDED from me.

Can cultures intermix?
Islamic fundamentalism and western hedonism collide in Hanif Kureishi's film "My Son the Fanatic", wich takes place in the small English town of Bradford.

The film was a huge hit in the 1997 Cannes film festival. It's intriquing way of combining comedy and drama earned it the Official Selection.

"My Son the Fanatic" gives us a peak to the life of Parvez, an Indian-Brittish taxi-driver, who doesn't care much about his roots, but is very fond of the western way of life. He befriends with the lower class of his town, eventually falling in love with a prostitute.

His son, Farid, represents a very different kind of thinking. He opposes the western way of living recklessly and seeks order. This leads to him leaving his English fiancé and joining a group of islamic fundamentalists.

The film that begins as a light comedy turns into serious drama as Parvez and Farid collide in their different ways of viewing life. Parvez's worry about his son and his long-dead marriage to his traditional Indian wife who doesn't approve of him mingling with criminals and prostitutes etc. offers us meaningfull moments, wich carry the deep characters through situations.

The film speaks for open mindedness, showing that a prostitute can be a good person and that a religious fanatic is always someones child. It offers much to think about while questioning common prejudiousness.

The adequate acting performances and Udayan Prasad's talented directing support Hanif Kureishi's insightfull script, wich unfortunately, or perhaps intentionally, is left a bit superficial.

"My Son the Fanatic" shows us that cultures can indeed intermix, and I recommend it strongly, especially at these times.

To quote Parvez: "Farid tells me cultures can't be combined. Jesus! You can't keep them apart!" ... Read more

Reviews (5)

Mediocre production
I must first admit that Siegfried is my least favourite opera in the entire Ring cycle. Maybe it's because of this reason that I'm disappointed by what I see and hear on this DVD recording, as there's nothing which can make me like this opera more.

I have nothing really against the staging and direction. However, these come across as being rather perfunctory. At times, the singers are left with nothing much to do for a long period of time. Things are sometimes too static for the music, which are often much more lively than the stage action.

The singing is mediocre. I like James Morris's Wanderer. Siegfried Jerusalem, though musical and mostly accurate, is a little too slender in tone for the hero. I'm not impressed by the Brunnhilde of Hildegard Behrens. The other performers are adequate but no more. The Metropolitan Opera Orchestra under Levine gives a good though not transcendant performance.

Maybe I'm being a little too harsh. But I think this opera has much potential that has been unexplored by the performers and the director here.

A truly great production!
This was a very grand production of Seigfried. Master Levine does an incredible job as conductor and his interpretation of Wagner is grand. I do not think the production is dull. The lighting is a bit dark at time, but I think that James Morris is superb as the Wanderer. As expected a very good Metropolitan Opera performance. This completes the Ring Cycle for me.

NOT a dull production
I disagree strongly with the reviewer who complained that this production is "dull". It is rescued from dullness by Heinz Zednik, the genius who plays Mime, and by fantastic sets. Also, James Morris is at his peak as the Wanderer, totally convincing visually and vocally, and he's the only one I've heard so far who can sing the line: "Ha-ha, ha-ha, ha-ha-ha-ha, der witzigster bist du ..." with all the "ha"s correctly timed. Everyone else--especially Hans Hotter--consistantly screws up this line, even in studio recordings.

Ekkehard Wlaschiha hits a homer as Alberich. Superbly menacing as he threatens the Wanderer and a great bully when he fights with Mime over the treasure.

A dull production
This is a rather dull production. The singers are OK and whatever one thinks about Jerusalem, he's still a serviceable Siegfried. The other cast members are, however, mediocre and the direction is ordinary.

Great!
Although Jerusalem is not well-done, but none of the production from the MET is not GREAT,the scenery,well,was terrific and the last scene, I can only use the term "perfect" to describe that! ... Read more

Reviews (18)

Another reason why Julie Christie should continue to perform
Here's Julie Christie more beautiful, more enchanting, sexier than she has been since her role in Doctor Zhivago thirty years ago. She's an ageless wonder, delicate and sweet while also being smart and tough. Her performance as Phyllis Mann, a washed up B-Movie actress is entrancing, so much so that when viewing the film, I found myself ignoring the other actors while she was on screen. I couldn't take my eyes from her for a moment, though that's no slander at her co-stars. Nick Nolte is as watchable and likable as ever as Christie's philandering husband. Lara Flynn Boyle and Johnny Lee Miller have never really been my cup of tea, but perform complex parts with admirable skill. They are a young couple with all the material possessions in the world but separated by an emotional iciness between them. Boyle wants a child while Miller does not, so she turns to handyman Nolte. Miller happens to meet Christie and becomes fascinated by her while she allows herself to be seduced as much out of revenge as curiosity. The film is stylishly directed by Alan Rudolph and I give special credit to cinematographer Toyomichi Kurita for his excellent camera work, though I envy him for getting to stare through his lens every day to see Julie Christie before him. A touching film with fine performances all around, with Christie the standout(yet again).

An smart odd film about Romance.
When a Key Repairman (Nick Nolte) cheats on his Attractive Wife (Julie Chrsitie in a Oscar Nominated Role), a has been actress for a younger woman (Lara Flynn Boyle) but when his wife cheats on a handsome young man (Jonny Lee Miller), who dates the younger woman and the Realationship gets Complicated.

Written and Directed by Alan Rudolph (Mortal Thought, Breakfest of Champions) shows a Strong Dramatic Comedy about Love and Redemption. Julie Christine gives a Strong Role gives the film:Best Asset. Grade:A.

Old Roses, Young Weeds
A fading light that illuminates the day, when it's too late to change anything about it, is the Afterglow. In the gray city of Montreal, two couples prance in its dim daze, uttering writer/director, Alan Rudolph's highly stylized dialogue: Lucky (Nick Nolte) and Phyllis Mann (Julie Christie) have been married for over twenty years. He is a philandering fix-it man, she is wittily morose ex-B-movie actress. They have an arrangement about his philandering that goes back to a painful incident in their past, one that is clear in the present's Afterglow. More upscale, and younger, are the Byrons, Jeffrey and Marrianne, a miserably rich yuppie couple. He entertains his suicide fantasies by stepping out onto his high-rise office ledge, sticking his knee into the air, waiting for a strong wind to push him off. She is a semi-hysterical, insatiate housewife, who is building a baby room for a baby her husband promises they will never have.

The plot mechanics of what follows would be farcical if it weren't for the pace. In the yuppie's lavish house (similar to the one Al Pacino called "post-modernistic bull#*%^" in Heat), Lucky goes to build the frustated housewife nursery for the phantom infant. Given their respective marital status, an affair, especially in film with jazz dominating the soundtrack, is mandatory. By sheer coincidence, or by the writer's desire for contrast, Jeffrey and Marrianne meet. Suicidal he maybe, but as his well complemented secretary would attest, he does have an attraction, albeit non-sexual, to older women. This is their first exchange:

Phyllis: I noticed your wedding ring.

Jeffrey: Its removable.

Phyllis: Does your wife know that?

Jeffrey: If we find her, we'll tell her.

Rudolph is so fond of such rhythmical gesticulation of dialogue that instead of the above standing out, it could be a random selection from his script. The whole thing is written this way, hence defeating any dramatic aspirations the film might have had; if these people talk like this ALL the time, then what planet are they from?

This is that part where I'm supposed to say why I thought the picture is not what it might have been. It is true that the actors, with the exception of the Oscar nominated Christi, struggle to create anything special under the director's pretense; Miller is fun in role that is virtually opposite to his Sick Boy in Trainspotting, but the character is one note. Boyle brings nothing new to frivolity and neurosis. And Nolte is just Nolte. But if you were familiar with the films of Alan Rudolph you'd know that he hasn't failed here. Afterglow is, probably, exactly what he wanted it to be. A small scale drama with a slightly skewed sense of reality. He is the patron saint of the slightly off-key film (his underrated 1990 murder mystery Mortal Thoughts was realistic only because every other murder mystery was not). So Afterglow is no surprise, just another part of the man's repertoire. The only thing that might make Rudolph's oak-lined, smokey, booze drenched creation worth visiting is a jewel of performance by Julie Christi. She is able to sell Rudolph's silly non-jokes, as when she calls her husband Lucky Mann (which is his real name, ho ho), without letting on if she is loving, mocking, hurt or disgusted by him. She is the enigmatic, fascinating mystery the rest of the film only thinks it is.

Afterburn
Christie and Boyle sink their teeth into great parts but this love rectangle unfolds too slowly to be that entertaining. Rudolph's attempts at screwball comedy are ill conceived, but his direction is good. Too bad his male characters do nothing but think with, uh, you know.

Great Acting, Great Story
I thought the movie was great overall. The story is very deep and moving, nicely woven, and even though Nick Nolte might not have had the 'sexy' look required for his part, I think he more than compensated for it with his aura. The movie engages you from start to finish and Julie Christie was amazing. Rent it, especially if you're in the mood for something romantic, yet different in its take from a lot of what is out there today. ... Read more

Amazon.com

A group of best buddies prepare themselves to dispose of a cop's naked corpse that just happens to be resting on the floor of nice guy Mackenzie Astin's (Jared Roth) apartment. Accident? Murder? Something even more sinister?It hardly matters as the cover-up only leads to more dead bodies, driving trust-fund idiot Natasha Gregson Wagner (far too convincing as a blathering bubblehead) completely loony: she starts lining up future victims with the enthusiasm of an assassin in training. That's just the first act of this darkly comic tale of murder and manipulation among a group of double-crossing pals. It's an often-clever film in a far too familiar genre of twisty, cynical, self-conscious, Tarantino-inspired thrillers. Dina Meyer is delicious as an ambitious singer and ostensible group leader who knowsmore than she's letting on, and Todd Field is a simmering and suspicious member of the cover-up, the only genuinely unpredictable element of the film. It's hardly original, but director Eric Bross has some fun with the story and injects enough sly black humor to make the film intriguing andentertaining to the end.--Sean Axmaker ... Read more

Reviews (7)

ordinary people become murderers
well it is safe to say that I survived this movie but I didnt quite like it all that much. there were things about it that were just too blah. Dina Meyer(Starship Troopers, Johnny Mnemonic) is the hottie in this movie. Todd Field(Eyes Wide Shut, Twister) is the cool guy in this movie. Mackenzie Astin(Sean Astin's brother) is the crazy guy in this movie and Natasha Gregson Wagner(Modern Vampires, Another Day In Paradise) is the annoying one in this movie. Field has written a book called Stranger Than Fiction and he tells the tale to a man at a bar. Astin murders a gay police officer and things go downhill from there. It just spirals into twists that are far too perdictiable but some funny, like the hobo in the back of the car. The old lady had the funniest death of them all. If your a fan of any of the actors you should watch but if your not it's ok if you dont. Also that whole in different colors switch doesnt help at all

DARK MYSTERY
At the start of this under appreciated little gem, we meet four typical "yuppie" characters: the lovely Dina Meyer (in one of her best roles yet); the smartly handsome Mackenzie Astin; the straightlaced teacher Todd Field; and the unusually ditzy rich girl, the absolutely fabulous Natasha Gregson Wagner. The first half of the film definitely belongs to the girls, with Wagner just a barrel of laughs. The way these murders occur seems like something out of a three stooges film, but being the schizophrenic film it is, it grows darker and darker, with some interesting plot twists and brutal killings.
The wedding scene is hilarious; Gregson's attempts to murder the nosy old lady neighbor is brilliant; wait till you see how much poison she puts in the woman's cup!
This movie entertained me and made me gasp a couple of times too. Although the sardonic twists are effective, it's a shame to see how these four people are torn apart.
I LOVED IT!

Dina Meyer + Interesting Story = Gold
Before I even knew what the film was about, I wanted to see it. i am a huge fan of the beautiful and talented Ms. Meyer and I make it a point to see all of her projects. After discovering what the film was about, I became even more interested in seeing it. I finally saw it, and it far surpassed my expectations. what can I say? I love darkly comedic films such as this, and although the film was obviously inspired by Tarantino and his imitators, it happens to come off as fresh and original. I was thouroughly entertained throughout the entire film and I was surprised by several of the plot twists.

This film also had some great acting. Dina Meyer was, of course, superb. I was pleasantly surprised by both MacKenzie Astin and Todd Field. I had never heard of either of them, and I thought they both turned in fine performances. I was familiar with Natasha Gregson Wagner mainly from Modern Vampires (another great but not well known film) and I thought she was very impressive in ths film.

The DVD itself is nothing to call home about. It is pretty Bare Bones and fullscreen to boot. However, I'm just happy to have this gem preserved on DVD and I will take what I can get.

PS This movie had one of the coolest opening credit sequences I have seen in a while!

Strange Is Always Good
I knew absolutely nothing about this movie when I bought it and honestly, wasn't expecting what I got. This film should be more known than what it is because it is an incredible film. Yes, it is far from an original idea (how well do you know your friends?) and it plays with many non-original concepts, but the acting and storyline make up for whatever the movie lacks. Dina Meyer is fantastic in this film and for anyone who hasn't ever heard of her, please watch this and then everything else she's ever done. Todd Field is also remarkable, as is the rest of the cast. It goes to show that a film doesn't need big names to make a film good or an original idea. How the characters interact with each other alone is enough to make this movie great. The dialogue is funny at times and then makes your mouth drop. The only thing wrong with the DVD is that it's not in widescreen. Otherwise, buy this. Buy it now!

Great comedy-thriller!
This surprisingly funny thriller is nothing but a must-see for all people who like black comedies. The storyline circles around four friends who are getting involved with several more or less dead bodies.

The acting is good but Natasha Gregson Wagner stands out with a wonderful comic/comedy performance. She delivers 99 per cent of the laughs especially in the sequence where they try to get rid of the first body and in the scenes after the old ladies death.

Absolutely worth watching especially if you like Natasha!!!

Last but not least: don't forget to watch the ending credits! ... Read more

Reviews (14)

Dark Troubling Movie About the Disillusion of Life
This is an extraordinary movie. It is impossible to not deeply sympathize with, and yet also come to strongly dislike the character of Susan Traherne played by Meryl Streep. All of David Hare's plays (e.g., Racing Demons, Skylight, the recent Amy's View) and movies (e.g., Strapless, Wetherby) are concerned with the idealist who runs up against a not particularly sympathetic world as he, or more commonly she, ages and struggles against a self-doubt induced by the people and society around her. The character of Susan Traherne is the least openly "likeable" of these characters, yet in Streep's amazing performance is heartbreakingly sympathetic. It is so easy to weep when one sees the final flashback scene in which one is reminded of her certainties and hopes 15 years at the end of a World War. She just could not find a way to make herself or others happy, and in the gloom of the effort trashes the lives and surroundings around her. A very memorable movie.

Most underrated Meryl Streep film
This movie is a forgotten treasure and deserves to be revived since it shows magic Meryl at her best in the prime of her craft.
The movie is based on a David Hare play and has been recently restaged in London with Cate Blanchett( arguably the most convincing aspirant to Streep's throne) in the lead.
Susan Traherne works in the French resistance during the war and although her life is fraught with danger, deprivation and chance encounters it gives her an edginess and zest for life she can never find in her later life. In post war Britain she stumbles through a string of uninspired careers, a bittersweet stab at motherhood, a friendship with a sassy Bohemian( a role Tracy Ullman was born to play) and eventually a marriage to a safe and starched politician that comes across as a personal suicide note while remaining among the living. The film nicely balances the quests of how much excitement people can handle and how much boredom can discombobulate a once inquiring mind. It's nothing less than a somber ode to the idealism of youth, its sour awakening and the understanding that success is in the eye of the beholder and no cotton can shield us from our drive to be individuals regardless of the cost to comfort and convention.

"There will be days and days and days like this"
"Plenty" is a film destined to arouse a lot of controversy -- not over its quality, but over its heroine: Susan Traherne (Meryl Streep), an Englishwoman who worked with the French Resistance in World War II and, much to the consternation of those around her, longs for the thrills and passion she felt during those days. Restless, dissatisfied and determined to challenge and change society, Traherne rubs employers, acquaintances, and even her husband the wrong way in her quest for satisfaction.

Yet screenwriter David Hare, adapting his successful stage play, asks us to accept and identify with Traherne, a steadfast individualist whose striving and scheming cost her everything, including, finally, her sanity.

Much of the attraction -- not to mention the challenge -- of "Plenty" lies in trying to rationalize Traherne and her motives and motivations. When first seen, she is a young woman who has arrived in France to aid the Resistance movement. Although only 19 years old, she is in a position of power and a situation fraught with danger, and she loves it. After the war, she returns to England, full of high ideals about building a better world where everyone can flourish. But what she finds in her homeland instead is a nation of men and women who are far more concerned with getting back to normal, and satiating themselves in material goods after years of wartime shortages.

For Susan, the postwar world of plenty is distressingly devoid of thrills, goals and open minds. Her feelings of emptiness lead her to seek out bohemian and beatnik friends, a foxy lower-class lover and a husband whose career in the diplomatic services is on the rise. But flirting with danger and accumulating wealth are not the answer for Susan either, and she languishes in luxury.

The role of Susan is custom-made for Streep and she turns in yet another tour de force. Classy and vivacious one moment, scathing and bitter the next, Susan is genuinely a puzzlement, and certainly an addictive one. You may not like her, but you will not forget her.

There is no shortage of fascinating characters in the supporting cast either, nor of fine actors to play them. Singer-comedian Tracey Ullman is enchanting as Alice Parke, Susan's roommate and confidante. Alice wears men's clothes, smokes marijuana and aspires to be a writer and artist, but little things like bad pot keep getting in her way: "How am I supposed to find artistic inspiration if I can't even get any good drugs?" she complains. Sting, who too often relies on his looks to carry his performances, turns in his best screen work to date as Mick, a black-marketeer whom Susan hires to get her pregnant (the love scenes between Sting and Streep are both funny and sexy). But finally, Susan dismisses him after 18 months of trying. "There comes a point at which the experiment should be stopped in the name of common courtesy," she notes.

As Susan's weary husband, Charles Dance brings life to what could easily have been a one-dimensional part, effectively conveying the toll a marriage built on pity can take on a man. Sir John Gielgud also sparkles as the duty-minded Leonard Darwin, whose run-in with the defiant Susan at a dinner party is the nastiest and most uproarious scene in the film.

"Plenty" is not an easy movie to categorize, and interpretations of its central character and its message are sure to be numerous. But there is no denying its power or the allure of the people in it. There are lighter, more charming films around, but there are few as ultimately rewarding.

Odd
Usually I love Meryl Streep, but for some reason--call me stupid if you want to--I had trouble watching this DVD because Streep wasn't very likeable, I couldn't sympathize with her character, and I REALLY HAD NO IDEA OF WHAT WAS HAPPENING. Perhaps the movie was a little too well-made. Or perhaps I wasn't paying it the attention it deserved. Anyway, it's one of the few DVDs I've actually gotten rid of. But Streep is just gorgeous as usual!

Don't Waste Your Time
Uneven, choppy direction and convoluted plot marr the otherwise superb story and excellent performance of the uncomparable Meryl Streep. Unfortunately, not even the fabulous Ms. Streep can save this -- recommended for devoted fans only, bent on completing their Streep collection. ... Read more

Reviews (10)

This shows why American cinema rocks!!!
Don't let my blurb scare you off. This isn't the worst movie ever made in any sense. However it is very unamerican in its form. It isn't done that well at times and the plot is difficult to follow. Not to mention that Skeet Ulrich pulls off teh worst performance I have seen all year. I know he was never great but he was never this bad. I mean his performacne here is plain bad. I felt taht there were times when I was suppossed to know what was going on and I just didn't. I commend them for the style though. The fast music, the fast filming here and there. this film seems like a Dutch mix of THE BOURNE IDENTITY, any Jerry Bruckheimer movie, and RUN LOLA RUN. Worth a watch on a rainy day.

Very Pleasant Surprise
If you love action, Europe and fast paced stories, this one is for you. If not, then take a pass. Much like Nikita, Bourne Identity and other great Euro thrillers Soul Assassin is not as formulaic as most American action films and I really enjoyed the fresh new actors from Holland (I assume). Skeet and Kristy were good, but Kristy should have been in the movie more. A fault of an otherwise passable script. Nothing too special there, but the movie has a unique view. A very blue view. Personally I liked it. Along with the sound, which is loud and great. The story was confusing at times, then it all makes sense in the end. No spoilers here, but I was definitely surprised by the final events. I probably should give the film a 4/5 but because of the end I have to give it a 5/5.

Good 'Action' movie
The plot, while at times are to see, is there. I would say that the majority of the scenes that attempted emotional impact were fufilled as a result of pretty good acting. The DVD has some other cool stuff on it. I will admit though that the visuals, while interesting, were a bit nausiating. A lot of quick, extreme camera movement. The blue filter was very appropriate. There is a screen flashing technique that the director overused a bit.
Good action movie to see once or twice. Very fufulling ending, if you followed the plot...

torture
This entire film is done in Blue and White (no not black and white). Which is torture on the eyes. I got 3/4 of the way through and gave up in disgust cause my eyes were killing me from the dreary color scheme. Awful.

Fun Ride
I rented and then bought this DVD. It is different and has an attitude. Off beat locale and happenings...a bicycle chase in Amsterdam, a sniper shootout on the canal and lots of quick cuts and Hi Tech look and feel. The story is interesting as well...betrayal by a "father figure".

I have read some negative reviews of this movie by uptight "filmees". Get a life!! They over analyze all of the things about the movie that are actually fun....the pacing, the styized look, the blue filter....that's what is fun. Get your nose out of obscure and boring films and enjoy life. ... Read more

Reviews (9)

A feel good movie for all ages!
Possums is a wonderful movie. I am 22 years old and I played college football at a division one level. I appreciate great football movies and I also appreciate movies that make you feel good. If you have family in town, or you have kids in the house and you want to have something that is great for people of all ages you need to buy Possums. I own a copy and I bought a copy for my parents. This is a movie that has comedy, romance, high school high jinks, and heart. I gave Possums 5 stars because it is truly a refreshing movie! I would recomend it to anyone who is looking for a great movie to add to their collection.

Possums is a rare film
Everyone should see this one. It is a rarity. There is absolutely no cussing, no nudity, no sex, and no violence in this one. You know how it is these days when you can't take the kids to see anything anymore. Film is Hoosiers-ish type fare with Davis as disc jockey who brings small town of Nowata together. I won't spoil anything, but it involves football and the come-together spirit of a small Oklahoma town. Barry Switzer appears as the "other" coach.(not his first film either--he appeared in an episode of coach and played a color commentator in Any Given Sunday).

Was a Nowata extra in the stands
I really enjoyed the movie. The content was worthwhile. Possums is an example that you can make a good movie without violence and sexual content. I lived in Nowata during the filming and was glad to be an extra in the football stand. The content was wholesome and definately a family movie

I wanted to give it a half star.
If you are an Okie (my husband is) the movie will have it's charm. If you are truly (not truLLy, Thelma)a football fan you will rally around the spirit of the movie, but for those not familiar with the twang and sloooooow pace of the central states think again before buying this one. Borrrrring! (My husband may put me in the dog house for this).

An Okie event
I would have rated it 5 stars, but it moved a little slow at times. A good friend of ours was the "losing" coach in this movie and we had the chance to see some of the filming. It was heart-warming to see how the town of Nowata rallied around the movie-makers. Many of the actors were Oklahomans and the extras were Nowata citizens. It was indeed an exciting event. I was very pleased with the finished product. It trully reflected the small town life in Oklahoma and lifted the spirits. No cussing, no sex, just pure down home fun. Even our 14 year old son liked it, although he probably wouldn't admit it now. I plan to buy it as soon as the price drops. ... Read more

Description

Cold War maneuvers surround a highly publicized chess tournamentbetween a senior Soviet master and his former star pupil, now a dissident living in exile. When these two square off, everyone becomes a pawn in the larger game.Winner of theAcademy Award for Best Foreign Language film in 1984, Dangerous Moves is a politicalthriller with an international all-star cast. In French with English subtitles ... Read more

Reviews (1)

SMART COLD WAR SPY GAMES
The full metaphorical symbolism of an international chess tournament played against cold war intrigue is perfectly realized in DANGEROUS MOVES (Home Vision Entertainment). Winner of 1985's Best Foreign Film Oscar©, the authentic tension in this nifty, nuanced thriller builds to a unexpected and satisfying climax. The less said here the better. The cast includes Liv Ullmann, Leslie Caron and Michel Piccoli. Extras include a conversation with producer Arthur Cohn. Recommended. ... Read more

Amazon.com

The short-lived skyrocket named Rainer Werner Fassbinder began his prolific directing career with a burst of rule-breaking movies in 1969-70. Gods of the Plague, from that early eruption, is a kind of homage-deconstruction of the American crime movie, in the same vein as RWF's Love Is Colder Than Death and The American Soldier. An ex-con (zonked-out Harry Baer in an ankle-length leather jacket) wanders through grungy Munich, on an eventual collision course with a botched supermarket robbery. The film has virtually no narrative momentum, and carries the cheeky attitude of experimental theater--the movie stops cold as the hero listens to a German nonsense song in its entirety. Yet from the first five minutes you can sense the eye of a great filmmaker behind the exquisitely poised camera (clearly influenced in this one by the anything-goes spirit of early Godard). Fassbinder regulars Hanna Schygulla and Gunther Kaufmann are especially good here. --Robert Horton ... Read more

Reviews (1)

Visually stunning, dramatically understated film noir
Gods of the Plague (released in 1970) is a powerful, visually stunning, yet dramatically understated film noir - and pure Fassbind