Amazon.com

The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contact astonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day--each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)--her search having taken her to places beyond her imagination--turning her gaze inward and seeing the universe in a handful of sand. Contact traces the journey between those two visual epiphanies. Based on Carl Sagan's novel, Contact is exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from 2001 to The Right Stuff. Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest) reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable--Contact is all of these things and more. Much of it remains open to speculation and interpretation, but whatever conclusions one eventually draws, Contact deserves recognition as a rare piece of big-budget studio filmmaking on a personal scale. --Jim Emerson ... Read more

Reviews (357)

Thoroughly satisfying
One of my favourite ways to spend two and a half hours is to watch this excellent film over and over again. I can't remember any science-fiction film after 2001: A Space Odyssey to be this thought-provoking, and while Contact is not quite as profound a statement as the aforementioned opus, it still has quite a lot to say for itself. Jodie Foster plays an earnest scientist who spends her whole life searching for extra-terrestrial life and finds vindication when a message is received from outer space. Naturally, it throws the world into a huge frenzy, and despite the efforts of kitschy bad guy Tom Skerritt and military operations-head James Woods, she gets to go on a journey to the heart of the universe and see whether or not she can find the answers she's looking for. Perhaps it's a little hokey, but I found myself totally captivated throughout the whole film, and the adventure Foster goes through in the last third of the picture is one of the most thrilling sequences in the films of 1997 (not the least because Foster, surrounded by all these new worlds she's viewing, can act the scene to pieces, which is amazing considering the fact that we know she really sat in front of a blue-screen for two weeks). Truly moving.

One of my favorite DVDs!
I feel like Contact is a gift to humanity from astronomer Carl Sagan. It's an incredibly moving story about a scientist who lives out a scenerio that has played out in the minds of real life dreamers like myself. The ultimate "what if...?". Indeed, what if THEY (E.T.'s) contacted US (Earthlings). Director Zemeckis does an excellent job of transferring novel to screen. "Too long" say some critics. No way! Perfect. Things play out quite well. The "backing into space" opening sequence is probably my personal favorite of all time. I'm thrilled to live in a time when movie makers can create such magic. It's worth the price alone to see the first few minutes of this film.

The cast is very good with Jodie Foster and John Hurt standouts. Foster is as good in this as she was in SILENCE OF THE LAMBS. She has moments of pure magic...I get misty eyed. And John Hurt's "Wanna take a ride?" is my favorite character.

The DVD transfer is one of the best in my collection. The picture and sound are excellent. If you're into 2001 A Space Odyssey and the like, then Contact should be on your shelf.

One of my favorite movies
One of my favorite subjects as I was growing up and into my early 20s, was backyard skywatching and astronomy. I believe this movie accurately portrays the emotional aspects of science in general and astronomy in particular: the sense of awe and beauty when confronted with infinity, and the sense of lonliness felt by everyone with an idealistic passion.

If you have ever read Carl Sagan's books, you'll see that this movie touches upon the usual staples of a Carl Sagan read: the foundation of religion vs. the foundation of science, the mutual misunderstanding and struggle between those governed by curious optimism versus those governed by primal fear, and a demonstration of the dangers of a world that depends on science which is filled with so many people who do not understand it.

Some have argued that they find Contact to be "preachy." I don't really see much of a foundation in that assessment of the movie. Just like in real life, the ultimate philosophical answers are left wide open at the end of this movie, leaving it open to many different interpretations. And I think it's refreshing to see a movie that doesn't follow the contemporary pattern of avoiding any serious discussion about morality and philosophy. These are some of the conversations the human race will be forced to have with itself if we want to survive the coming centuries. Recent events since this movie was released and Carl Sagan's death only accentuate the importance of facing this fact.

I love this movie. From the beautiful computer-generated opening sequence, through the middle sequences detailing the main character's relentless and passionate quest for scientific knowledge and exploration, to the adventurous surreal climax, I felt that I had a personal connection with almost every aspect of this movie.

Read the book, ignore the movie.
The themes of this movie were better told in 2001; A Space Odyssey, this movie with it's bad script and cliched love story, made both boring, predictable, and very preachy. Zemmeckis should be ashamed of himself. Then again he is a Spielberg wanna be.

A movie about relationships
This is one of the most layered, thought provoking, dramatic, and moving films I have seen in years. On the surface, it is a great space adventure film, but look deeper, and it takes all of our wonder about the meaning of existence, and boils it down to how we learn about ourselves through our relationships...work, family, and love. See it. See it. See it. ... Read more

Amazon.com

Walker (Lee Marvin) strides through Los Angeles with the steel-eyed stare of a stone-cold killer, or perhaps a ghost. Betrayed by his wife and best friend, who gun him down point-blank and leave him for dead after a successful heist, Walker blasts his way up the criminal food chain in a quest for revenge. Did he survive the shooting or return from the grave, or is it all a dying dream? The question is left in the air in John Boorman's modern film noir, a brutal revenge thriller based on Richard Stark's novel The Hunter (remade by Brian Helgeland as Payback), set in the impersonal concrete and steel canyons of Los Angeles and eerily empty cells of Alcatraz. Walker kills without remorse, guided by shadowy "informant" Keenan Wynn, whose own agenda is carefully concealed, and assisted by Angie Dickinson, as he desperately searches for someone, anyone, who can just give him his money. But if Walker is an extreme incarnation of the revenge-driven noir antihero, the modern syndicate has been transformed into a world of paper jungles and corporate businessmen, an alienating concept to the two-fisted, gun-wielding gangster. Boorman creates a hard, austere look for the film and fragments the story with flashes of painful memory, grafting the New Wave onto old genres with confidence and style. Haunting and brutal, Point Blank remains one of the most distinctive crime thrillers ever made. --Sean Axmaker ... Read more

Reviews (26)

This is where 40's noir went in the 1960's
No, it's not full of Raymond Chandler style simile's.No, there's no voiceover.There's no Bogie or Bacall, but Lee Marvin is more believable taking on the syndicate in this movie than Bogie could ever be.And Angie Dickinson serves quite nicely as replacement eye candy for Lauren Bacall, thank you.The soundtrack is very good, too.

The depiction of the corporatized mob is also brilliant.Carroll O'Connor is excellent as the surprisingly energetic mob middle manager.

I saw an interview with Schlesinger in which he said that Lee Marvin completely improvised his silence in the scene where he meets up again with his girlfriend.He was supposed to say some fairly standard things ripping her for leaving him but decided it'd play better not saying a thing.It does.

July 5, 2005 DVD release!!!
I have heard that this movie will finally find its long, long, long overdue release on DVD in July, 2005.

I can't rate the transfer or the sound or the extra features (which reportedly include a commentary and two vintage featurettes), but I can give 5-stars to whomever made this happen.Hell, you can get "Payback" on DVD. You can get "Point Break" on DVD. You can even get the totally unrelated 1998 movie "Point Blank" on DVD.You should at least be able to get "Point Blank" with Lee Freakin' Marvin on DVD.

I realize this is a film that has had many release dates that haven't come through, but I'm hoping this one happens.I've heard that Boorman does a commentary with Steven Soderbergh.Soderbergh's one of my favorite commentators, even when he's talking with another director about that director's movie (his track with Mike Nichols on "Catch-22" is one of my favorites).

A Subversive Noir Masterpiece!
"Point Blank" fans take heart----a DVD version is promised in 7/05, supposedly complete with a commentary by John Boorman & Steven Sonderburgh(sp.?).The movie is among the greatest noirs ever made, with a pitch-perfect cast.One persuasive theory about the film is that the whole story actually never happens, but is instead a last dying revenge fantasy running through Lee Marvin's brain as he checks out on Alcatraz Island.Hence, the sequences where Marvin will swoon unexplainably into near-unconsciousness (his character is named "Walker" as in "sleepwalker"), Marvin being framed by the huge excavator digging out a grave in a graveyard, & various other hints along the way that he's actually a dead man, with the final sequence being cut short inconclusively as the camera pans across San Francisco Bay back to Alcatraz Island where the whole movie started, possibly indicating that Marvin has finally died along with his final fantasy.Very intriguing, tantalizing stuff!Hang on, folks, the DVD is on the way!

WHERE IS THE DVD???
This is probably the best post-noir film ever made.The DVD has been promised since at LEAST 2004, early in the year.WHERE IS IT??

Are there legal problems, as is the case with another great film, O Lucky Man?That film is so snagged in legal problems that a DVD of it looks completely unlikely EVER.Is that the case with Point Blank?

Sorry for the rant.

What makes this post-noir film so great is the big three--plotting/writing, acting, directing.Based on The Hunter by Richard Stark (Donald Westlake), Point Blank has Lee Marvin as a whipsmart thief, shot by his partner in a doublecross and left for dead, recover and seek revenge.True this is not exactly an original storyline.But director John Boorman knew exactly what Stark was trying to do and, true to the writer's name, made the film a lean, stark portrayal of revenge.

Who better to carry out a plan of revenge than Lee Marvin?No one; at least, no one in 1967, the year this film was made.Marvin nails his role like no one else has done in any neo-noir film, and it's also great to see Carroll O'Connor, long before his All in the Family days, as a nasty piece of work with whom Marvin tangles.John Vernon's also on target as one of Marvin's enemies and Angie Dickinson supplies just the right sizzle for what she has to do in the film.

Hands down, the best American crime film of the 60s, the fact that Point Blank is STILL not on DVD is a total embarrassment to the film industry, and to the studio who owns the rights to it, whoever that may be at this time.

Hopefully if enough people raise a squawk, things will change.

Rock solid noir, and a model for all kinds of films since then.Interestingly enough, the remake, Payback starring Mel Gibson was, in my estimation, not a bad film at all.But for the real deal, this is it.

A debt is always a debt!
In the underworld language the honor is much more than as simple world. The term implies in many cases an absolute respect and ethics . whenmember of the band is sent to prison under weird circumstances and his assigned part is $ 93.000, you really should think it over specially if this man comes back hunger for greed and fury.

Lee Marvin is perfect as the rough guy who will make these codes maintain its right profile. To my mind this is not only one of the most famous films of the noir films of the late sixties but besides one of my top cult movies ever filmed. Boorman as you know is a real master in what direction concerns and this picture will prove it.
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Reviews (52)

Bitter Sugar is Excellent!
This movie is excellent to watch and is based on a true account that happened in Cuba a few years ago. It really sheds light on how awful, oppressive, and manipulative the Cuban government is, and also you can also see the underground struggle for personal freedom and democracy that many of the Cuban people share but can't outwardly express. This movie is a very powerful film.

Brilliant Film and Hanuntigly Devastating
This is an incredible film that was made on a very small budget. I believe some if not all the actors worked for free. If you are from Cuba you know how realistically real and scary this movie is. Leon Ichaso, the film's director hit the nail on the head on this movie because everything in it is exactly how it is and is all true. I left Cuba when I was four but I have since gone back to visit a few relatives that I have there and I can tell you that it is devastating to walk thru the streets and see all the filth,hunger and desperation of its people. This film hit me too close to home and I was moved to tears when I first saw it. To this day everytime I watch it I can't help the tears from rolling down my face. I'm glad that this brilliant movie has been made available on DVD so that more people can see it and take a closer look at the way desperate people live in a country that was once beautiful now torn apart by the harsh and cruel not to mention unhumane regime of Fidel Castro. The film was shot in black and white which makes it all the more real since it would be foolish to do a movie that takes place in Cuba in color since there isn't any. All of the actors did an excellent job with their roles. I wish this film would've of reached a bigger audience when release in 1996 but since it was a low budget film it was only seen by most people living in Miami where the majority of its population is cuban. If you care about what really goen on Cuba today and the struggles that the people over there go thru to break free from under its fascist regime you should see it. I have it in my movie collection and is one of my favorites but I can't watch it too often because it hurts too much. Overall is an excellent movie, I was dissapointed that it was not even considered for an Academy Award nomination for Best Foreign film. This movie deserved not only the Oscar but praise and recognition worldwide.

Great movie
I though the movie was stimulating. I creamed in my pants a couple times.

A fifth star for having the guts to make this movie.
Made in beautiful black and white plus an infinite range of greys, this is a "Romeo and Juliet" in modern world story with Capuletos and Montescos being the People vs Big Brother Castro.

It's not Casablanca but it could be a classic if the academia one day took off their mask and recognized its quality.

As for the reviewer below, this is not propaganda from Miami. This is about people who want to be free and people -like you- who want others to be slaves. And listen up: there is no blockade, millions of sex-searching tourists with no conscience seek the island every year leaving their money at hotels where Cubans are not allowed to enter and the tips to the prostitutes.
Cuba is a slave country, you are in your right to like it, but at least admit it.

When you have nothing, why not do nothing together?
This visually stunning, slap-in-your-face film is ultimately painful to watch. You have to admire revolutionaires that for nationalism & personal conviction are willing to put up with so little so much of the time. Watching those young people applauding at the outdoor Castro speech rallies makes you wonder what other options they had. They either wanted to be there & feed their anti-Yankee imperialism beliefs or felt that they would be questioned for staying away. Or perhaps there was nothing better or more interesting to do than attend that outdoor group experience. When you have nothing, why not do nothing together & show solidarity en-masse.

The fresh music & performances heard in the movie, esp. the afro cuban (more afro than cuban, interestingly enough) is a delight to hear and enjoy the proto-African flavored dances that both black & white execute in this film.

When my uncle was last permitted to vacation in Miami--before Clinton made it difficult for the frequent immigration & visits of Cuban nationals--he was often questioned as to why he kept returning to Cuba after his yearly visits to Miami. He was well read in Marxist authors & it showed when he spoke. His Miami relatives questioned him as to why if things were so scare as he claimed they were, though not so scarce that he would repeatedly return to Cuba visit after visit during the 90s, why didn't the remaining Cubans with nary a roast chicken to eat even on Sunday, not rise up & rectify things. His reponse was: we don't rise up because all the brave & decisive Cubans have left & migrated to the USA or other ports of haven.

Or maybe the brave Cubans are still in Cuba holding onto what little remains of a native Cuban culture & identity there still is instead of wanting the wild abandon & comfort & endless summer after a hard day at the offices or local Walmarts of Miami, USA. ... Read more

Album Description

Import only NTSC/Region 1 DVD. The touching story of a man (Tim Roth) who was born and raised on a ship. His only interactions with the outside world are through the ship's passengers. As he matures, he becomes an accomplished pianist, and eventually falls in love with a woman who threatens to tempt him into stepping off the ship for the very first time. Tornatore's fairytale is at once a tender and moving motion picture that gives Roth a chance to shine. Stars Tim Roth, Pruitt Taylor Vince, Clarence Williams III, Melanie Thierry, Bill Nunn, Peter Vaughan. Directed by Giuseppe Tornatore. Widescreen 2.35:1, 1989, 125 minutes. 2001. ... Read more

Reviews (82)

Music Of The Ocean
You probably know Tim Roth from playing bad guys, as in "Reservoir Dogs", "Pulp Fiction", "Planet of the Apes" --if you didn't notice, he was the bad ape--, or ,even, in "Vatel". Now, watching "The Legend of 1900", you'll be surprised seeing him playing the title role, 1900 -- yes, this is his name-- who is a very melacholic musician.

1900 was found in a ship when was still a baby. Adoped by one of the men who worked in it, he grew up watching people immigrate to America and being greeted by the Statue of Liberty. He is a natural born musician, so he can perfectly play piano, and it starts to call people's attention. So the film follows the life of this man who never leaves the ship. The story is told by one of his band mates.

The script is very fine, balacing some funny moments and some melancholics events. It is impossible to forget the impressive duel between 1900 and the father of the jazz. And Ennio Morricone's score is superb. The music that 1900 'composes' in the very moment a record is being recorded and he falls for a beautiful girl resonated in my mind for days. This piece is deeply touching. Giuseppe Tornatore is, as everybody knows, Italian and he directs the movie with the Italian approach, in other words, it will touch your heart and will make you cry many times.

There is no doubt that Tim Roth is the heart, soul and fingers of the film. Although he does not play piano, he just mimes, it is so good that one may think he is actually playing the songs. Other thing that is not impossible to avoid mentioning is his eyes. They are so deep and expressive. Most of his feelings are expressed by those melancholic pair of eyes. 1900 grabs your heart and, even though being so surreal, he looks so believable that you think you're watching a story very likely to have happened.

I recomend this movie for those who like Italian Cinema, and music as well. I don't think this is the kind of film for everyone, but, surely, it has its audience.

Incredibly well done!
I agree with some other reviews I've read above on how some people criticize this movie too easily. I don't think it's necessary to sit down and watch it with some preconcieved idea as to what to expect, rather than just let the movie and the soundtrack seduce you to it's full extent. I believe Guiseppe Tornatore and Ennio Morricone have put together a film that will be referred back to by many generations. It's one of those films that refuses to age in time. The brilliant performance by Tim Roth in an not-so-usual role brings to life 1900, a character so much within us all, representing what he has to say and do in this world through his magnificent piano-playing, ("A light that shines so bright yet for so little time"...taken from blade runner). I haven't the slightest intention of drawing any conclusion for the reviewer of this movie but if your not into great expectations, you'll probably wind up with more than that at the end of the film. My opinion is that the story didn't necessarily need to take place on an ocean liner, it could have been anywhere where 1900 felt safe and secluded from the bustle of the surrounding world but through his greatness as a pianist, he was always bound for fame and glory as well as his inevitablity. I feel it's important to get this point across to those who feel the need to compare this "insignificant" aspect with the movie "Titanic", yet I would have wished half the musical score in "Titanic" this film has. The main character leaves me with the sensation that he's subconsciously set out the task to leave a mark on this Earth while he's never literally set foot on dry ground and that all of us who have strived in our own lives can relate to easily yet again, he leaves an unfinished task to those who haven't. My advice, get the DVD, listen to the beautiful music and put your thoughts aside, the film will do the rest and you'll surely be wanting to see it more than once!

one of the greatest movies ever made w/o commercial minded
this is one of the most profound movies i've ever viewed. 'red violin' is good but not as good as this one. some of the other great movies that are always on my mind are: "the music teacher", 'somewhere in time'. i'd like to thank to those producers who could put this kind movie into production without putting the big denero boxoffice in mind. otherwise we would never have any chance to have such sublime and profound feelings and opportunity to learn that we do also have some passions revived by such great stories.

A mythical fable
This work of Giuseppe Tornatore is an original issue in the celluloid.
The story tells us about a child born in the middle of the ocean , (so forget about what's his birthplace), that lack of no land human being gives him that mythical character.
The script shows the process of growing up of this boy , who gradually became in the official pianist of that ship called Virginian, (another smart clue) .
The time comes for him , the piano and his intimate friend , the trumpeter are the only friends he has.
All the story is told in third person, before a seller of old musical instruments and musical scores; I mean a true dialogue between two categories of memories ; the emotional and the historical.
In that sense Tornatore signs his directorial prints on his favorite theme: the memory. That's the clever device of Cinema Paradiso.
But the pianist (in a brilliant performing of this underestimated actor of one million carats talent, Tim Rith), refuses in every decisve moment to leave his own country ship; he belongs to it. He was born there and a invisible link ties him: not even the only love , and mighty inspiration motive for his best composition is capable of make leaving his water home.
Beautiful , poetical and amazing tale with multiple laughable sequences, are surrounded by that duty fate of mixing with the ground land .
An unforgettable experience that will reward you from beginning to end.
Don't miss this one.

The Legend of 1900
This is undoubtedly the VERY BEST and MOST BEAUTIFUL movie I have ever seen. It is a movie that, after you have seen it, you can not forget. The story and characters, and music, haunt you, and Tim Roth is unbelievably fabulous. I can not understand why this movie, Tim Roth, and the soundtrack, did not win some major awards because the movie certainly deserved best picture of the year, Tim Roth deserved best actor, and the haunting and very original soundtrack should have also received the top academy award. This movie is even better than Cinema Paridiso, which is also one of my other favorite films. I buy this movie for everyone I really like. Lucky for me that I heard about this movie only on the Netflix website and ordered it. Why did this movie never get the publicity it deserved (that is something that I would like to know from anyone out there who may know)?? ... Read more

Reviews (9)

Buffalo '66
Buffalo '66, directed and written by Vincent Gallo, is an incredible film about this guy named Billy Brown, played by Gallo himself. Billy was a man who was severely down in his luck, from having neglegent parents, terrible luck, and dysfunctional relationships. The root of his anger and bitterness definitely comes from his parents. His mother (played brilliantly yet uncharacteristically by Angelica Huston) was so obsessed with the Buffalo Bills that she disowns Billy since he was born on the same day the Bills won the Super Bowl in 1966 and she couldn't go to the game (and they haven't won since).The story starts off with Billy being released from a 5 year jail sentence ("I was innocent") wandering the streets of Buffalo looking for a bathroom. He finds one at a dance studio, in which he runs into Layla (played by my favorite actress, Christina Ricci). He kidnaps her and somehow persuades her into pretending that she's this girl named Wnedy and that they are married, along with a whole barrage of lies, to impress his parents, not that they really care anyway.After that, Billy and Layla still go places together, but yet Billy is still very bitter and won't easily open up to Layla. He had many emotional scars and trauma (all shown in the movie) and contemplated doing a terrible act of revenge. Then he experienced an epiphany in terms of what would happen if he did it, with Yes' classic epic "Heart of the Sunrise" used effectively, and from there he finds himself in a way, and the film has a surprising ending. This film dealt with human emotion in a non-cliched way, and contained great music and even better acting. Definitely a new favorite film for me.

VINCENT IS MESMERIZING
It's hard to explain, but ''Buffalo 66'' touched me in a way that other films and the way they are made don't do so well. Vincent was engaging as Billy Brown. The way it was made and acted just felt real to me and not over the top, and a lot more true to real life(aspects of it).I loved the ending. I was really hopeing that I wouldn't be left with a depressing ending which would of seemed predictable, but boy, I really felt joy with the out come, Vincent definitely won me over. Vincent has given me something to think about that won't be leaving my head any time soon.
by justine ryan

Classic
This movie is brilliant. Great cast, great performances, interesting story, funny, unpredictable, creative direction and editing, and utterly unique.

Amazing that Vincent Gallo wrote, directed, starred and composed and performed the music. If other filmmakers had even a fraction of his dedication and vision and effort 99% of movies wouldn't be boring, uncompelling rehashes of 50 other movies just like it.

A major problem people have with this film is that they find it unbelievable that Layla would allow herself to be kidnapped so easily, and that she would end up liking him. I think she went along with it because she wanted to. It seemed she was bored with her life and along came this amusing, bizarre stranger to take her on an adventure. She seemed a little wierd herself, and she connected with him in some way. She could probably sense that he wasn't going to hurt her.

Anyway, it's a classic and you must see it.

If you don't buy this, I will never talk to you again
Oh no you are not going to pass this classic up. Nobody should go without seeing the "shifter car" scene, because I think people deserve to laugh really hard. It's you god-given right to buy a movie this good! God wants you to buy this album. If he didn't want you to see such a good movie he wouldn't have created Vincent Gallo or Christina Ricci (with her just-f__king-amazing looks, especially in this movie; pay attention when she's in the tap-dancing class).

Plus it has a happy ending. Everybody likes happy endings. I'm totally gonna steal a page from Billy's book, and buy a girl a heart cookie and a hot chocolate, and I'll play "Sweetness" by Yes when I give them to her. I'll also steal his "kidnap a girl and give her no respect" technique. So romantic!

Uplifting Ending
What gets you about this indie flick is the ending. The film is so full of mysery and dispair and then suddenly there is this crackerjack of an ending that will put a grin on your face for days to come. Not a lot of films do that. ... Read more

Reviews (7)

"I didn't expect her to be so cunning."
Once a week, on Wednesday nights, Pierre Brochant (Thierry Lhermitte) and his circle of snobby friends host an "idiot dinner." Each participant is supposed to invite a guest--the biggest idiot he can find. The object is a sort of idiocy one-up-man-ship as the hosts spend the evening encouraging the guests to talk about themselves and their obscure hobbies (one guest, for example, has a boomerang collection). The "idiot guests", of course, have no idea why they're invited, and they are delighted to find an interested audience. These guests then unwittingly provide the entertainment for the hosts, and the hosts' collective sense of superiority is re-enforced.

On this particular Wednesday, Brochant can't find an idiot, but he's tipped off about a certain Monsieur Pignon (Jacques Villeret), a jovial mild-mannered tax official--whose obsession is replicating national monuments by building models composed of matchsticks. Pignon's crowning achievement is a replica of the Eiffel Tower (346,422 matchsticks). So Brochant invites a delighted Pignon to the dinner. Complications arise, however, when Brochant injures his back and cannot attend the dinner. With Brochant trapped and housebound, Pignon is unleashed into Brochant's life. Pignon proceeds to demonstrate his idiot potential by his kind but bumbling blunders. Mishaps involve a zealous tax inspector, a disgruntled mistress, a distraught wife, a discarded ex-lover, and a wealthy Lothario with a secret love nest.

"The Dinner Game" is a perfect French comedy. It was originally a play, and you'll get the sense of that as the action takes place. Timing and execution are perfect. Some of the film is laugh-out-loud funny, but the amusement never loses its momentum in this perfectly paced film. The cast is excellent, and part of the humour is derived from the layers to fun to be had here. Sometimes two characters giggle at the misfortune of a third, but then, before too long, the focus of the humour shifts attention and discomfort to another character. The film doesn't miss a beat. If you enjoy French comedy, don't miss "The Dinner Game" from director Francois Veber. If you enjoy this film, I also recommend another Veber film, "The Closet"--displacedhuman.

You'll laugh so hard you just might mess your pants...
...it's that funny! And yet, as mobby_uk observed, there is a poignancy underneath it all. Some are put off by the premise, a dinner that is a competition to see who can bring the most ridiculous guest. Don't be. It's an ugly idea but a deeply humane movie. Jacques Villeret's portrayal of François Pignon is side-splittingly wonderful, hilarious and touching. And writer/director Francis Verber, who also had a hand in writing La Cage aux Folles, is an international treasure.

A very funny movie
I laughed so hard while watching this movie. A man invites a stranger to dinner, who he believes to be an idiot, so he can entertain himself and laugh at the idiot. Little by little, the idiot ruins the intelliegent/rich mans life, and one is not sure who the real idiot is. This is the kind of movie that could be real bad, but the actors have perfect timing and all the jokes work.

One other comment- for those learning French. I have been buying movies made in France to improve my speaking and listening skills. This movie is excellent for learning French, the words are the ones I studied using the first 26 lessons of "French in Action". Many of the common words begenners learn are repeated in this movie and are easy to understand.

The DVD is excellent. The colors are bright and rich and everything is crystal clear. I wish more DVD's had the same quality as this one.

It's more than I expected.
First, you will laugh. Then you will laugh more. At some point, you will feel the anger of Pierre Brochant and say to yourself, "I have enough of this idiot!" The next minute, you will be stomping and slapping, and laughing again. You just don't know what will happen, or should I say what will go wrong!?

It is silly, but entertaining. Definitely a keeper!

The Funnniest movie I've seen.
I can't say enough about this movie. I laughed so much, it's truly a side slapping movie. It's the funniest movie I've seen in years. Rush out and buy it or rent it because you will laugh till you drop. ... Read more

Amazon.com essential video

Disaster movies used to work because there was little certaintyas to who would survive. Not so in this film, really an amalgam of twooriginal stories, about a group of well-to-do celebrants at the top floor of askyscraper. Cheapo electrical wiring and bad construction managementcause an enormousblaze at the lower floors, steadily rising to consume the revelers. Newman'san architect, McQueen a firefighter, and Fred Astaire a kind oldgentleman, for which he was Oscar-nominated. O.J. Simpson plays asecurity guard who rescues acat. Now that's a disaster. --Keith Simanton ... Read more

Reviews (68)

No doubt, BEST DISASTER MOVIE EVER!
Firstly, this movie deserves praise for Faye Dunaway's dress that she wears throughout the entire film. But movies shouldn't all be beautiful women in provocative clothing, this movie has it all. Produced by Irwin Allen, who produced "The Poseidon Adventure" before this movie. Allen bested himself in this flick.

The story is relatively simple; the world's highest skyscraper catches on fire. There is a large party on the top floor, and we watch as people fight for survival as the fire creeps towards them. Only Steve McQueen playing a streetwise firehouse captain, and Paul Newman acting as the tower's architect can stop the fire before everyone inside dies. As I was re-watching this film I couldn't help but think of the similar situation faced by many in the 9-11 attack. Their result was not as positive.

throughout the film there are too many people, too many relationships, and too much death to keep track of everything. However, the important people to watch are Fred Astaire, Faye Dunaway, Paul Newman, and Steve McQueen. This is the only real weakness to the film.

Also, for a film that is approaching 30 years old the special effects are still good, and that will make this a good film for a long time. The images of the tower burning, the fires, and the stunts are superb.

At times, the acting in this film can seem a bit stiff. That's early on, however after the first 20 minutes of the film everyone seems to find their place in the film. One of the notable performances is done by O.J. Simpson, who plays as a senior security guard. The interplay between McQueen and Newman is also well done, especially since there was a good chance of major dorkdom in the architect of the "perfect" building versus the blue-collar fireman plotline.

Some may complain that the movie is slow, and maybe by modern "immediate gratification" standards it is, I say that the tension builds, you care about the characters, many of which, and are left at the end of your seat. And I was watching the thing on a computer; imagine what a decent entertainment system will do.

This definitely is an "essential" film.

An epic disaster film! Not to be missed!
I remember first seeing this movie at a very early age. As a child, I loved this movie for it's spectacularity. As an adult (sort of), I love it for the acting performances of it's marvelous cast.

This is a disaster movie. During the seventies this type of movie was extremely popular, with timeless hits such as "The Poseidon Adventure" and "Airport".
Disaster films seemed to have lost their appeal during the eighties but recent hits like "Armageddon" and "Titanic" show that this type of movie is still very popular and here to stay.

In San Francisco, the tallest building in the world, "The Glass Tower" has finally been completed. An awesome superstructure and the new icon of the city.
On the night of the dedication ceremony on the 130th floor a seemingly harmless fire erupts fifty floors below the partying crowd. When the situation grows out of control their pleasant happening turns into a nightmare struggle for survival.

With some of the best actors of that time (Paul Newman, Steve McQueen, William Holden, Faye Dunaway and Fred Astaire to name a few), true drama and an absolutely convincing inferno this movie deservedly took the world by storm!

Got a Match?
Somebody once asked James Garner's character on "The Rockford Files" TV show if there was nothing he wouldn't do for money. He wouldn't kill for it and he wouldn't marry for it, he said, other than that he was pretty much open to suggestions. Paul Newman and Steve McQueen must have been open to suggestions when they ok'd this turkey, and I wish they had said no. The world's tallest skyscraper is burning due to shoddy construction work, and architect Newman and fireman McQueen would like to put it out before the entire cast is incinerated. On top of the building are a million gallons of water in reserve Newman forgot about in all the excitement. Why this 2500 ton weight hasn't gone crashing into the basement we are not informed but the daring duo manage to blow up the tanks and there's your happy ending. O J Simpson rescues a cat and Fred Astaire, after a lifetime of giving the American movies some of their greatest moments, was awarded an Oscar for enduring this production.

A better film than is often assumed
More than 10 years ago, Roger Ebert and the late Gene Siskel did a special edition of their program that examined "The Early '70s: The Last Golden Age of American Film." It was a great show, with a look at each nominee for the Best Picture Oscar for the years 1970-1974, and then which film Siskel and Ebert would have chosen as the winner.

When the duo got to 1974, and a split screen revealed the five Best Picture nominees for that year, Ebert expressed some amusement at "The Towering Inferno's" nomination, when compared with the others ("Chinatown," "The Conversation," "Lenny" and the winner, "The Godfather Part II."). But while it was not the best film in a truly great year for the medium, "Inferno" did deserve to be considered one of the best.

This is polished, professional filmmaking. It was not intended to be a scathing expose of construction politics, or an actor's showcase. "The Towering Inferno" never tries to be anything more than an action spectacular, pure and simple, and on that level, it has few equals.

The film has been criticized for being almost gleeful in its depiction of various deaths, but I'm not sure what those critics would have had directors John Guillermin and Irwin Allen do. The story is about a giant skyscraper on fire, which means that the primary dangers involved are burning, falling, smoke inhalation and being buried under tons of debris. All of these are horrific, and "Inferno" conveys that horror.

The movie takes on a different hue than the Irwin Allen film it's inevitably compared to, "The Poseidon Adventure," the minute Steve McQueen arrives at the scene as the San Francisco Fire Dept.'s battalion chief, O'Hallorhan. Unlike "Poseidon," in which a small band of ship passengers follows a layman toward safety, the "Inferno" disaster is going to be taken on by a competent, experienced professional, leading other professionals. McQueen conveys an authority that anchors the film.

None of the acting struck me as truly bad, even in action-oriented scenes that called for broad playing. Aside from McQueen, my favorite performances were those of Susan Flannery and Jennifer Jones. Flannery makes the most of a small but memorable part as Robert Wagner's love interest, while Jones, looking very good for a woman of 55, plays the kind, heroic love of Fred Astaire's con man character.

Fred Koenekamp's cinematography received a well-deserved Academy Award, as did L.B. Abbott's special effects. The song "We May Never Love Like This Again," sung by Maureen McGovern, also won an Oscar, though I found it to be forgettable. "The Poseidon Adventure's" similar "The Morning After" is much better (which will certainly be faint praise to some).

John Williams' Oscar-nominated score would have been a perfectly reasonable choice as the winner, though Jerry Goldsmith's evocation of film noir classics for "Chinatown" was probably the year's best. Carmine Coppola and Nino Rota wound up winning for "The Godfather Part II."

Williams is in majestic form here. The main title is appropriately busy and exciting, the love themes for the Paul Newman/Faye Dunaway and Astaire/Jones duos are poignant, and the finale is one of the masterpieces of the art. This is a justifiably a favorite score among film music buffs, and Williams' greatest triumph, in my opinion, until "Star Wars" in 1977.

"The Towering Inferno" is a must for action film fans, and the finest representation of the "disaster film" genre.

The Glass Tower - tallest building in the world... on fire.
After a long vacation, away from the hectic city life, Doug Roberts (Paul Newman) returns to San Francisco in order to participate in the opening of his newest architectural wonder, The Glass Tower - tallest building in the world. The seemingly perfect skyscraper has one big flaw as James Duncan's (William Holden) son-in-law has received kick backs to ignore Doug's requests on the top-of-the-line electrical circuitry. The installed electrical circuits cannot handle the electrical use of the Glass Tower and on the opening night a fire begins on the 81st floor, which Fire Chief Michael O'Hallorhan's (Steve McQueen) men try to get under control while the opening party is taking place on the 135th floor. Towering Inferno has an immensely talented cast (e.g., Faye Dunaway, Fred Astaire, Richard Chamberlain and many more), however, the cast cannot enhance the cinematic experience. Overall the film is hurt by the many scenes that go on ceaselessly as the director attempts to create suspense through tedious climbing and rescue scenes. This occurs through occasional lapses in realism in the film, such as the ending, prevent the audience from receiving a top notch suspenseful drama. Instead the audience is left with an epic rescue mission that seems endless, and leaves the audience with a barely acceptable cinematic experience. ... Read more

Amazon.com

Robert Duvall's fascination with tango finds its expression in this labor of love, a film he wrote, directed, and stars in. Duvall plays a professional hit man on a job in Argentina. Forced to kill time instead of his target, he learns about tango, and meets a beautiful young dancer who teaches him the art. Seeing this precise, passionate dance, one feels no doubt it is worthy of Duvall's obsession. The hit-man plotline becomes less urgent as the movie goes on, and the director's loose, improvisatory approach makes for a certain sketchiness in scenes. But, like Duvall's marvelously odd The Apostle, the darn thing is intriguing. In leading lady Luciana Pedraza, Duvall has found a stunning partner--a slinky tango dancer and a beguiling actress. (One has no doubt she is worthy of his obsession, too.) This is a film from the "uneven" file, but like many such movies, it has its attractions. --Robert Horton ... Read more

Reviews (32)

Great performances, visuals, atmosphere
This film, directed by and starring Robert Duvall, is an odd hybrid between a suspense thriller and a dramatic character study. It also uses the sensual tango dance as a theme in itself. These elements do not always gel in this slow paced film, but I found it captivating all the same.
Duvall plays John, a contract killer who is sent to Argentina to kill a prominent general. He is reluctant to go, mainly because he doesn't want to miss his stepdaughter's birthday. His attachment to this young girl, which, the film suggests, may cross the line beyond paternal affection, is one of the many aspects of this complex character. If there is any point to the film that I could discern, it is that John is a person who lacks integration. It is Duvall's ability to portray this character that makes the film. He is moody, volatile, introspective and passionate, often in inappropriate ways. He is able to rationalize his violent profession by having the attitude that "it's just a job." When he sees a beautiful tango dancer (Luciana Pedraza, who also gives a great performance), he develops a new obsession. While stalking his victim in the streets of Buenos Aires, he gets to know the dancer and their often meandering conversations are some of the best scenes in the film. During the long stretches when there is not much going on, there is still a sense of lurking menace. John is in a foreign country and doesn't know if he can trust his employers. I actually appreciated the disjointed quality of the film, which might be a turnoff for some viewers. Real life does not always follow a formula the way most movies do, and it is refreshing to see events unfold in an unpredictable, haphazard way.

This is clearly an act of love for Duvall.
Robert Duvall is one of the best actors of the late 20th Century. We are aware of Duvall's versatility in movies in everything from "The Godfather" and "The Apostle" to "Gods and Generals." Few people outside the tango community know that he is a passionate tango dancer. It is obvious that this production was an act of love. This movie will probably not go into general release at your local theater. I really expect it to have a limited release. Notwithstanding that, my advice to you is to see it even if you have to drive two hours [one way] to go to a theater as my wife and I did recently. It was really worthwhile.

It is a movie that did not do well in the Toronto Film Festival in 2002. Because of that, certain portions of the film were re-shot in Buenos Aires. Even still, the movie provoked discussion on the Tango-L listserv. It has been criticized for its "weak" plot. I find the plot less complicated than Sally Porter's "Tango Lesson," and the style of dancing to be less of the "fantasy tango" style and more of the salon style that you see in Buenos Aires today. This movie will have definite appeal to milongueros and tango junkies, as well as some die-hard ballroom dancers.

I loved the dancing in the movie, and I really wish there was more of it. A few years ago, I was pleased to have seen some of the people in the movie dance several years ago at Duvall's farm in northern Virginia. This is the kind of dancing I like. I would love it if there were a "director's cut" of this movie available soon. I would be the first to buy it.

Where is Tango?
Where is Tango in this movie? Ah, yes, it's at the end, when the final credits appear. Everything else is just a bunch of extremely short clips, as if it were a TV commercial. Acting by all the characters is horrible. The plot is not too bad, but the script and editing are not good at all.

Yawn...
Obviously an endorsement for his girlfriend's passion...the tango. The dance scenes are the only thing worth watching. Unfortunately, Robert Duvall lacks the testosterone level to successfully portray an assassin, let alone dance the tango...Go Papito!

Fascinating
I was intrigued from beginning to end. It's laced with violence, moreso the precarious nature of being human, touching on nuances of community, human sexuality, relationships, psychology, and the meaning of dance. The Argentine tango is a fascinating culture in and of itself. Not for everyone, perhaps, but what is? Another fine film. ... Read more

Reviews (125)

Three-Dimensional Menace
It is as difficult to describe this film as it is to forget it. The only film directed by Charles Laughton, with James Agee's screenplay based on Davis Grubb's novel of the same title, The Night of the Hunter explores the ageless conflict between pure goodness and pure evil. The former is represented by the two Harper children and especially by their resolute defender, Rachel Cooper (Lillian Gish). Pure evil is represented by Harry Powell (Robert Mitchum), a psychopath who claims to be a preacher. I can think of few other films in which script, direction, acting, cinematography (Stanley Cortez), and musical score (Walter Schumann) work so well together. Credit must obviously be shared. What saddens me is the fact that Laughton was so discouraged by initial reactions to the film that he never directed another. The plot is rather straight-forward and consists of three phases: Powell's arrival and subsequent marriage to widow Willa Harper (Shelley Winters); her death and the gradual revelation of Powell's true nature; and finally, his pursuit of Rachel Cooper and the two children after they flee from him. It would be a disservice to those who read this brief commentary for me to say any more about the plot.

Paradoxically, this is among the most beautiful and most frightening of films. Mitchum's portrayal is among his greatest performances. According to some who were associated with the production, he also agreed to direct Billy Chapin and Sally Jane Cooper because Laughton despised child actors. If true, Mitchum reveals an off-screen talent I wish he had developed further. For me, the only problematic performance is Gish's. Perhaps it is because it seems (to me) derivative of an acting style more appropriate to a previous era when she was featured in so many other films. Those who have not as yet seen this film are urged to do so. It is in so many ways an "original" which deserves the acclaim denied it when first released in 1955.

Deserves to be ranked with "Citizen Kane."
Charles Laughton, one of the greatest actors of Hollywood's Golden Age, made his directorial debut at age 56 with "Night of the Hunter." The film flopped so badly with critics and public that Laughton was never allowed to direct a movie again. It's hard to tell which is worse: the tragedy for the cinema, or the idiocy of the critics and the public. "Night of the Hunter" deserves to be ranked with "Citizen Kane" and the works of Pabst and Murnau among the great Expressionist film masterpieces. Its artiness probably meant it would never be a great popular success, but it deserves to be more than a cult favorite. Its combination of stark realism and extreme stylization, of magical beauty and Hitchcockian suspense, has never been replicated in any other movie. The performances are all superb and, in the cases of Robert Mitchum and Lillian Gish, extraordinary. Mitchum pushes the envelope just enough as the evil preacher Harry Powell, giving a performance that might seem way over the top if a scene were taken out of context, but which masterfully evokes diabolical menace as a whole. As for Gish, she creates an unforgettable character in Rachel Cooper, whose prim, strict exterior barely conceals a combination of wisdom, backbone and moral splendor rarely found in the cinema. Shelley Winters is also very fine as a woman blinded by desire and guilt. Too little, I think, has been said of the supporting players in "Night of the Hunter." Billy Chapin is very touching as the little boy Powell menaces, but the standouts have to be Don Beddoe and Evelyn Varden as Walt and Icey Spoon, a sort of Richard and Hyacinth Bucket gone to seed. Icey is all idiot compliance with the loathsome Powell, taking his protestations of piety at face value while imagining herself the arbiter of morality and common sense. Walt, her henpecked husband, occasionally voices doubts but is quickly brought into line. So when Powell is revealed as the murderous monster he is, who leads the lynch mob? Why, Walt and Icey, of course! There are hundreds and hundreds of Walts and Iceys in small-town America. I know that firsthand.

Surreal Mitchum
I've always been a fan of Robert Mitchum's stoic style. But he's anything but stoic in this very unique film. The atmosphere created by Laughton's direction - and apparently his rewriting of the script - is as surreal as it gets. Once you realize you're watching an adult fairy tale about good and evil, you'll be mesmerized. This film is one artist's only offering, and worth the time to watch.

Sappy & crappy.
I adore Robert Mitchum and I do not disagree with much that has been written here, but the religion was laid on with a trowel. So hokey. So corny. The angelic voices, the hymns...Lillian Gish looking up to heaven...please! What I thought would be film noir turned out more like a rally for George Bush Jr.!

"I'm out of patience children. I'm coming to find you now."
Charles Laughton's "The Night of the Hunter" is one of the most notable atmospheric films ever made. One wonders what other works may have followed had Laughton decided to further pursue a career in directing. The dream-like visual imagery he employed in "The Night of the Hunter" is groundbreaking, beautiful, haunting, and breathtaking all at the same time.

Reverend Harry Powell (Robert Mitchum) arrives in a small town one day with the letters H-A-T-E and L-O-V-E tattooed on his knuckles. Powell has learned of $10,000 in hidden money which was stolen by a man who used to live in the town. Seeking out the man's widow, Willa Harper (Shelley Winters), Powell hopes to find the hidden money and keep it for himself. The widow's two children, John (Billy Chapin) and Pearl (Sally Jane Bruce) know the location of the money but refuse to tell the mysterious preacher where it is. So begins a cat-and-mouse game between Powell and the children.

Laughton was ahead of his time in making such effective use of visual imagery. The shadows and lighting he employed added deeper layers of meaning to the proceedings. Especially noteworthy are the moments in the bedroom set and the shot depicting Willa Harper's final fate - both scenes still astonish to this day. When the children drift down the river while escaping from Powell, the wonder and darkness of nature is filmed in so graceful, mysterious, and absorbing a manner that one is reminded of the techniques of modern-day directors Terrence Malick and Tim Burton. Mitchum is amazing in what is easily the best performance of his carreer. Child actors Chapin and Bruce are also great as is Winters in a tragic role. The inclusion of screen legend Lillian Gish in the second half of the film is only icing on the cake for an already impressive production. ... Read more

Reviews (596)

"My ignorance amuses me." At least it amused somebody...
Tomb Raider is the kind of movie you can watch while reading a book and not miss a thing. Lara Croft originated in video games as a wild, sassy heroine with amazing acrobatic skill and two Desert Eagles to back her up, and her games supercharged that industry. The idea for the movie was to cross Indiana Jones with James Bond, throw in a little bit of Batman's dark side and humor from The Mummy, and populate the lead role with a sexy, academy award-winning actress, Angelina Jolie. You would think that formula couldn't lose, but the final serving is a mess. I prefer the video games, even the later ones.

Director Simon West approached this film as if he were shooting a commercial or music video. Every single shot is some high-concept, slow-mo dutch angle that lovingly follows our heroine on her adventure: we lovingly watch Lara open the door, then lovingly watch her close the door, that kind of thing. It gets old fast. The plot, too, is full of exotic locations and references to the films I mentioned above, and nothing is missing but some logic to make any sense of it. Major plot points are lost in the glamor, and the endless sexy shots of our heroine and her hapless foes. Enemies suddenly become friends for no sensible reason, and the major plot-twist is so uninspiring that if you blink you'll miss it. The CGI enemies for Lara Croft look terrible and are about as entertaining as a barrel full of Jar-Jar Binks'. The dialog is horrendous. "My ignorance amuses me" is a real line that is actually heard 3 times, and it was just as dumb as it sounds. I don't think the characters were even listening to each other, just say cool-sounding things to match the empty shine of the entire over-paid mess. The onscreen meeting of offscreen fatherand dauther John Voight and Jolie is touching, dispite the fact that they don't have much to say to each other.

I admire the daring of the filmmakers to place Lara Croft on equal footing with any male enemy she faces - Croft simply karate chops 'em to the ground exactly as if she were a man, no dirty tricks, just pure power and skill. Unfortunately, Angelina Jolie isn't believably as a nimble acrobatic kung-fu master. Jolie DOES play Croft with a large does of sensual sexuality, but she throws a kick like a turle, and the wire work in this move is terrible, nothing as interesting as The Matrix. Jolie doesn't look graceful, she looks clumbsy.

THE DVD - is a good one. The making of documentary is from HBO, which means that it's about 3 stars out of 5. There is an audio commentary and lots of little featurettes about various fxs and training for Jolie. U2's excellent video is a must see.

Horrible Overhyped Garbage
I'm glad women are finally starting to get more into action type films, but this Tomb Raider I was told was gonnah be the best female action star since Sigorney Weaver in Aliens.

Oh, how I disagree with that on so many levels.

Has this movie been praised because it stars a woman in skin tight clothing? Baring next to nothing? all while flying around, doing action seaqences, and over the top stuff like that?

Because thats what I think has given this movie any appeal at all! I cannot stand Angelina Jolie, but putting that aside to actualy focus on the fact that she is portraying a rip-off of Indiana Jones, and wearing , well, what some people would consider sexy attire/cloths... but to me, sex doesnt sell a movie. If you havent got a good movie, then dont expect showing some skin will make it any better!

The movie is terrible, Angelinas performance is sickiing, not only the cloths she wears to gain that attention of that kind of audience, but her acting both inhales and exhales (work it out, Amazon will filter my exact words for that)

If your a guy who want to see a chick put on some sexy clothing to get your attention to try and distract you from a pointless ,un thought out scene with special FX from tiem to time, then you will love this movie!

If you can actualy stand Angeliana Joalines conseeded acting, then you might like it.

But if your like me, and see through the B.S of trying to get a sexy image to sell, then youll see how this movie fails to bring a decent woman onto the screen for an action role!

I hope some actress becomes a super action star sometime soon, one maybe so even bigger then any male action star, but Angelina is not the one to look out for. Sex does not sell in my book!

0 stars

Good action but nothing to be remembered.
Tomb Raider is good fun and good for a rental. The Movie itself will eventually be forgotten. Angelina Jolie does good, and the plot it okay. The effects are good, as well as the settings. The movie is only okay. See it if you love action.

Not your average Chick Flick
I've never played the Tomb Raider games so I haven't a clue of what Lara Croft is really supposed to be like except she's a chick with big guns and other features. Let's face it. Despite the somewhat simplistic and rushed plot, people love adventure movies with danger, excitement and cool stunts, especially when girls are in it.

And I personally like Jolie's rendition of Croft. She's sexy yet sensual. Athletic yet Composed. Wryly coy at times, and to top it off...she's English. With the looks, lips and soft English accent, Jolie creates a very attractive Lara Croft with adventurous elegance and style...and it certainly helps that she's filthy rich. Comes in handy when supporting her expensive hobby.

I thought this was an enjoyable film despite the weak plot. Definitely worth the viewing.

Not much resemblance to the video game character
Tomb Raider the movie failed to be hardly anything like Tomb Raider the video game. Lara Croft in the video game is dressed in brown and green clothes, Lara Croft in the movie is dressed in all black.

Also, in the video game, she's just about always in tombs. In the movie, she hardly ever was in any tombs, and that movement of manuvers she did at the beggining of the movie in the tomb to make it seem as if it's the video game come to life expect for her black clothes, that was quickly over after only a few minutes and it was only in her backyard in her mansion where she practices.

She is a very sexy woman, though. (...)

Angelina Jolie's sexieness was the only good thing about Tomb Raider the movie, and again, if they were trying to make it as resembling to the video game as possible, then like that older movie Super Mario Bros., they didn't do so good. ... Read more

Amazon.com

Occupied France the subject of a deft, breezy comedy? Believe it. Bon Voyage gathers a collection of romantics, fools, and survivors, and puts them together in Bordeaux in 1940. Loosely arranged around the ditzy figure of a famous grand-dame actress (Isabelle Adjani), these hapless creatures trip over each other very amusingly during the course of a couple of frantic days. The central character is actually a young writer (the winning Gregori Derangere), who's torn between panting after the actress or aiding the pretty daughter (Virginie Ledoyen, 8 Women) of an important scientist trying to escape to England. It would be hard to say that any of this amounts to anything substantial, but director Jean-Paul Rappeneau whips it together very attractively, and the Bordeaux location offers luscious views of a pre-war city. Rappeneau's delightful 1966 comedy La Vie de Chateau, set in Normandy just before D-Day, treads some of the same turf. --Robert Horton ... Read more

Reviews (8)

entertaining movie
this is one of the best movies i've seen so far this year. i hope ebert & roeper don't forget about it. has some of the best cinematography i've seen in a movie in a while. this is a really funny well-made movie.

enjoyed it
i was pleasantly surprised when i saw this film. it's a world war 2 comedy\drama in french that really entertains its audience. one of the better films i've seen so far this year. i hope ebert & roeper don't forget it.

Screwball romance worried by the rumble of approaching Nazis
An early, typical scene in "Bon Voyage" takes place in a Parisian jail in June, 1940.

A public defender has been called up for military service but tells his client it's no biggie, he'll be back on the case in three weeks.

"Not even Hitler wants war," the lawyer says. "He'll make peace. You'll see."

Ahh, nothing like the sound of famous last words, which happens to be one of this movie's many specialties.

But at least the onset of World War II helps the client, Frederic (Gregori Derangere), escape from prison. Fred's a hapless but occasionally dashing writer who's been falsely accused of murder, thanks to his ex, the silky, crystal-eyed gold-digger Viviane (Isabelle Adjani). Viviane hitchhikes from one sugar daddy to the next and has fled to Bordeaux with a cabinet minister (Gerard Depardieu), and with Frederic not far behind.

Once they reach the city, which is in chaos, they become entangled in a plot involving a rickety physicist, his endlessly resourceful assistant, an amiable ex-con, a shady reporter and several bottles of heavy water that absolutely, positively must not fall into the hands of the Germans.

Despite an obvious debt to "The Third Man," "Casablanca" and Tintin comics, "Bon Voyage" is actually more like a vintage screwball comedy that grows increasingly worried by the rumble of approaching Nazis. At times, the movie has maybe a few too many spies, politicians and scientists running in and out of the plot, but that's also part of its charm, especially when the heroes rise above their own concerns and work toward a greater good.

The movie was directed by Jean-Paul Rappeneau, whose previous film was 1995's fantastic "The Horseman on the Roof." That, too, was a love story set against the sprawling backdrop of war, with characters leaping from one tense situation right into another. "Bon Voyage" operates in more of a minor key but still offers a nostalgic ode to movies, and wars, that were seen in black and white.

Mildly amusing
The story features a large cast of intriguing characters representing multiple walks of life in France before and during the occupation, whose lives intersect in sometimes comical, and sometimes lethal ways.

The film's recipe tosses together a film starlet, an aspiring novelist, a government minister, a sexual predator, a band of thieves, an elderly nuclear physicist, his young and beautiful assistant, and a traitor who is spying for the Germans. Each of these characters brings a different story plot, resulting in a mix that touches on romance, comedy, intrigue, politics, suspence, and farce.

The result contains some mildly amusing scenes and some mildly suspenseful scenes. The film maintains an entertaining, driving pace, simply because so much is happening. The actors are consistently delightful, and their characters intriguing. However, I found it difficult to care much for any character, as the film did not spend enough time with any one of them for us to learn what drove them. It seemed as though the director intended them to be cardboard cutouts set in a toy theater.

The production quality is outstanding, with gorgeous period sets, costumes and lighting.

Resistance
It is a distinct pleasure to see Isabelle Adjani and Gerard Depardieu in a romantic film once again in which neither is forced to chase an Ex around the world or discover America. All they have to do here is look good and be themselves: which is quite a lot if you are Adjani (looking radiant) and Depardieu (looking slim and handsome in his rugged way).
Unfortunately they are stuck in Jean-Paul Rappeneau's "Bon Voyage," a beautiful though mindless enterprise, if there ever was one.
Beautiful and mindless is ok if it is well written and well thought out neither of which "Bon Voyage" is. (think "Two Week's Notice," "The Banger Sisters" or "The Matrix Reloaded" for that matter)
The film is set in the 1940's German occupied France and the design is flawless but ultimately "Bon Voyage" is a big, beautifully wrapped gift with a giant satin bow that when opened up and examined reveals nothing of substance. In fact it reveals nothing at all. ... Read more

Description

Based on Anais Nin's pre-WWII book. The lead character is an eager American writer with sex on her twentysomething mind, either as voyeur or as a participant. ... Read more

Reviews (17)

Not for the faint of heart
This movie, as with all of Zalman King's, has its weaknesses, but of them all, this is the best. I never fail to find it empowering, beautiful, envigorating, and, of course, scintillating to watch. Very few of this type of movie reach an emotional level as well as a physical level, and as such, very few are truly aimed at the thinking and feeling woman. Even Red Shoes and the Wild Orchid series (don't forget Shades of Blue) miss at times and sink to the common standard of male oriented meaningless sex. This movie, based on a novel that is about nothing but the meaning of sexual exploration and emotional risk, rises far above the norm to be a cornerstone in any woman's video library. Anais Nin would have been pleased.

A flowing, beautiful, and delightfully erotic film.
Those who are familiar with Zalman King know that he is one of the few directors who is able to create erotically stimulating films without sacrificing production quality, cinemtography and acting. Delta of Venus is, in my opinion, his greatest accomplishment as the film flows with poetic motion, draws sumptuous romanticism from its setting in pre-World War II Paris, offers a lovely musical soundtrack, and excites the viewer with beautiful actors who interact with splendid chemistry.

If you are looking for a simple sex film or a picture exploding with action, this is not the film for you. It moves at a purposefully slow pace, like generous foreplay, leading the audience through a series of visual and auditory climaxes. It will appeal mostly to women, but also to men who delight in the slow, attentive pleasuring of a woman.

Although the R-rated version of the movie is well worth seeing, it does not compare to the unrated copy, which bursts with scenes that will propel any couple into a torrid evening of lovemaking.

Visual poetry
"Delta of Venus" is beautifully filmed. The production values are exquisite. The acting is excellent. The character development is strong. And, yes, it is truly erotic. Beautifully and sensually erotic. The voice-over is softly and touchingly done, and the narration itself uses very poetic language. The editing is first rate. This is not just a good erotic movie. It's a good movie period. I warn you, though. You must be in the right frame of mind to appreciate it. You have to be mentally and emotionally prepared to immerse yourself in this beautiful delirium. I'm a harsh critic of so-called erotic films (check out my review of "The Image"). So believe me when I say, this one is a real winner!

Splendid
I too am a huge fan of Zalman King's, and this is by far the most beautiful film he has ever done. I am now spolied beyond repair.

Beautiful, supremely erotic, evocative, and so real... I can't say enough about this film. The historical references to the war are well researched and depicted, the people are gorgeous. It's an intelligent and very well directed film. I am stunned that I waited until this came out on DVD to see it.

about the movie delta of venus.....
What I can remember a little about this movie is that the movie in the end is something about the escape after the war broke out and what I know is that, this movie at NC17 did not contain explicit, very violent or sex sceneS. What I can say is that it contains two sex scenes inside, one is a few minutes after starting the movie and the other is at the part of the movie where it is at the staircase of the house(something like a house, don't know how people name it). ... Read more

Reviews (42)

Pippin
Bob Fosse's masterpiece Pippin is the tony award-winning Broadway musical starring the incomparable Ben Vereen. The show was written by Stephen Schwartz, the Academy-award winning composer of Godspell and The Prince of Egypt. Also stars William Katt as Pippin, Benjamin Rayson, Martha Raye, and Chita Rivera as Pippin's relatives. The video has amazing dancing and singing, as well as some hysterical comedic moments. Anyone who enjoys the theatre will love this video.

Video to remember Ben Vereen on Broadway
In 1973, I was able to see the almost orginal cast(missing Irene Ryan, our dear Granny, who passed away while production was on Broadway.) Ben Vereen was unbelievable as was John Rubenstein. Now, we can't go back to 1973 and we can't all fit in a live theatre. This video records a live performace, so that we can remember how Ben Vereen was in the show, with all his energy, wit and power of dance. Having seen other videoed shows, however, the values are not as good on this one. It serves as a record of what was. Perhaps, Pippin will live on Broadway again. Otherwise, here is a taste, from Canada, of what the show was like, with Bill Katt as Pippin and Ben Vereen as the Leading Player. All the songs are here, including the smashing finale, but some of the more intimate moments (a severed head in conversation) is missing. This is a Bob Fosse show, so the dancing is definately Fosse. The sound is good, though upstage sounds are no