Reviews (35)

"American Graffiti" meets "American Psycho"
Before Larry Clarke's uber-nihilistic "Kids" (and the real-life Columbine tragedy) came along and made this movie look like a wacky Disney romp, Tim Hunter's "River's Edge" WAS the most disturbing look at modern teenage alienation ever put on film. Based on a true story, "River's Edge" examines a group of high school stoners and thier reactions (or inaction) to the thrill kill murder of one of thier friends by her boyfriend. The resulting angst, confusion, guilt and conflicted peer-pressure loyalty issues makes for cracking drama, and the talented, well-directed ensemble cast is more than up for it. Crispin Glover steals the show with a decidedly weird, but compelling performance as the "alpha" of the teen pack. Co-star Dennis Hopper once stated in an interview that of all the young actors he has worked with since he appeared in "Rebel Without A Cause", Glover comes the closest (in terms of acting presence, not 'looks') to capturing James Dean's ghost. Keanu Reeves turns in a great performance, making it even more puzzling why he has since evolved into such an inert mannequin onscreen. The most interesting aspect of the film is that the more times you see it (and it does stand up to repeat viewings) the more darkly comic it becomes; not "ha-ha funny", but "funny" in the same way "To Die For" and "Punch-Drunk Love" are "funny". Not to be missed by any fan of intelligent, well-made cinema.

An Fascinating Drama.
When a Disturb Teen (Daniel Roebuck) murder his girlfriend, a young trouble making boy (Joshua Miller) saw what happen by far.
When he tells his Older Brother (Keanu Reeves) & anothers about it, they don`t believe him. Once they see the Dead Body of the Person, they knew. They don`t know, how to react & with almost no sense of feeling. When a Wild out of Control teen (Crispin Glover) tries to Control the Situation & Protect his Emotionless friend. Two Teens with Some Humanity left (Reeves & Ione Skye) decide to do Something about It.

Directed by Tim Hunter (The Saint of Fort Washington, Tex) made a Strong, Terrific Drama that was Based on a Real-Life 1980 Murder Case. Glover & Dennis Hopper as a Leftover Biker & Druggie are the Standouts in this film. Reeves is also Good, in One of the First`s Starring Roles. This is a Absorbing (not completely perfect) Study of Contemporary & Alienation on Society to the Lives of Teenagers by Bringing Responsibility... This is a Disturbing & Thought-Provoking. One of the Strongest Dramas of the 80`s. Written by Neal Jimenez (For the Boys, Hideaway, Sleep with Me). Grade:A.

"It was right in front of me. I poked at it with a stick"
"River's Edge" revolves around the reactions (or lack of them) by high school students to the murder of a high school girl by her boyfriend. Nearly all the kids have a dysfunctional family or other disruptive situation that leaves them untrusting of adults. The death of their friend by another friend creates a tension among them as to whether they should turn him in.

The main group of kids is composed of Crispin Glover, Keanu Reeves, Ione Skye and Roxana Zal. Keanu lives with his little terrorist brother, Josh Miller, an even younger sister, his single mother and her do-nothing boyfriend. The other main character is "Feck" played by Dennis Hopper. He is a criminal in hiding, and is the main source for "Feck weed". Some of the acting is either nearly over the top (Glover) or questionable (Reeves), but Dennis Hopper is great as a rather strange character with a past and a large love doll, Ellie, as a friend. Josh Miller as the younger trouble-making brother is disturbing and excellent.

Although the movie is a drama and is rather unnerving, it has some unusual humor, most of it coming from Feck and the younger brother, who is about 10 or 11 years old. At one point the kid is mad and goes to see his friend at night and taps on his window - "Bring your numchuks. And get your dad's car. I know where I can get a gun".

The movie is heavy on smoking and drinking among teens and pre-teens, rampant swearing by teens and pre-teens, and teen sex. Oh yeah, a full frontal nude girl, though she's dead and turning a few colors. The DVD has the widescreen movie, chapter, subtitles (French/Spanish) and a trailer. I strongly recommend it for Dennis Hopper and Josh Miller if nothing else.

two poorly acted roles - the rest sold the movie!
Although I found the acting of Crispin Glover (Layne) and Joshua Miller (Tim )to be too over-the-top to be 'real', the rest of the cast SOLD their roles and made this a surprisingly well-done flick. Disturbing....

doesn't quite add-up, but still unforgettable
This was a great movie, but it's not quite the social indictment that it purports to be. Mostly it works on the power of its stars and some godawfully chilling mood music.

Samson (AKA "John") is a not-so-gentle giant of a teen who impulsively strangles his girlfriend. Though the murder and murderer are quickly common knowledge to local high-school denizens, nobody immediately runs to the police. This doesn't keep just about everybody her age from gawking at her now stripped corpse when it's found along the river's edge. Various reasons keep Samson's peers from even alerting the police to the body - mostly they have to do with loyalty. In a bizarre twist, their loyalty stems not from Samson, but from his friend Layne, a local Death-Metal kid who is determined not to "narc" out one of his own. While the rest remain silent, Layne makes Samson's safety and escape his personal crusade. Matt (Keanu Reeves) stirs from the pack, and calls the police. At first a suspect (he can't explain to the police the delay) Matt's released, whereupon he pretends to help Layne keep Samson safe. Most of the film is confined to the late hours of a single night, when our characters split up and tragically collide. When police flood the streets looking for Samson, it's clear that somebody "Narced". Though Layne never suspects Matt, Matt's younger brother immediately fixates on his elder sibling's betrayal, and plots revenge. At first, Layne stashes Samson with Feck (Dennis Hopper), an elder pot-head who's on the run for murder, but Samson is too impulsive to stay in one place for very long. When Feck runs out of beer, the pair leave the safety of Feck's house for beer, bullets and a trip back to the river's edge.

"River's Edge" is a stirring flick, but it's not quite the statement of society's collapse that it purports to be. (A nebbish, conservative student is put-down for just that sort of self-righteousness late in the story.) Just too much of the story doesn't add up. Matt's mom is simply weak - she's got a bossy live-in boyfriend, and looks to be have barely recovered from the sort of teenage existence now suffered by her kids. (instead of being emboldened, she's actually the weakest character in the flick - "I'm not your mother", she rants near the end "You're all mistakes!") Matt's brother plots revenge for Matt's treason - but he never connects with other characters in a way that suggests his loyalty. The other's are supposedly in sway to Layne, but Crispin Glover's mannerisms are less death-metal than post-modern mime (he simulcasts most of his lines with his hands) and he can barely hold himself together, let alone his peers. While separated from Layne, Matt uses his new-found inner strength to get closer to Clarissa (Ione Skye), but the story isn't sure which is really causing the other (maybe Clarissa is actually inspiring him to think past Layne). Especially weird is the way that while Layne searches for Samson, Matt runs into him at a liquor store after hours. There, using Feck's gun, and in front of Matt, Samson forces the storeowner to sell Matt beer. Matt never tells Layne of the meeting. The biggest hole is Feck. The flick tosses him and Samson together in a night that climaxes with something out of "Of Mice and Men" - but the script only partly succeeds in creating that intimacy between Feck and Samson. When Feck later says of Samson "he didn't love her", it's unclear whether he's referring to Samson's murdered girlfriend or to Elly, Feck's blow-up doll and captive passenger on that last night.

That said, this is still an incredible flick. Crispin Glover is still unforgettable as Layne (after watching enough of "Edge" you may find it hard not to talk like him). The plot, for its holes, stays focused on that one last night. If the ending is way-too-pat, it's probably because the flick's ambition is more than it can achieve. In any case, I sat down for this click and couldn't pull myself away. Supposedly based on a true story, "River's Edge" should be appreciated on its own, without us having to wonder where the true story became a way-out cautionary tale of impulsive murder and misplaced loyalty. ... Read more

Amazon.com

Perhaps the least important thing about this latest film version of Shakespeare's masterpiece is its setting in modern-day New York. Yes, such locales as the Guggenheim Museum are used wittily; answering machines and faxes are logically worked into the plot; and it was both inspired and entirely appropriate to make the prince of Denmark a moody, introspective filmmaker whose avant-garde collages provide the context for some of his famous monologues. All of which would be so much pleasantly humorous eye-candy if it didn't come hand in hand with a sympathy for and understanding of this remarkable cast of characters. For that, ultimately, is what makes Michael Almereyda's Hamlet such a delight to watch. Forget that the immortal rumination on suicide is placed in a Blockbuster Video aisle and notice instead how Ethan Hawke's own youthful, callow arrogance makes Hamlet's vacillations believable.And how the comical but infantilizing way Bill Murray's Polonius dotes upon his daughter Ophelia (Julia Stiles)--and her mute acceptance of his attentions--lead her to thoughts of a watery grave even before her bout of madness. And also notice how much Claudius truly does love Gertrude (when gazing at her, Kyle MacLachlan's face relaxes from its usual plasticity) and how Sam Shepard's ghost is less vengeful or tortured than stiffened by remorse. These are the shining moments of invention in Almereyda's bold updating of the play, and they are why this will be a film to watch and enjoy long after its setting has made it as much a period piece as Olivier's adaptation, with its broodingly lit castle, or Branagh's, with its gleaming 19th-century court. --Bruce Reid ... Read more

Reviews (100)

"The Play's the thing," but not necessarily this film...
One of Shakespeare's greatest plays gets modernized and transported to New York City in the year 2000, with Ethan Hawke taking on the role of the brooding Prince of Denmark. This version of "Hamlet," written for the screen and directed by Michael Almereyda, initially holds much promise, with what appears to be an outstanding cast through which Almereyda can present his vision of this oft-told tale of murder and revenge. That "vision," however, turns out to be somewhat clouded, and though the basic story remains intact, it comes across as something of a "Cliff's notes" rendition that is less than satisfying. And by the end we realize, too, that not all actors-- even good ones-- are cut out to play Shakespeare.

Hamlet's father, the King/CEO of the Denmark Corp. has died, and within a month his mother, Gertrude (Diane Venora), has married his uncle, Claudius (Kyle MacLachlan), who has also taken over the company. Hamlet, now ensconced in the Elsinore Hotel, grieving for his father, is appalled by the marriage of his mother to his uncle, and moreover, with such haste; but it is done, and there is nothing he can do about it. Soon, however, Hamlet discovers that his father was, in fact, the victim of murder most foul, and vows to avenge his untimely demise. Immediately, he sets a course that will bring the perpetrators to justice; but it is a course that must necessarily end in tragedy for Hamlet, as well.

With his screenplay, Almereyda has retained enough of the basic story that even the heretofore uninitiated will be able to grasp Shakespeare's original intent, at least in regards to the plot. The presentation, however, falls entirely short of providing the full impact of the tragedy. Almereyda's approach is altogether too solemn and lacks the energy needed to truly bring this film to life. And while it's true that the story is inherently introspective and melancholy, the director fails to explore the many possibilities available to him-- especially with the contemporary setting-- that could have made this vibrant and exciting cinema, such as the way writer/director Julie Taymor brought Shakespeare's "Titus" to the screen so successfully. Add to that the fact that Almereyda's adaptation of the play is terribly wanting; the character development is lacking, and though the language of the play remains, Almereyda's judgment of what to keep and what to lose in making the necessary cuts to bring a four hour production down to just under two, are questionable. Hamlet's famous soliloquy, "To be, or not to be," for example, is truncated into oblivion. In the final analysis, this was a project perhaps too ambitious for Almereyda at this point in time; knowing what "happens" in the story is not the same as knowing what it's "about," and in some of the choices the director makes, it's obvious that the "essence" of the play has simply eluded him, much to the detriment of the overall film.

As far as performances go, they range from outstanding to the downright laughable, which is disappointing but not surprising, considering the eclectic nature of the cast. Liev Schreiber, who has one of the best voices in the business and the elocution to match-- custom made for playing Shakespeare-- is nothing less than exemplary in the role of Laertes, and among those assembled here is in a league of his own. A tremendously talented actor, Schreiber has not yet achieved the acclaim he so richly deserves, languishing too often in forgettable films like "Kate and Leopold" and "A Walk On the Moon," though he was perfectly cast as Orson Welles in the made-for-TV film, "RKO 281," in which he was brilliant. Without question, with his masterful interpretation of the material and his natural eloquence, he is the saving grace of this film, in which, alas, he is afforded a less than propitious amount of screen time.

Only two others in the film even approach Schreiber's level of excellence, the first being Kyle MacLachlan, in his portrayal of Claudius. MacLachlan, at least, finds the rhythm and flow in his recitations that make his character believable and convincing, and his scenes with Schreiber are the most interesting aspect of the film. The only other actor in the film who can stand alongside Schreiber and MacLachlan is Diane Venora. Unfortunately, in this offering, Gertrude has been reduced to a role of silent observer in most scenes; when she does speak, however, her words are well spoken and meaningful, and it's a shame that she is so grossly underused here by Almereyda.

Then there are the performances that fall into the "acceptable" category, but are far beneath the capabilities of the actors involved, respectively: As Hamlet, Ethan Hawke adopts a brooding attitude that is effective, but he fails to achieve the commanding presence necessary to make his Hamlet viable. Sam Shepard, as the Ghost of Hamlet's father, is simply unconvincing. And Julia Stiles, as the doomed Ophelia, seems to be grasping at straws in a vein attempt at finding her character, and of the three mentioned here, her performance seems the most strained and unnatural, though it is so with both Hawke and Shepard, as well. All of which points up that, again, not all actors can play Shakespeare. It's difficult; and those who make the attempt should be commended for it, even if the results are less than noteworthy.

Make that "most" of those who make the attempt; because in the case of Bill Murray, someone should have put a stop to it right out of the chute. Murray is arguably one of the best comic actors the screen has ever known, and that is not something to be taken lightly; comedy is one of the hardest genres to master, and Murray is one of the best. But his portrayal of Polonius is embarrassingly laughable; there's no other way to put it. And it's one of the many reasons that make this version of "Hamlet" forgettable. There's just no magic in it.

a very original and pivotal look at Shakespeare
This movie is perhaps the best version of Hamlet put to film. Less melodramatic than either Kenneth Branagh's or Lawrence Olivier's traditional versions of the play, Almereyda has created a film that uses Shakespeares text extremely effectively but at the same time this does not take away from the movie's visual quality. Cinematography and editing are perhaps the most important part in a film and the problem with bringing Shakespeare to film is that Shakespeare is about language not image. In terms of performances, Ethan Hawke offers a new interpretation of Shakespeare's most complex character. He portrays Hamlet as a confused adolescent and young filmaker, who is almost driven mad by what he sees in the world. He sees the world through the lens of his video cameras and Almereyda demonstrates this by adding a very dark and bleached look to the colors of the film.

This review is really just a brief outline of what could really be a long essay about this film's art. In short, the film is a masterpiece and bridges the gap between literal imagery and visual imagery.

Bad
There have been a number of brilliant adaptations of Shakespeare in the past few years which has updated and modernized the settings, but this isn't one of them.

The use of contemporary locations throughout this movie is sometimes clever or witty, but never really hits interesting and always distracts from the play. The main conceit -- Denmark as a corporation, etc -- just doesn't fit the language, and each time someone refers to CEO Claudius as "dread lord" it serves to remind us of just how poorly the metaphor works.

Hamlet spends much of his time with a video camera, and clearly the director thinks he has something very important to say on the media or some such, but I have no idea what.

Ethan Hawke's performance brings out the unenergetic side of the role, as half the film is him muttering iambic pentameter in a dull monotone. There's no straining against his inability to act, he just can't be bothered to. I suppose this is a valid interpretation of the role, but it's deathly boring.

Julia Stiles does not appear to understand most of the lines she is speaking.

I'd have to recommend the 1991 movie starring Mel Gibson over this one. At least Mel Gibson wasn't wearing a stupid hat.

Hamlet as a Rip-Off of Romeo and Juliet
I've seen most versions of Hamlet available on VHS or DVD, and this is absolutely the worst. One reveiwer here has pointed out that the cast's inability to handle the language is most likely the fault of the director; I'd say that's true, but the inconsistency and superficiality of the vision is also the fault of Michael Amlereyda. The source of the problem seems to be that no one involved in the movie (with the exception of Diane Venora, who has played numerous parts in Shakespeare, even in Hamlet, before) has any convictions about the play, their characters, or Shakespeare. Contrast this movie with Baz Luhrmann's innovative Romeo and Juliet, and you'll see Almereyda's inspiration. It seems as if he just wanted to cash in on the Romeo and Juliet craze--he even echoes that film by having Fortinbras' closing speech read by a newscaster on a TV set, as the final speech in Luhrmann's movie is read by a newscaster on a TV set. I'm not opposed to modernizations of Shakespeare--I'm opposed to thoughtless rip-offs.

I'd like to list the movie's redeeming qualities, but can think of none. Diane Venora is always worth watching, but she's much better as Ophelia in Kevin Kline's production.

"You come most carefully upon your hour."
This version is an interesting idea, at best. Instead of recieving letters, in this modern-day world they receive faxes. Some of the dialogue is over the telephone or on cam-corder. Great ideas, all. But it just doesn't flow as well as I had hoped it would. There are better versions of the play out there, my personal favorite being the Mel Gibson version, but the Keneth Branagh version is also superior. Ethan Hawke is the typically introverted Hamlet struggling with unnerving circumstances. He acquits himself with integrity, as do many others in this cast. But there was a strange casting choice in this particular version. Bill Murray plays the character of Polonius. For the most part, he is surprisingly good; but there are moments when it seems he just wants to laugh at the absurdity of the language. Don't get me wrong, I'm a huge fan of Shakespear. (...) ... Read more

Amazon.com

At long last, one of the seminal films of the Melanie Griffith oeuvre is now available. Cherry 2000 is the heartwarming tale of Sam Treadwell (David Andrews), who will stop at nothing to find another model of his broken sex android. Griffith plays E. Johnson, the tough-as-nails tracker who helps him track her down. As deliriously chowderheaded as the premise of the movie sounds, it's actually not half bad and immensely fun to watch. The surprisingly mature plot (nobody gets naked!) involves Treadwell's gradual discovery that there's more to a good woman than a beautiful body and perfect subservience. Don't worry, there are plenty of explosions to keep you from getting bored. Griffith absolutely owns the movie--she looks like a complete badass handling surface-to-air missiles, though of course she still sounds like she picked up diction tips from early Shirley Temple movies. The DVD version includes the invaluable documentary "The Making of Cherry 2000" and the option of watching the entire film dubbed into French. Do not pass up the French version: it really brings out the art. --Ali Davis ... Read more

Reviews (27)

Losing my "Cherry 2000"
It's not fair sometimes that movies as cool as "Cherry 2000" are unavailable for periods of time! This movie should be a main staple! It's got an exciting plot and it's so cheesy and fun, I can't tell you how many times I've come home after a bad day and turned to this movie! Another cool aspect of the film is the cinematography and the Basil Poledouris music score! They are so over the top and enthralling! It's an undiscovered classic that I'm glad to have found!

Cherry Comes Home To DVD!
Movie Summary: Sam Treadwell's perfect robot wife, model Cherry 2000, breaks down. He wants to get her fixed because he thinks he loves her. But in post apocalyptic LA, there aren't any parts. He hears a rumor of a giant warehouse of Cherrys out in the wasteland. The problem is getting there, and getting back alive. To improve his odds he hires a tracker named E. Johnson (played by Griffith) who turns out to be a very unique and real woman, something that Sam has never encountered before. As E and Sam fight their way across the wasteland and into the warehouse, Sam learns a little something about real women and real love.

My Opinion: This movie is a ton of fun. At first glance it may not seem like much, but when you watch it, it pulls you in and takes over. Sure it's a bit silly at times, but it has more depth than other movies of this type. There is a full blown plot and a moral to the story. The action is good, and Griffith is great. It's one of those guilty pleasures movies that you are embarrassed to admit that you like. It's very easy and fun to watch making it one that you will watch more than once.

DVD Quality: Widescreen anamorphic, trailer, and making of documentary make this a nice little DVD

What You Should Do: Buy it. If you are a SciFi fan you need this one. The price couldn't be better!

I flew one of these things in the border wars.
This is one of my all time favorite movies. It's not just the corny story line that I love it's the concept the America in the future. From dating to robot chicks to anarchy, to the border wars this movie has it all.
But I must say the DVD cover is atrocious. What were they thinking? E. Johnson never wore leather and her hair was never as fluffy. The cover makes this classic look like an X rated movie. I also wish that there were more features on the DVD but there was not really a demand for it.

There's a lot more to love than hot wiring.
In terms of post apocalyptic sci-fi action type movies, this one isn't too bad. A little goofy for my tastes, but the humor was subtle and the action okay.

David Andrews (Graveyard Shift, Hannibal, Apollo 13) stars as Sam Treadwell, as somewhat well to do individual in the post apocalyptic near future. He prefers the company of a highly sophisticated pleasure bot, a model called Cherry 2000, to that of the messy entanglements of a relationship with a woman. Only problem is, during a romantic interlude, his Cherry 2000 get water in her system and suffers a complete internal meltdown. Removing the personality chip which contains voice patterns, mannerisms, etc., he sets out to find a replacement, which is easier said than done, as that model is nearly impossible to come by, and highly coveted. He gets a tip that there is a whole warehouse of the Cherry 2000 model in a warehouse, problem is the warehouse is located in wastelands, a highly restrictive and dangerous area.

Sam decides to hire a tracker to go and retrieve him a new unit, and meets with Edith E. Johnson, played by Melanie Griffith. So Sam and Edith set off in her souped up Ford Mustang, into the wastelands. After a skirmish or two, they encounter one of the more feared groups of the wastelands, led by Lester, played by Tim Thomerson (Trancers, Who's Harry Crumb, Air America). Lester and his gang live what I would call a little suburb of the desert called Sky Ranch, and detest trackers. Why they hate trackers, I don't know, as it's never explained, but they do, so I went with it.

Avoiding capture and also avoiding getting blown up, Sam and Edith eventually meet up with Six Fingered Jake, played by Ben Johnson, veteran actor of more western movies than I care to mention, and winner of an academy award for his role in The Last Picture Show (1971). He's a semi-retired tracker who provides a safe haven for Sam and Edith.

After a short rest, the two start out again, but get waylaid by Lester and his gang, and Sam ends up getting kidnapped. Sam escapes from Lester, causing much damage to Sky Ranch, and Lester and his cronies pursue. Sam and Edith finally come to where the Cherry 2000 units are, with Lester and Co. in hot pursuit. Oh yeah, there's a sort of love interest between Sam and Edith that develops and is kind of important around the end of the movie.

A decent movie, but a couple glaring inconsistencies in the continuity. The biggest one I can remember is when Lester and his gang are chasing Sam and Edith through the desert, following in a Jeep and a small truck. They stop at some point, open the back of the truck, and four ATVs pull out of the truck. In the next scene, we see the jeep and about 10 to 15 ATVs. Unless that was some kind of magical truck with a transdimensional wormhole in the back, I have no idea where all the other ATVs came from. And the scene with the car hanging from the giant magnet attached to the crane...if one of Lesters men was operating the crane, why did he keep moving the crane? Lesters men were trying to shoot at the car hanging from the crane, but were unable to get a bead on it due to it kept moving...just made no sense.
I found it interesting that Melanie Griffith made this movie well into her career, and after her much better movie, Something Wild. This type of movie just seems like one that an actor would be in before they became famous, like Jennifer Aniston in Leprechan.

As for extra features, there is a 'Making of...' documentary (cough, cough) if you can call it that. It's like six minutes long, 2 minutes of which is the trailer, and looks like a bad high school production. There is also a trailer for the movie. Watching the trailer, I noticed a few scenes not in the movie. One scene is where Lester shoots a woman in the head, and her body goes flying backwards into a pool of water. In the actual movie, we see Lester fire his gun in the direction of the woman who is off screen, and that's it. Also, in the trailer there is a scene where Edith is changing in another room, and comes out with her shirt unbuttoned, allowing us to see part of her chest (not all) in a view where she's facing the camera. In the movie, we get more of a side view and a much more limited view. Since this movie is rated PG-13, I am assuming that these two scenes probably got nixed from the movie to avoid an R rating, but nice to see they were put into the trailer.

Fun Movie. Fast and Brainless. What's wrong with that?
I love this movie. Was a favorite ever since I first saw it in the theater. Cool locations and sets. Good cast and funny circumstances. The bar scene in the beginning cracks me up and Lester the bad guy is awesome. Not Raiders of the Lost Ark, but well worth your time. ... Read more

Reviews (20)

A must for all Pfeiffer fans.
Up Close and Personal does the impossible: it manages to jump from different settings within two hours and shift its plot while keeping the audience wanting more and more. Pfeiffer stars as a reporter, Tally, who has always aspired to make it to the top in television news. Along the way, she meets a veteran newsman, Warren Justice (Robert Redford), who gives her a chance at a reporter. As she begins to mature in her stories and her thirst for knowledge heightens, she begins to turn heads in the news business, and ends up moving from a station in Miami to a station in Philadelphia. All the while, Tally and Warren struggle to keep alive a relationship that both know is inevitable. Performances from all actors are very original and heartfelt, under Jon Avnet's wonderful direction. Thomas Newman's score is brilliant, and fits in at every moment to add to the emotional appeal of the movie. A storyline that never stops moving at times keeps the energy alive, which makes this movie one that will please most people.

SURPRISING
I recently happened to see (quite by accident, which I guess is what "happened to" implies) Up Close and Personal starring Robert Redford and Michelle Pfeiffer. I was completely against seeing it. It looked positively ridiculous and asinine from commercials, making it seem like a wholly sappy love story between an older man and an up and coming woman (who would of course be nowhere if it weren't for his benevolence and patience). Not to add the terrible Celine Dion theme song. After watching it, however, I realised that while it was not great by any means-a bit better than mediocre entertainment perhaps-it was much better than I expected. Much different from what I expected as well. It was entirely mismarketed. Not to add that STUPID title. Really should be seen to understand what I mean. I don't want to hash out all the plot details because it would just waste your time and mine when you could just watch the movie and find out for yourself. It does have a sad ending, which was also a pleasant surprise. You kind of expect a movie like this to end happily ever after.

Not all that, but Pfieffer and Redford make it worth it
Both actors deliver fine performances. Even though the plot is ho-hum, the movie is still interesting to watch. Sad, of course, as all fine love stories are. But worth a peek.

emotional
This is one of the first movies I can say that I made me cry at the end that I love. Redford and Pfeiffer are AWESOME and it had all the things a movie must have; action, romance, and humor.

Get out your suspension of disbelief!
This movie was interesting enough to keep me watching to the end but I was disappointed. Maybe I missed the point, but it seemed to me that almost nothing about this movie was real. Robert Redford's character wore clothes and had furniture that seemed mostly lifted from the Sundance Catalog. Michelle Pfeiffer's character never seemed to be doing any research but rather staying late at work to play solitaire on her computer. And we later are expected to believe that she gets up from her wedding bed to work at her laptop on a news story. I found it a sad reflection on Hollywood's take on American values and an insult to the viewer's intelligence. ... Read more

Reviews (21)

Not as funny as I thought it would be, but funny
When I first saw the previews to "Senseless" a couple of years ago, I thought it was gonna be hilarious and I knew I had to see it. I finally saw it about 2 weeks ago and it is funny, but not hilarious. Marlon Wayans tries out an experiment that some scientists have made, not really knowing what it could do to him. One day he takes an overdose and things really get out of the ordinary. He starts to see double and gets numb all over, (in other words, senseless). That's when the movie gets good and it stays that way almost through the rest of the movie.

If you like good comedy movies, I recommend seeing "Senseless." My only complaints were that the movie wasn't as funny as I first thought it would be and it's a little slow getting to the funny parts. Other than that, it's worth seeing.

If You Want To Laugh..
This movie has nothing but comedy written all over it. Fast moving plot with the right recipe of characters. Hilarious to the bone and excellent set up. If you are looking for a great laugh and enjoy the humor only David Spade and Marlon Wayans can bring, pick this one up. An excellent addition to any DVD collection. Fun for all to watch!

1st part: great, really funny. 2nd part: so-so.
Well, well, well, in the beginning it was cool comedy. No, not just cool but REALLY COOL comedy about black guy who took part in some experiment which upgraded his senses. Kind of super-power. A lot of funny (REALLY FUNNY) situations, dumb, but great jokes etc. etc. Cool movie. I hadn't laughed in such a way for a long time.

But then... Oops! The movie became less funny, some kind of soap appeared there, the authors seemed to remember about correctness and that's why the ending wasn't as cool and funny as beginning.

I'm so sorry. But only 3 stars.

boring comedy
This movie isnt very good or funny and it is so predictable I am not a big fan of comedy movies but I always watch them. This movie was just too chezzy.Marlon Wayans just isnt funny he's too silly.dont buy this movie!

Funny Funky Flick
Marlon Wayans gets forced into the role of "the stupid slapstick guy" thankfully he doesn't play that part in this very underatted classic. This movie had me laughing and feeling great! With a hillarious performance by Matthew Lillard and a great evil characted portrayal from David Spade you have to check this one out... Cheap and above all fun! ... Read more

Description

As Nessip, Wesley Snipes free-falls into the daredevil world of sky-diving to track down a cadre of techno terrorists in Drop Zone, a chute-to-thrill adventure co-starring Gary Busey, Yancy Butler, Michael Jeter and more. Ready for excitement? You're in the zone with "the action movie of the year!" (Ron Brewington, American Urban Radio Network). Jailbreak... at 38,000 feet! U.S. Marshal Pete Nessip's prisoner parachutes out of a 747 and floats safely into the night with his daring, deadly cohorts. Nessip does his best to stop the bold escape. What does he get in return? Suspended. But being off the force doesn't mean Nessip is out of action. When it comes to stopping killers, he's taking the plunge. ... Read more

Reviews (14)

Skydiving
If you're a skydiver, you'll love this movie. For everybody else, it's boring. It's not a typical action-packed Wesley Snipes movie. This one focuses on skydiving, and that's about it. Lots of skydiving, and then some more skydiving. They just threw in some token fight scenes at random to help tone it down, but it doesn't work. I gave it ** because Snipes is in it. Without him, it would get *.

Great Movie!
I loved this movie. The skydiving stunts are great, and it actually has a plot! Seems most action movies don't even bother with a plot anymore. Wesley Snipes and Yancy Butler did a great job. Their characters are believable, you feel like you're right there. I can't wait to try skydiving myself.

Not Very Real, But Good Fun
Let's face it, this was a fun movie and I liked it. I enjoy most flicks with Wesley Snipes in 'em. And, although a novice, I love skydiving. That was the fun part. From Yancy dumping Snipes from the Porter sans parachute to their makeshift tandem nighttime landing on a rooftop, it was ridiculously fun in a silly way. Imagine becoming skilled enough to jump in a major big-way in what, two weeks' time? Great. And the absurdity of the skydivers being anything but friendly and open to a "whuffo" (a ground-grabbing outsider) made for a top-order, unimagineable fight scene. Great stuff. I just hope that when my main canopy snivels and I can't break away, I make out as well as their jumping buddy... i.e., live through the experience. Blue Skies and Fair Winds! Watch the movie, then jump from a perfectly good airplane from 2 & 1/2 miles up.

People actually LIKE this movie?
Well for a weak plot, and inferior effects, I guess it's ok. Who am I kidding!? This movie was not good at all! Snipes has done much, MUCH better than this, although it wasn't all his fault. I believe the most entertaining part was with the photocopier, and if I had to pick one outstanding pathetic part, it would be the chick saving Snipes' rear end, without safety gear. (By the way, physics determines that little flying upwards stunt utterly impossible) Why one star? Because I had to put something! Anyway, if you liked this movie, all the power to you, but I did not find it that great.

A skydiving movie that really flies high
I haven't ever skydived before, but I do like watching movies about skydiving. I also liked "Terminal Velocity," but "Drop Zone" is a lot better. Wesley Snipes stars as a U.S. Marshal who tries to catch some terrorists that hijacked a plane that he was on and their actions resulted in the death of his brother. Snipes believes that it was a set up, but he's the only one that thinks that, so it's up to him to figure it out by himself. To do this, Wesley Snipes learns a new hobby and starts skydiving himself while trying to figure out and catch the terrorists in action.

"Drop Zone" is a good movie. Its plot might be choppy in parts, but that's about the only thing wrong with the movie. The skydiving sequences are the best and most exciting I've ever seen in any movie, and Wesley Snipes is hilarious in some parts such as when he skydives for the first time and screams the whole way down. The movie's soundtrack is another good thing about the movie.

Whether you like skydiving or not, if you like good action movies I recommend getting "Drop Zone." ... Read more

Reviews (6)

F/X 2 is a great ingenious movie with plot and action!
F/X 2 is a great ingenious film with plot and action! F/X 2 stars Brian Brown and Brian Dennehy as Rollie Tyler and Leo McCarthy and they are together for one last adventure to stop Mob from stealing gold Medilians from Vadican embassy in intaly!Great film! Very inventive and well thought out! I Like this movie despite what the movie critics thought about this fim in 1991! I wish there was an F/X 3 but unfortunatly that didn't happen. Despite what others say the movie great and is better then the original movie from 1986. Go find it! It's great movie!

todavía resulta original
Todo y que pueda resultar un remake de su predecesora,FX2 logra aprovechar de una forma notable el hecho de que el protagonista utilice su experiencia cinematográfica, y concretamente en el asunto de efectos especiales, para conseguir desarticular a un gang terrorista.De las multiples secuencias de acción, cabe a destacar el payaso robot,que comparte protagonismo con la pareja principal, y las persecuciones en el supermercado y a posteriori, en la residencia de los "malos".Buenas actuaciones y bastante imaginación para un film que vale la pena.

A memorable sequel
It's not often we see a sequel that excels the original, but F/X 2 is impressive in accomplishing just that. In this version, Brown has left the film world to work on special effects for himself. He's into toys this time, and Bluey, his remote robot is a prize! Again, the Mafia is involved in the story development, this time over a set of gold coins stolen from a Vatican art exhibit years ago. Brown's again co-opted by corrupt cops [what an enduring theme!] and again he's on the run. This time, Dennehy extends his 'good cop' role from the first F/X in coming to Rollie's aid.

Unlike the first film, F/X 2 raises Brian Dennehy's participation significantly, giving him many opportunities to engage in droll wit. He manages the role with style and honesty. The exchanges with Joanna Gleason as the Ass't DA are quality Dennehy. Gleason herself adds a lustre to the film, providing an engaging contrast to Rachel Ticotin's role as Tyler's girl friend.

F/X 2, likes it predecessor, is a timeless film. The repeated themes of corrupt cops and Mafia intrigues doesn't make this film boring. Quite the opposite, showing how prevalent and wide ranging their activities can be, both for good as well as sinister reasons. This film is worth a place in your inventory, if for no other reason than Brown's performance. He's a quality actor when given the opportunity - and this film was an even better expression of his worth than the original.

Better Than I Remembered
I watched both "F/X" films at the same time and was surprised that the second one holds up better than the first. This movie has a raffish charm, like Hitchcock in his playful "To Catch a Thief" mode. Highly recommended.

Excellent Sequel
This movie's villian, Cylack, was brilliant. Also, who can forget the moving scene where Neely elicits the location of the medalions from the dying con? This scene was brilliantly acted, full of emotion and pathos. In short, the villians Cylack and Neely made this movie superb. ... Read more

Reviews (21)

Jack hits close to home
A: 4/5 Stars

Robin Williams gives an outstanding performance in "Jack", a movie about a boy with an extreme growing disorder.
We first see Mrs. Powell dressed as a witch at a costume party from which she is rushed to a hospital where she gives birth to Jack Powell after being pregnant for only ten weeks. We learn that Jack has a disorder that causes him to grow four times the normal human rate.
We then see Jack spending his days lonely and holed up in his home, a ten year-old boy that has the physical body of a forty year-old man. Bill Cosby plays Jack's private instructor, who homeschools him.
Finally, after prodding from his instructor, Jack's parents allow him to go to school.
Jack is at first shunned and ridiculed by his fellow fifth-graders, but slowly earns their friendship by proving that you can't judge a book by its cover.
The movie ends at Jack's high school graduation. Jack was valedictorian and gives a powerful speech. By this time Jack appears to be an elderly man, but is really 18.
Jack is a heart warming and laughter provoking movie about enjoying life while you have it, and I highly recommend it.

J: 4/5 Stars

"When a shooting star streaks through the blackness turning night into day, make a wish and think of me and make your life spectacular. I know I did." -Robin Willliams as Jack
Jack is a bittersweet tale about a boy who, despite certain setbacks, is determined to live and enjoy his childhood.
The movie begins after an odd premature birth, where we learn that Jack ages at four times the average rate. Because of this he is kept out of society for ten years. Jack is visited by a tutor (Bill Cosby) every day. Although the tutor likes teaching Jack, he realizes that he is lonely and convinces Jack's parents to insert him into the public education system. At first he isn't too popular, but finally he wins over the class by using his condition to his advantage. The ways he gets them to accept him are refreshingly true: he can buy porno magazines and dominate the basketball courts. However, Jack has several confrontations with the adult world. His attempts of getting together with his school teacher fails and ends up getting in a brawl at at the local bar. It doesn't help when he recieves a "what I want to be when I grow up" assignment that truly affects him. When his friends are twenty he will probably be dead. The movie ends with a speech of triumph that is both tear jerking and heart warming.
Robin Williams definitely wins the best perfomance award. Here, he is able to bring a poignancy to the role while capturing the youthfulness of being a kid. Francois Ford Coppolay who is usually the director of hard, serious dramas, (see the Godfather) has taken a different route by making a human drama enclosed by comedy. Because of this, he has made one of the most honest movies in recent years. Jack is a joy to watch and a movie to treasure.

very funny
This plot is so original, and you know if Robin Williams is in the movie its gonna be hilarious. It was ! Boy that rapidly grows as he ages. Ha too funny. Great to watch with the whole family. Very light hearted film.

Amazing cast includes Robin Williams, Diane Lane & J-Lo
This very funny and touching film has an amazing cast... ROBIN WILLIAMS (Mrs Doubtfire, Good Will Hunting), DIANE LANE (Unfaithful, Perfect Storm), BILL COSBY (The Cosby Show), and JENNIFER LOPEZ (Out of Sight, Maid in Manhatten).

The story is cool and the directing by FRANCIS FORD COPPOLA is very good. Worth checking out for the excellent performances by the all-star cast.

Jennifer Lopez in "Jack"
10-year-old Jack is a boy with a unique condition that makes his body age four times faster than normal. He convinces his parents to let him attend fifth grade in a public school, but his 40-year old appearance creates all sorts of havoc for him!

Awesome!!
Well, I saw this movie a long while ago, but I still would love to watch it again (even though I don't own it, poo)..."Jack" is the cutest movie I have seen! Robin Williams is the all-time greatest comedian, and I especially love how they put Bill Cosby in it! This movie is funny, sad, and very touching, especially twoards the end. Everyone who is a child at heart should go out and buy this movie! Who can turn down a great Robin Williams film? ... Read more

Reviews (11)

a MUST for lovers of the book.
Ruiz's version of Proust's monumental work probably comes as close to a faithful interpretation of the spirit of the original work as a film can get. While the movie focuses on the last volume of the novel, key elements of the whole are interwoven throughout, to brilliant effect. Ruiz's surrealistic touches are at times so achingly beautiful that it takes your breath away. Ruiz made some interesting (and brave) choices regarding the plot: Swann and Albertine are jettisoned entirely, and believe it or not, it still works. The casting is uncannily on the money, with the one exception of John Malkovitch as Charlus, who appears not to have the foggiest conception of the character as written by Proust. If you haven't guessed already, this film will be tough going for those unfamiliar with the book. For Proustians: an unmitigated feast.

A Worthy Interpretation Of The Classic On Film
Director Raul's version of Marcel Prousts' Remembrance Of Things Past is captured beautifully and faithfully on film. It was made only recently in 1999, but it is essentially timeless. The strength of the film lies in the many dimensions it has, as with the novel. Proust's vision and world comes to life through the cinema, through good performances by the actors, period details and such beautiful, wistful music. The music and the way the film changes time frames, different perspectives, and the Impressionist, sensory images in memory that Proust created in the book are captured with great effect.

For those who have read the long book, and for those who are Proustian, this film is a sumptuous cinematic feast. You don't have to appreciate French literature and film interpretation, you can just love costume dramas. The French are a different breed. They love their champagne, their waltzes and always, Paris. The frivolous lifestyle depicted in Odette's courtesan climate is but one element of French society, at least as it was in the late 19th century. Swann, as we know, is the author himself. Proust put himself in Swann, and became the restless, troubled youth searching for himself but unable to find peace of mind in a corrupt world of money and societal conventions, a world who looks innocent and glossy but hides a dark secret of prostitution and frail morals.

The cast is superb. The music is delightful. What a great idea they had to cast a now older Catherine Deneuve as the courtesan whom Swann loves devotedly, Odette. This DVD is a great experienc e and I recommend this film to fans of French classics. One note: the film takes place in the latter portions of Proust's epic novel, and some of the characters and side stories were cut off due to time. Like Gone With The Wind for America, Remembrance Of Things Past is an epic masterpiece of French literature. Only there they call it "Au Recharche du Temps perdu" which literally means, in Proustian symbolism, "In Search Of Lost Time".

Great Film, Not So Great DVD
I have been a fan of Proust's novel for a long time, and I eagerly awaited this movie, having read articles about its making and, later, reviews of it. Yet I managed to miss it during the, oh, three days it played in the theater here. So I ordered the DVD the minute it became available, and I had two reactions: 1) For the Proust devotee, this is an amazing, beautiful film, probably the best that ever could be done in capturing the complexity and haunting quality of the novels. But 2) The DVD is a real disappointment: the subtitles obscure the image itself (instead of appearing below it), and they're white, set against what often is a dazzlingly white background. And of course you can't turn them off. So you can't get rid of the damn things, and you can't read them either. The image itself (the parts you can see) is pristine and gorgeous, and the sound is superb. And the movie itself--well, it's a masterpiece. Will you be able to follow it if you haven't read the books? I think so--parts will seem enigmatic, but then that's not such a bad thing. The overall story and point will, I think, be quite clear, and quite moving.

Incidentally, I agree with the reviewer who said Malkovich is miscast. I love his work in general, but he seems out of place here, and it's all too clear that he had to re-loop much of his French dialogue. Still, the role he plays, and the way the director defined that role, are so interesting that you can overlook his performance somewhat.

Proust, Captured on Film
Suffice it to say that Chilean-born director/screenwriter Ruiz tackled a monumental assignment. Reducing Proust's lengthy Trilogy (Remembrance of Things Past), to a few hours of screen time would have been beyond the capabilities of most filmmakers. That he has succeeded so well is a great credit to him and to his creative crew.

The film is told in a series of flashbacks as Proust lies on his deathbed. The flashbacks are not sequential, so at points one has to pay attention to follow along. The rewards are numerous, however. This is one of the most beautifully filmed works that I've seen in ages. The director is particularly adept at pan-shots. The moving tableaux are breathtaking, like living impressionist paintings. This is particularly true in a scene of a music recital at a country chateau. The various figures are situated on moving platforms, so in addition to the moving camera pans, the platforms also slide slowly back and forth, which makes for a kaleidescopic montage unlike anything I've seen in cinema. Ruiz and cinematographer Jorge Arriagada are artists in the truest sense.

Ruiz also managed to collect a top notch cast for the enterprise. Marcello Mazzarella is elegantly stoic as Proust. He is the artistic, calm eye of the storm as the hurricane of WWI France swirls aound him. Emmanuelle Béart, is stunningly beautiful, as always. Catherine Deneuve is a perfectly cast Mme De Crecy, though her on screen time is relatively brief. John Malkovich's French sounds pretty fair to my untrained ear. He definitely has the juiciest role as a jaded, decadent Baron of the Boulevard. Pascal Greggory chews up some scenery, as well as a boefsteak, as the gung ho, effete warrior, St-Loup (well named, as the guy really is quite loopy).

The movie is slow going at times, which well befits an adaptation of Proust, who's not exactly known for his frenetic pacing. This is a film to savor with several repeated viewings. The DVD is an excellent transfer and the English subtitles are accurate and legible. Highly recommended.

BEK

Breathtakingly beautiful
Well, I had only ever heard of Proust before this film from a Monty Python sketch of the "Summarise Proust competition" (contestants had to summarise In Search of Lost Time once in evening wear and once in bathing suit). I was worried I might hate this film, not knowing anything about Proust other than he wrote a multi-volumed masterwork about time and memory. Then I saw it...wow! I cannot praise Mr Ruiz enough for what he has achieved. The camera work, sets, and lighting are stunning. As Marcel's memory takes him back and forth through his life, the sets and furniture often move around whilst the scene is played out - all emphasising the fragility and hallucinatory qualities of his memory. And there is the music...wow again. It is never intrusive but always creates the perfect background to what is happening on screen. It is not overly sentimental and never tries to force you into feeling emotion (unlike someone like John Williams/S. Spielberg who tries to ram it down your throat). As for plot, many characters and relationships are never fully explained or revealed. Many reviewers seem offended that a film expects them to display attention and interest, but I feel that they're missing the point. Plot is often not the point of the film, instead it is a film about time and memory (hence the title!). Plot is not allowed to dominate the narrative structure, it is the emotions and memory of Marcel. The most offensive thing that some other reviewers seem to find about this film is that it is novel and original - what a crime!! I had never read Proust (and I do not speak French to any degree - I feel I should mention this for the reviewer below who complains that those who can't speak French will have problems) before I saw this film, but I have a long enough attention span and an open enough mind to appreciate the sheer beauty of its images and the wonderful originality of its style. I urge anyone remotely appreciative of excellent filmmaking to see this film. It might even, as it has with me, motivate you to read the book. I am now three and a third volumes in and it is the greatest and most beautifully written novel I have ever read in my life. Thank you Mr Ruiz and thank you Marcel! SEE THIS FILM NOW!!! ... Read more

Description

Called by Ken Russell "the greatest science-fiction film since Metropolis," controversial director Paul Verhoeven's RoboCop is a special effects-laden cult phenomenon. The film features a resurrected and roboticized hero (Peter Weller) in a new, supercharged cyborg body, struggling to reclaim his memory and avenge his own death. Writtern by Edward Neumeier and Michael Miner, this film is a grown-up superhero fantasy come to vivid, bloody life. ... Read more

Reviews (191)

The Strong Arm of the Law
The future of law enforcement is now available in the thrilling Sci-Fi actioner "Robocop". In the near future, police officer Alex Murphy (Peter Weller) is brutally gunned down by ruthless criminals but a powerful corporation rebuilds him as an indestructible high-tech cyborg with the mission to bring justice in violent streets of Detroit. Tormented by nightmarish images of his former life, Robocop seeks revenge on the criminals that took his life. "Robocop" is still director Paul Verhoeven's (Total Recall) best work to date. This film is a fiercely entertaining action-packed joyride. It contains a sharp storyline, high-voltage actions and some surprising bits of wicked satire. The cast also includes Nancy Allen, Ronny Cox, Kurtwood Smith and Miguel Ferrer. The 1987 hit actioner is presented in its theatrical 1.85:1 widescreen format. The DVD contains a good video transfer and well-balanced 5.1 Dolby Digital sound. Its only supplement is its original theatrical trailer. Though fans are more interested in the Criterion Edition, this simple edition is a worthy bargain purchase and gets a "B-".

Not a bad movie, but one scene makes me sick
Dutch director Paul Varhoven takes us on a ride filled with the demise and downfall of our own society in his first American action adventure film, ROBOCOP. It is worth while to mention that ROBOCOP was shot in a time period where Detroit was known as the murder capital of the world. Since than, Detroit has cleaned up its act, and New York has lifted that title from the motor city's back. But in Varhoven's vision, Detroit is a spiraling downward paradox, filled with drugs, violence, and prostitution. The picture is dark and monochromatic, with a grim look upon our future. Its actually a bit depressing to tell you the truth. ROBOCOP is a satire, cracking jokes at modern day aspects of life such as the automotive industry, television commercials, and corporate development (the OCP portion of the film.) The movie has a solid script and a convincing cast, probably most entertaining are the OCP corporate hot shots, but no one steals the show like ED-209. Peter Weller does well with the material he is given to work with, even if he is a little on the monotone side. Kurtwood Smith is all too believable as the dark and sinister villain, Clarence Bodiker. The villains in this film are the most convincing, although its not that hard to make someone seem evil. Basil Poledoris's music score is commanding, even if a little overemphasized with synthesizer, but I guess that's how the 80's were. It really adds a whole other dimension to the film, and multi-academy award winner Phil Tippit's stop motion effects are amazing. I have mixed feelings about this film. Like I may have mentioned above, ROBOCOP is very convincing when it comes to its antagonists, almost too convincing. Along with the Robocop package comes one of the most brutal scenes in Hollywood History. Not since the ambush sequence in BONNY AND CLYDE has there been a more shocking murder in a motion picture. I'm speaking of the scene in which Murphy is, to say the least, shot to death. I felt this over-emphasis was anything but crucial to the plot, as there was no need for it, since we had already been given a display of the cruelty of the characters (can you fly Bobby...CAN YOU FLY! ) We didn't have to see Murphy take a shot between the legs, fall to his knees in agony, and lie there helplessly as his limbs are blown off one at a time. This isn't art, its savage. VARHOVEN, YOU SHOULD BE ASHAMED OF YOURSELF! Now I'm aware of the criterion edition, which features even more of this nonsense, in crucifixion style! I mean come on! That's just sick if you ask me. One thing off-setting about this scene is that it takes place in a very confined setting, creating a claustrophobic illusion. We can sympathize for Murphy, especially us males when it comes to the first shot he takes. Some things just shouldn't pass through the lens of a camera, period. As for the rest of the film, three cheers, but this scene was totally unnecessary. The blade thru Kurtwood Smith's neck ain't pretty either, but at least he deserved it. The viewing of this scene leaves one feeling sick to there stomach, thanks Dad, for fast forwarding when I was a little kid.

A classic action movie that makes Kill Bill a comedy
The 1987 classic Robocop is one of my all time favorite movies next to Scarface(1983), First Blood(1982), Goodfellas(1990), Braveheart(1995), The Exorcist(1973), Animal House(1978) and The Bugs Bunny/Road Runner Movie(1979). When I first saw this movie in 1988 when I was 12, I was in for a time of my life. As for the first Robocop(forget the sequels), Old Detroit has become a violent wonderland of criminal activity. New officer Alex Murphy (Peter Weller) and Anne Lewis (Nancy Allen) are partners in a police force under siege from OCP, a company that wants to turn Old Detroit into a Metropolis kind of place. Whilst pursuing particularly bloodthirsty and disgusting badguys, led by the reprehensible Clarence Boddicker (Kurtwood Smith), whom had some of the funniest lines ever uttered by a villain in film, Murphy is captured, tortured, shot full of holes and killed. This scene is rather disturbing to watch for those who don't like violence. After his death, Murphy becomes ROBOCOP. Murphy now has a mechanical body and becomes a walking weapon of mass destruction! He in initially goes out to clean up the streets and uphold the law. However, the scientists forgot that he was human and Robocop subsequently has a flashback to the night that his human form was killed and is later haunted by memories of his wife and son. The nightmare sequence sets up one of the best revenge films I've ever seen next to the first First Blood. ROBOCOP then finds out the sinister secrets of OCP's #2 man (Ronny Cox) after assaulting Clarence and must do battle with the ED-209, an earlier robotic crimefighter design with heavy-duty guns and missiles. The rest of the film is great too. I can't give more away, you have to watch. Highly recommended!

Rent the first movie now!!
Absolutely incredible! I liked peter weller as Robocop,mainly because his voice was a little quiet,wich I admire. I just love watching Robocop cream all the gang members and I never get bored of it,and the toxic waste guy.a perfect idea for the movie! I was home alone just flipping around the channels and I found the word robocop on the screen.I went ahead and checked it out,I had heard people say how violent it was and im only 13(so I was prepared..) I dropped in when the cops are first chaseing after the gang,and when they got to the gangs hide out where murphys hand like explodes from a little pistol,AS IF.Although it was still wheerdly entertaining,still I was suprised at how good it the movie was.one of the best of the 80's,rent the movie you will like it,I sware.

A good but violent film.
This review is for the Criterion Collection DVD release of the film.

The plot is original for the time also.

After being killed, a police officer is brought back to life as a robot with superhuman strength.

This film is an interesting look at human memory and emotions as well as the idea on law enforcement of the future. The film is the unrated director's cut and includes violent scenes which were cut to avoid an MPAA X-rating. Though compared to the violence in today's films, it is not that graphic.

It is also an interesting look at large corporations and their potential to become corrupt, a bit ahead of its time but now apparent with the many reports in the news nowadays.

The death of officer Murphy and his 'rebirth' as a robot have been compared to the crucifixion and ressurrection of Jesus, by director Paul Verhoeven. He stated that he wanted the death scene to be as graphic as possible so the audience would have sympathy for him and not just think of him as a robot after his 'rebirth'
The scene where he discovers his old home, abandned by his widow and children is also touching and really is well written.

The DVD has excellent audio commentary by the director other crew. It also has storyboard/film comparisons. it has the teaser and theatcical trailers and an interactive essay that was origianlly in a film magazine.

This DVd remains out of print and is worth the $50 dollars it currently sells at for those who are fan of the movie. ... Read more

Description

While on vacation with her family, fourteen year old Lili vows to lose her virginity. She attracts the attention of a good looking, middle-aged playboy and with the skill of an adult and the naivete of a child, she seduces him.Her involvement with this older man and a chance encounter with a musician further her journey toward sexual awakening. ... Read more

Reviews (8)

"I want to matter."
The film "36 Fillette" (which refers to a size of French female clothing) from director Catherine Breillat is bound to outrage some viewers with its controversial content. It's the story of a 14 year-old French girl named Lili (Delphine Zentout) who is on holiday with her hideous family. Thrown together in a small space with the theory that they are there to have a good time, they are soon at each other's throats. Lili, who doesn't even try to hide the contempt she has for her parents, persuades her brother to take her to a disco. The siblings depart with the idea that the older brother is in charge, but once away from her parents, Lili makes it clear that no-one is going to restrain her in any way. Lili's hitchhiking leads them to meet a middle-aged, jaded playboy named Maurice (Etienne Chicot). Lili's provocative behaviour is aimed at getting Maurice's attention, and she certainly manages to do just that. And so an odd relationship between Lili and Maurice begins.

Lili practices her new-found feminine wiles on several men in the film. She very quickly gets the hang of it, though, and she progresses rapidly from the pathetically and frankly obvious and becomes slyly manipulative. On one level, she is just a child, and pouts and throws tantrums when things don't go as she intended. But on the other hand, she is also at core an extremely hardened person. Maurice, naturally, as the morally reprehensible older man, pulls the strings, but sympathy is out-of-place for Lili's character, for she's unpleasant and as tough-as-nails. It is easy to immediately dismiss this film. One has the distinct impression that Lili is just gearing up with Maurice, honing her skills, and getting ready for the next one. It is easy to shake one's head, and tut tut about Maurice corrupting Lili with the disappointing and simultaneously pathetic introduction to sex, but if it's possible to put judgement aside, there is a great character study here. Is Maurice using Lili? Is Lili using Maurice, or are they using each other? The acting is excellent, and the family scenes are particularly delicious. The DVD quality was not the best, however. Many scenes were a bit murky. If you enjoyed the films "Lolita," "Beau Pere" and "The Disenchanted," there is an excellent chance that you'll enjoy this film.--displacedhuman.

Curiously unsatisfying, but not bad...
I first saw this film in an arthouse cinema when it was released, and I remember feeling that the film seemed a bit unsatisfying. I was rather hoping that Lili would actually make love to her much-older beau, but they seemed to be limited to hand jobs and oral sex (the first time she finally appears nude, late in the film, this is all they do; she hides under the bedsheets while he disappears with some other woman, and she is left, naked and crying, in the bed).

Yet this is a decent film, and not the unbridled kiddie porn that so many reviewers here might have had it be (although I'm really thinking of "The Lover," I believe Delphine Zentout had to be at least 18 at the time the film was shot). What I find fascinating about these films is the fact that I know women whose sexual development is much like those of the female leads in these films. Lili even reminds me, now, of my fiancee in both physical and sexual aspect and, to some degree, psychological aspect. She (Lili) is a troubled girl with a deep and rarely satisfied desire to break free of her family, and her sexual pursuits provide her what little relief she can find, even on holiday.

Definitely worth a look.

Good film, terrible transfer
Fox Lorber seems determined to make viewing their DVD transfers hard work. Their murky, dim DVDs are particularly frustrating, since many of their titles are truly wonderful foreign films. This picture, 36 FILLETTE, is touted as a "French LOLITA," but in many ways, is more reminiscent of [movie title] The young heroine has a grating perverse streak (only blind-and-deaf lust can explain why her older suitor doesn't bind and gag her mid-tirade), but she's nonetheless touching and real; all her anger and venom seem mere cover for a palpable sense of longing. Director Briellat, as usual, rushes into areas of female sexuality where angels fear to tread, here with moving results. The heroine's sly smile in the film's final frame's earned, and you're glad for her. Persevere through this lousy transfer; the picture's worth it.

Fox Lorber strikes (out) again!
As a fan of Catherine Breillat I had to have this DVD added to my collection. My rating is based solely on the merit of the film, not the DVD. It's obvious from the framing that the original material was in 1.66:1 aspect ratio and even the trailer was correctly framed. Why Fox Lorber decided to cut the sides off by framing it in 4:3 really baffles me because there would have been minimal black bars top and bottom if they had stayed with the original aspect ratio.

And I wish Amazon would research their offerings more closely because even they claim that this DVD is in widescreen letterbox format. Thank goodness they didn't advertise this as anamorphic!

Awful DVD
The film may be worth seeing, but this DVD is of the LOWEST imaginable quality and I strongly recommend you avoid buying it. It is clearly copied from a VHS tape: the subtitles are blurry and cannot be removed from the screen, and the video quality is even worse than a good VHS tape in that the image is excessively grainy and has scratches and dust throughout. Finally, and even more troubling, it is a FULLSCREEN transfer, not a widescreen transfer. I notice that IMDb claims the DVD is 1.66 aspect ratio, but my DVD (purchased Jan 2002) is definitely not. ... Read more

Amazon.com

If you've never seen an aviation movie before in your entire life, you'll be blissfully ignorant of the fact that Memphis Belle shamelessly (and yet gloriously) incorporates just about every cliché in the flight-movie handbook. If you're a big fan of aviation movies--especially movies about World War II bomber crews--you'll be glad that the genre's clichés have been handled with such professional flair. As it follows the crew of a B-17 bomber on its final and most dangerous mission over Germany, Memphis Belle may be little more than a slick and highly authentic presentation of familiar thrills and characters, but it's a rousing piece of entertainment. Featuring an ensemble cast of fresh faces who've since enjoyed thriving careers (including Billy Zane, Sean Astin, Eric Stoltz, D.B. Sweeney, and Harry Connick Jr.), the movie exists as a fitting tribute to the men who fought and often died in the air over hostile territory. It's the Hollywood version of a 1944 wartime documentary made by legendary director William Wyler (whose daughter served as one of this film's producers), and as such it's a bit contrived and melodramatic. And yet, this exciting movie is almost certain to grab and hold your attention, offering an honorable reminder of the bravery and integrity that were crucial ingredients of any bomber's crew. --Jeff Shannon ... Read more

Reviews (66)

Twelve O'Clock Medium...
If you can penetrate (like a B-17 cutting through cloud cover) all the character cliches and a certain old-fashioned hokey aura, you'll find a harrowing depiction of daylight bombing, circa 1943. What you won't find is an accurate account of the real Memphis Belle's 25th mission, or anyone resembling the actual men who flew her that day.

Matthew Modine captains this fictionalized crew, with support from resentful co-pilot Tate Donovan, dishonest bombadier Billy Zane, panicked navigator D.B. Sweeney and wiseacre belly gunner Sean Astin. Tailgunner Harry Connick, Jr. gets to display his vocals and piano skills in a musical number, dedicated to waistgunner Eric Stoltz, that stalls the film in the early going.

While the real Memphis Belle experienced a somewhat less dramatic run to a different target, this film's mission is to depict the aerial terrors of that year in Europe, when American airmen suffered more losses than any other branch of our armed forces. Direct hit! Massive B-17 formations thunder across the sky, flak rips planes apart, and in one chilling moment, an enemy fighter slices one bomber in half, and our heroes hear the panicked screams of its doomed crew over the radio.

The battle scenes are horrific, and the character scenes are just horrible. It's not that the acting is of poor quality; it isn't. It's that each crewmember faces some sort of hackneyed personal crisis and comes through in true cliched fashion, which somewhat cheapens what the real crew experienced. It's literally one thing after another, a bombing run as group therapy. The film relies exclusively on stock Hollywood types, rather than human beings. Plus, Sweeney's fearful character does a disservice to the real Belle's navigator. Modine comes off best, with his youthful appearance and dedication, as he admonishes his crew not to shout their targets over the intercom. John Lithgow has the thankless task of portraying the coldblooded PR officer who's more concerned with publicity tours than the men's welfare, or their mission's stategic/tactical importance.

Despite its failings as a "true" story, this is a film worth watching. Not until "Saving Private Ryan" would a film surpass "Belle's" depiction of nerve-wracking combat.