Reviews (259)

Who Ever THought of This Film was an Insane Genius
Whomever came up with the concept for this film needs very serious mental evaluation; A love story about a guy with scissors for hands? But perhaps we will put that aside for now becasue the movie is simply stupendous. Edward ScissorHands is one of my all time favorite movies, I assume this goes for many others as well, becasue i have never found someone who didnt like this movie. It appeals to the strange geek inside us all who just wants to be accepted for what he is. For an overview of the movie read the summary amazon has provided, i will talk only about the dvd. THe extras are quite neat with commentary tracks, production art, and best of all some old Burton shorts. Vincent is a great clayamtion thing about a kid trying to be vincent price, it reminded me of beetlejuice, visually. Frankenweenie is kinda dumb and boring, but its about a kid who brings his dog back to life. THe image clarity is fantastic, as is the sound on this disc. It has some really cool animated menus too. So go buy it. You might wanna see it first though becasue it is pretty strange. Bottom line is if you like Burton films, you will love this one. (I still have a little trouble seeing that kid from the breakfast club as a bad guy, but whatta gonna do?)

fantastic DVD, even better movie
Edward Scissorhands is quite simply the best fairy tale never told. This is Tim Burton in his eccentric prime, and his presence is palpable in every arena of this beautiful and personal film. The inventive art direction is perhaps the most memorable aspect of that presence, most notably in the pastel palette that covers everything from the ingenius solid-color costumes to the quaint neighborhood/town our characters inhabit.

The genius of this movie is more far-reaching than that. Everything fits seamlessly together--from Danny Elfman's quirky score to Stefan Czapsky's meticulous camera work to an entire cast full of nuanced performances... the list goes on and on. While this film's acting gem is Diane Weist in the role of the sweet and overly altruistic mother, Johnny Depp plays the titular role in a beautifully understated performance. Similarly, Winona Ryder wonderfully (and blondly) embodies young beauty and Alan Arkin turns in a comedic yet touching performance as the sometimes-overbearing father. The ensemble cast is flawless, complementing the quirky but ultimately realistic tone.

Perhaps the best aspect of this movie is that it achieves its goals with amazing subtlety--the overt themes of "being different", family, and (let's not forget) love are constantly driven into cliché these days, but Edward Scissorhands accomplishes it all with a snip, not a stab.

This 10th Anniversary Edition DVD is everything this movie deserves--insightful commentaries from Tim Burton AND Danny Elfman and an interesting featurette, along with the concept art, trailers, TV Spots, and scene selection we've all come to expect. (The Interactive 3-D Menus are priceless!)

This is just one of those positively timeless, life-affirming movies that belongs in everyone's collection.

A true work of art!
This has certainly got to be one of Burton's most imaginative creations. I can't remember a movie be that puzzlling, and yet so interesting and fun. Only Jonny Depp could prouduce such a voice, and performance. And that hair! Well, that was just the final icing on the cake. Let's face it. It's not easy to act the part of a lonly anodroid,and especially one that looked on with curiosity one moment and hated the next. Horror king, Vincint Price does a good job too as Edward's maker. Who is despreat for companionship. I laughed, I cried, then I laughed some more. All in all, this is not that bad of a movie.

A Beautiful Movie
I first saw this movie not so long ago and I fell in love with it. It is a beautiful story with very sad moments as well as exciting ones. Burton and Depp make a great team. This is one of the most moving movies I have ever seen. It tells the story of Edward (Depp), a person created by an inventor (Vincent Price)who passed on just before he had a chance to amputate Edward's scissorhands. Edward lived alone in a castle until sweet-hearted Avon lady Peg Boggs(Dianne Wiest)comes and takes him to her home to live with her family. A must see for Tim Burton fans and anyone who enjoys a magical time watching a movie. I have recently bought this DVD and I love it. I give Edward Scissorhands two big thumbs way up and 100 stars. I hope my review has helped you.

masterpiece
i just realised that "Edward Scissorhands" is one of my favourite films. it has so much power. Tim Burton's storytelling, it is magnificent. his imagination is so great. the way he portrays his characters is so unique. every character is very distinct. like characters in his other works: Jack Skellingon, Ichbod Crane, Edward Bloom, Betelgeuse. now let's talk about the acting. johnny depp was magnificent. you could sense his emotion, even though he barely talks, as he portrays a lost, innocent, confused child. his make-up is excellent too. yes, he does look like a freak. but he looks good. and Winona Ryder. she's such a good actress. and can you say "pretty?" and oh! the set design and cinematography. the use of colour to expose the contrast between the two worlds. the pastel versus the dark castle. and the town! oh my. it is a dreamland. did you know that it is an actual neighborhood in Florida? one more thing. Danny Elfman's score is superb! ... Read more

Amazon.com

The chameleon-like actor Kevin Spacey is best known for playing pyschopaths (in Seven and The Usual Suspects) and capturing a creepy mid-life crisis in American Beauty--but surprisingly, playing crooner Bobby Darin, Spacey does some snappy dancing and top-notch singing. Beyond the Sea puts Darin's life through a bit of a kaleidoscope: While singing Darin's most memorable hit, "Mack the Knife," Darin suddenly stops the show, revealing that he's not at a nightclub, but in the middle of a shooting a scene about his life as a nightclub performer. Why has he stopped? Because he's just seen himself as a young boy, peering from behind a curtain. Such self-conscious narrative twists recur throughout the movie, turning Darin's fight for fame and respect into a love story between his adult and childhood selves. Sandra Dee (Kate Bosworth, Win a Date with Tad Hamilton!), a hugely popular movie star in her own right, was supposedly the love of Darin's life, but she never holds his attention as does his childhood self (played by newcomer William Ullrich). It's a striking metaphor for the narcissism that drives such success-hungry entertainers. But despite (or perhaps because of) the complexity of the telling, the events never grip your emotions; though Darin's life featured hits galore and a few soap opera twists, his story lacks the seductive charm of his nighclub show. Also featuring Bob Hoskins, John Goodman, Brenda Blethyn, and Greta Scacchi. --Bret Fetzer ... Read more

Reviews (44)

Un-interesting
From what I remember of him, Bobby Darrin was a colorless character, trying to be more than his talent would allow.This is pretty much how this movie comes across.

Kevin Spacey appears to capture him well, as a vain and ultimately a lonely young man who, in the end, faded away from relevance.But this does not make for a good movie.The movie seemed to be very selective in what it presented, and created no sympathy for the man or for those around him.I was glad when it was over and I can not recommend it as worthwhile viewing.There are much better movies out there based on the life of a musician, and with more interesting characters, such as De-Lovely or Ray, and this one just does not belong in that category.

Great music and performances
I saw this movie in theatres and ever since I've thought about it quite often.Certainly will pick up this DVD - definitely a gem that was missed by many.If you are a Darin or Spacey fan for sure pick this up.If you like music-bios or enjoy the nostalgia of the 50's and 60's, this brings it all together.

A dozen years in the making
I came to this film as a Kevin Spacey fan. I was around when Darin was singing, but my interests were elsewhere. Now, I've seen a couple of his films and a DVD, and hopefully, Kevin has revived some interest in his music. For those critics, who complained Spacey was too old for the part; he was just the right age when he first tried to get backing for the film. Finally, he had to produce and direct it himself. He was born to play the part; no one else could have sang like Darin. Kevin was excellent in the role, and, directed the film with imagination and courage. He was given the cold shoulder from the Hollywood Academy Awards, and many critics used the words"vanity piece" to put the, suddenly unpopular, actor in his place. To be fair, there were some critics, Ebert and Roeper, among them, who lauded the film. Thank you Kevin, for trying the unusual and making it work for many of us. Christine Souter

Bobby Would've Been Pleased
The movie is a musical done in the style of Bobby Darin's era.As a lifelong fan of Bobby Darin, I was hoping for a straight bio with music ala "Ray" as Bobby had a fascinating life. It's always risky to make something that isn't necessary commercial but true art.It's a movie about a cool and classy guy made by a cool and classy guy.It's also nice to do without the usual lip synching.Kevin sings and sings so incredibly well that some of his vocals outshine Bobby's.For that alone, rent the DVD when it's released.For that matter, purchase the soundtrack.You won't be disappointed...it's incredible.

See for Kevin Spacey's Bravura Singing and Dancing
This is no box-office hit, and ignored by Oscar, but 'Beyond the Sea' has lots of good things in it, even if you don't know anything about Bobby Darin.Kevin Spacey made it publicly known that to make Bobby Darin's bio-pic had been his dream, and the film proves that he really meant it.Though the film could be better with different approach, 'Beyond the Sea' is still impressive for its songs, dances, and acting.

Though many remember him as the singer of pop songs like 'Splish Splash' 'Dream Lover' or various jazz numbers including 'Mack the Knife,' Bobby Darin did much more than that.Born in 1936, Bobby Darin was Oscar nominated for his supporting role in 'Captain Newman, MD' in 1963; he sang a Tim Hardin folk rock song; and he hosted a TV show in the 70s.Kevin Spacy as director and star follows the life of Bobby Darin from his childhood in Bronx to his early death.

What is most memorable and amazing is the musical parts inserted here and there in the story.Kevin Spacey is usually associated with the part of A) creepy guy or B) weird guy, but here he shows his side of great entertainer.Not only he sings Bobby Darin songs himself, but shows amaaing dancing.In fact, the film looks as if it stops to show his skills, and though some may say it's his vanity, his talent is still undeniable.

The supprts include Kate Bosworth as Sandra Dee, John Goodman, Bob Hoskins, Brenda Blethyn and Greta Scacchi.Quite frankly, none of them are as effective as Kevin Sapcey, perhaps with an exception of Brenda Blethyn who disappears too soon from the film.I really like Kate Bosworth (and I liked her in 'Blue Crush'), but there's hardly any chemistry between Spacey and her that makes us believe Bobby and Sandra are married.Real Sandra Dee was younger than Bobby Darin by six years while Kate Bosworth, gifted as she is, is younger than Kevin Spacey by 24 years.That's too much descrepancy.

But my real complaint is not this: as some of you know, Bobby Darin knew he was not going to live long (see the film), and was determined to be a professional singer no matter what people say.This is a great story, and Kevin Spacey must have known it.However. Kevin somehow decided on using 'frames' or unorthdox storytelling (used also in 'De-Lovely') in which Kevin's Bobby sees his life, guided by a child actor playing Bobby Darin's childhood.Why not use more orthodox way of telling a story when there is a good story at hand?

At one scene (I don't say where), Kevin Spacey indirectly gives his answer to some of the media people who continues to say he is too old to play the role of Bobby Darin.At another scene (in fact, it's opening), Kevin's Bobby Darin stops singing in the middle of 'Mack the Knife' and shows us that it's part of shooting the bio-pic of Bobby Darin.Take away these self-conscious moments, which clearly lessen the impact of the story, and 'Beyond the Sea' would be much better.

Still, the songs and dances are all great, full of energy and expert skills of first-rate artists.I don't know you and your reaction, but I like this film as the showcase of Kevin Spacey's talent. ... Read more

Reviews (27)

Great Movie
In the movie Tuesdays With Morrie, Mitch (Hank Azaria) is a successful sportswriter who suddenly learns that one of his old professors, Morrie (Jack Lemmon) is ill. Mitch visits Morrie and the two form an emotional bond, allowing Mitch to see what is really important in life. Tuesdays With Morrie is categorized as a drama but it does contain some funny parts and some sports. Some things that Morrie said made me laugh. They show Mitch at sporting events and press conferences. Mitch ends up flying 700 miles to Boston from Detroit every Tuesday to visit his dying professor. Mitch feels bad the first time he goes to visit Morrie because he had not talked to Morrie for 16 years after he said that he would keep in touch at his graduation at Brandeis University. At the end of the movie, Morrie finally got Mitch to open up and cry. He also got Mitch to talk about what he was afraid of in life. He taught Mitch a lot about living and about dying. Tuesdays With Morrie is an easy flowing movie and it is very simple to understand. It is a movie for people of all ages. The actors, especially Jack Lemmon, do an exceptional job playing their roles in the movie. The book and the movie are almost identical. There are not really any major differences between the book and the movie. One of the differences is that in the book Janine is Mitch's wife and in the movie Janine is Mitch's girlfriend. I think that Tuesdays With Morrie was a very good movie. It made me think of what is important in life, including friends and family. This movie changed my outlook on life. It made me realize what is most important in life and how I need to treat people, especially my elders. I think the theme of this movie was to get people to treat people better, with dignity and respect. I think that anybody that watches this movie will leave happier and with a better understanding about life and how to treat others.

Genuine.
A genuinely touching movie is a rare thing. Attempting to pull at our heart-strings often results in a lot of sap and drama, without much substance.

However, Tuesdays with Morrie is heartfelt, somber, funny, and sad.

The movie details a relationship (The film is adapted from a best selling nonfiction book) between a sports columnist, and his beloved professor which he learns is dying of Lou Gehrigs disease. What follows is a look at the short, poingant relationship they shared. You see, Morrie was a man of the world. He often showed a keen insight into the nature of man. He did much to teach his former student about life, often quoting W.H. Auden's poem "September 1st, 1939"

The movie, as the book, is filled with philisophical, as well as practical insights. Deeply moving, even while not being cinematically brilliant.

Excellent movie ---really worth your time and tears!!!!
This movie has touched my heart and enriched my mind so much! (I cried the entire 2 hours.) Yes, we already know a lot of the things that it tries to convey, but this movie has encouraged me to act now and address many of my own personal issues---family, career, friendships, health, etc. and what's really important in life. Jack Lemmon is so good here, and made me think about the importance of caring for my own sick parents. I love him in this movie and God bless his soul for his contribution to humanity--good acting!!!. --of course, kudos to the author Mitch Albom for sharing Morries' wisdom . I will make sure that my daughter gets to watch this movie and read the book and so as all my siblings and dear friends. The book and the DVD are great 40th b-day gifts that I will also make sure I get.=:) AAAAAAA++++++++++++++

The Best Farewell
Wasn't this Jack Lemmon's last film before his death?? Anyway, I found it deeply stirring and enjoyable to watch. The first time I saw it I vowed that anyone whose life I care about should have this... I truly loved it. If this was Jack's last, what a gift to be able to make this movie while making his own transition... Wow!

Some get it & some don't
I've read the book & watched the movie. I've read the reviews on this movie as well. Most get it & a few wasted their precious time watching it, then wasted my time with their childish & foolish comments. They probably loved Lost In Translation .. now that was a major yawn for me!

Jack Lemmon was at his best in my opinion.

Unless you've confronted death up close & personal and who hasn't by now or truly have a sensitive side, this movie will likley only distract you. Probably because you're too busy not being in the NOW! Slow down, watch it again, without phones or kids or talking .. just take it in and if it still doesn't touch you in some way then you're probably already dead! ... Read more

Reviews (47)

Undisputedly, Allen's most brilliant and mature movie.
What can I say about this movie, except that I have seen it more times than I can count. Each time I watch it, something more is revealed and to me that is the sign of truly excellent writing. The characters are three-dimensional, each with their own idiosyncracies and contradictions. The separate plots compliment each other and stay distinct till the very end, yet they both deal with fundamental human issues and dilemmas. The cast is first-rate. Much of the movie is seen through Allen's character; as always, a cynical and unhappy man, yet you leave the film feeling a certain satisfaction and a greater insight into human behavior. The philosopher is a second narrator, in a sense, and his points of view are pertinent to both of the parallel plots. His suicide adds a twist to the story, where the viewer is suddenly left unsure on how to feel about his poignant words which we once trusted and valued. Overall, the movie is a gem and should be seen by every serious Woody Allen fan as well as those who can't stand him.

The eyes of God are on us always
Two stories run parallel to each other, destined to meet in the denouement. Judah Rosenthal (Martin Landau), a successful opthamologist, contemplates murdering his hysterical mistress (Angelica Huston). On the flipside, Clifford Stern (Woody Allen) falls for Halley Reed (Mia Farrow), the woman producing a documentary he’s directing on his loathsome brother-in-law, a successful television producer (Alan Alda). One narrative carries its inherent weight well. Landau’s torment after the deed is done is palpable and painful. The other narrative seems flighty by comparison. Titular bad guy Alda shields himself from the daggers shot from Woody’s rolling eyes. However, his only real sin is lechery.

That being said, the two most heartbreaking moments in the film -- moments that rival in visceral emotion anything I’ve seen at the movies in some time -- come from the “flighty” narrative. I wish I could tell you what they were, but that would spoil the surprise. Just know that they are probably the most dramatic moments Woody Allen has ever put on film, as either director or -- and here’s the surprising part -- dramatic actor. His work is low-key and subdued here, more so than I’ve ever seen it before.

The rest of the cast is spotty at best. Landau, who I rarely believe in his roles, comes close to completely pulling off his Judah, only he misses by a few steps. One scene, where Judah exhibits poor judgement, had me astonished in my seat with disbelief. Still, more commitment from Landau would have sold the scene better. Mia Farrow gets some snappy one-liners as well as some tragic moments, but it feels like she’s forcing the issue in both respects. Also, she has little to no chemistry with Woody (at least none that I saw on screen). The best work is done by Alan Alda. His role could have been an over-the-top parody (it nearly is), but Alda pulls the reigns back just enough. His Lester isn’t really the bad man Cliff sees; he’s just a materialistic blowhard. Nothing criminal about that. Kudos to Alda for showing restraint, while sketching a living and breathing character.

There are some truly funny moments that serve as comic relief to break up the tense drama. Woody gets most of these, natch. One memorable scene involves Cliff and Lester, in which Lester pauses from a conversation about Cliff filming his documentary. He recites into a mini-taperecorder ideas about a TV farce in which a “loser” films a documentary on a successful man, and learns something in the process. Cliff, standing right there the whole time, rolls his eyes in disbelief. On paper, it may not come across how hearty a laugh this moment gets.

The most fascinating aspect of the film was probably the discussions of morality and ethics. God enters the picture once or twice (in discussion only), and man’s deeds are raked over the coals. And even though it doesn’t provide the typical Hollywood movie answers, the answers the film does provide are realistic and true and, most importantly, tragic. While the situations portrayed may be fantastic, the reactions by the characters within them were real.

Probably the darkest of Woody’s movies, “Crimes and Misdemeanors” will most assuredly be amongst the ones remembered a hundred years in the future. It balances its comedy, drama, and tragedy sublimely, creating a document of life that’s sure to provoke and entertain.

Crime but no time
I think what Allen meant to call this film was "Felonies and Misdemeanors" since a misdemeanor is a crime and the title a little redundant. That aside I think it's his best film, hands down. He managed to pull together his comic and tragic instincts into what is an entertaining and occasionally harrowing declaration of atheism. Not a philosophy everyone agrees with but he doesn't soft-pedal it. The staging of the murder that parallels Allen's romantic misadventures with a TV producer gives Martin Landau the role of a lifetime as a well-meaning physician who profits from an evil act. Great performances all around, especially Jerry Ohrbach as Landau's hoody brother and Allan Alda as a TV impressario who divests Woody of Mia Farrow (something the director probably wishes had happened in real life).

God Is Not An Idiot
Examining theodicy, the enigma of reconciling a benevolent God with capricious fate and suffering, Woody Allen fails to get much beyond a dark comic-dramatization of a freshman philosophy bull session, attempting to prove heroic enlightenment by forming agnostic conclusions.

Martin Landau plays an ophthalmologist having an affair with a frantic, aging stewardess threatening to disrupt his affluent contentment by confronting his wife. Not deriving solace from a kindly Rabbi patient and friend who is facing blindness and recommends honesty, Landau solicits help from his criminal brother to solve the problem with a hired killer. His bouts of conscience include reminiscing moral debates at a family Seder during his adolescence. His father, favoring a morally sensible existence, argues with a nihilistic aunt who trivializes the bible, believes God's non-existence is proven by The Holocaust, and views morality as a social contrivance.

Allen plays an uncompromising documentarian falling in love with an assistant (Farrow), also pursued by his boorish brother-in-law (Alda) who produces sitcoms and relishes being perceived as a creative genius. Alda's deep thoughts include the idea that with enough passage of time, tragedy becomes laughable, believing the Lincoln assassination to be an example. Alda throws his in-law a bone by allowing him to film him at work when Allen would rather work on a portrayal of a humanistic philosopher pondering serious questions. Unlike Landau's cynical aunt, the philosopher believes an empty universe is given meaning when human beings define values for themselves.

Allen's likable character turns the documentary of Alda into a satire of the man's vanity, and we gain sympathy for his protectiveness towards a favorite niece. Shielding her proves futile as Allen learns of the philosopher's suicide while on an outing with her. At a wedding reception, Allen discovers he has lost his battle for Farrow's affections to the egotist and then engages in a chance colloquy with Landau, wistful over the fading of his conscience. Allen's sadness invites us to share a resignation over the capriciousness of fate, the success of obnoxious people, the joyless end of an unmourned mistress, the unrequited love of a sensitive man, a sweet woman taken in by a cad, the blindness of a benevolent Rabbi, the despair of a man of apparent wisdom, and the return to comfort by a philanderer and murderer all serving to portray God as incompetent because life is unpredictable and joy and suffering are not proportionate to decency or malice. The answers of religion must be contrivances.

However, it requires contrivances to view God as a fool. Extreme skepticism often ignores contrary evidence to its cosmic-accident interpretation of existence. If we are just "a pack of neurons" and our mental life nothing but electrical impulses, then we cannot explain the realm of abstract concepts, including those of science. Nor can we explain the human mind's openness to truth, the foundation of all thought. Atheists cannot explain why anything should go right, even observation and deduction, why good logic should not be as misleading as bad logic, if they are both chance movements in the brain of a bewildered ape. Atheists exalt reason, but they cannot account for reason. Neither can materialism account for consciousness, free will, value judgments, and the existence of a unitary self. In a material world such things cannot exist. Matter cannot be free or have a self. Neither could free will exist if joy and suffering existed in perfect proportion with virtue and malice reducing our functionality to stimulus-response reward-punishment contingencies like that of lab rats pursuing a piece of cheese. Love and courage could not exist.

Similarly, no matter how we claim to be nonjudgmental and deny innate moral truth, we can not ignore the countering evidence of our own anger, which reminds us that there are natural expectations we have, should have, and can not avoid having of each other. Anger is the existential expression of moral outrage even when we exercise moral outrage at the very concept of moral outrage, reflexively calling anyone presenting a moral vision a hypocrite. In our sober moments, we know the life of the desperate woman is as sacred as the successful doctor. Nonetheless, we often live with the temptation to defer to "important people," hoping the identification of an imaginary human genius will confer a sense of superiority on ourselves by our presumed courage in recognizing theirs. We are quick to excuse the transgressions of genius. Morality can not be enough for great minds if they represent insights that anyone can have. Allen is a brilliant satirist of human pretense, often portraying trendy sophisticates as fools, but just as often sides with their elitist conventions that view metaphysical and moral questions as hopelessly complex needing great minds to sort it out for the rest of us. The last advice from Allen's philosopher is to hope for some genius of the future to give us life's meaning, although in the interim loving our families provides meaningful hope.

But since a benevolent creator implies the universal nature of important truth, the fading of conscience does not really occur so easily, and an ethical sense is innate to human decency. The killing of a man of noble purpose is still a tragedy 140 years later. So is the killing of a lonely mistress. A God with the wisdom to be subtle also invites us to find meaning in loving our families, which is precisely what we don't do when we exercise a blind faith in our self-definition. Self-worship is closer to the definition of evil. It may be that we prefer to ignore evidence that God is not idiotic because it helps us to avoid realizing that we often are. Why impeach our failures of decency if God is in no position to judge us negatively if we don't? Fortunately, as our better, God is merciful in judging our mendacity, our failures, and our acts of desperation. There is a vast body of literature examining theodicy, unfortunately most written by humble people whom intellectuals never notice.

Powerfully intelligent film
This is not a typical Woody Allen film in that it has an overall seriously philosophical quality. The performance of Martin Landau as a successful opthamolgist who is morally conflicted is one of the most moving and grounded Film performances I have ever seen. He is just magnificent in this movie. Allen deftly weaves Landau's story together with another thread featuring Allen as a documentary film maker who is unhappily married. His brother-in - law is an obnoxious televison producer played to great effect by Alan Alda. This film raises questions of morality , faithfulness and does so in a way that leaves the viewer to think through these issues as the characters go trough their respective moral crises. There are some laughs included but for the most part this is serious filmmaking at it's best. ... Read more

Amazon.com

Critics tripped all over their big feet to praise Big Night, and in doing so performed a grave disservice to this fine little film. They fooled audiences into believing it was a "super movie" instead of a home movie buoyed by friends and family. Consequently, many viewers were disappointed. Big Night is an intimate look at the immigrant struggle to attain the American Dream, set in New Jersey in the 1950s. Its disproportionate success gave co-directors Stanley Tucci and Campbell Scott, who also star in the picture, the green light to follow up with a smug, unsuccessful second venture called The Imposters. Tucci wrote Big Night with his cousin Joseph Tropiano, and they based the story on the experience of growing up in a large, proud Italian family. The brothers in Big Night--chef Primo (Tony Shalhoub) and businessman Secondo (Tucci)--have come to New Jersey to open a bistro named The Paradise that serves the finest in traditional, authentic Italian cuisine. Their every move is foiled by rival restaurant Pascal's, which serves mile-high servings of spaghetti and meatballs and flasks of bad Chianti at exorbitant prices.Primo is disgusted by the fact that Americans want cheap pasta instead of risotto, so Secondo hatches a plan to boost business: rumor has it bandleader Louis Prima is travelling through and will dine at The Paradise that very night.Secondo gambles to bring the finest dinner ever cooked--at the risk of losing his shirt and being reduced to exile to the old country with his tail between his legs. Big Night is a film that will easily invite comparisons to other "food" fare like Babette's Feast and Eat Drink Man Woman but, though Tucci insists his story is "about the struggle between art and commerce and the risk of staying true to yourself," the media refused to let it stay a small, comparative work. The movie, and the buzz around it, became a parable for the essence of the film itself: art vs. commerce. --Paula Nechak ... Read more

Reviews (62)

People should-a come just-a for the food...
Primo (Tony Shaloub) is a traditionalist, a perfectionist, an artist; he is a chef without compromise. His younger brother, Secondo (Stanley Tucci), will compromise, bend, wheel and deal; he is a desperate businessman who cares about food, but is realistic. Unfortunately, their little restaurant is way, way ahead of its time. When their 1950s customers go out for Italian food, they want red-checked tablecloths and lotsa spaghetti and meatballs, not risotto and delicate wine. How can their restaurant stay in business? It can't, but they try to save it with an all-out feast for a famous Italian jazzman. If you're the least bit hungry when you watch this film, you've got trouble, because food has never looked this good. It's a quiet, slow movie, but you get to know Primo and Secondo completely, and you find yourself wishing their restaurant was in your neighborhood so you could go there and give them all your money.

What a delight - but eat before you watch it
Eat before you watch this movie; otherwise, you'll end up painfully hungry and go stuff yourself with every bit of Italian food you can lay your hands on.

This is a simple story of two brothers struggling to fulfill their dreams - one to be a "success" in America; the other to be a great Italian chef.

Realizing the dreams of the first brother hinges on the success of one important meal depends on the skill of the second - and forces outside their control.

Tucci, Shaloub, Holm and company all give wonderful performances. There's no showing off by the many successful actors who are in this movie - they all just do a great job.

The climax of the movie is the banquet scene, and it's going to make you hungry and want to get up and dance.

The final scene which lasts for several minutes with the only dialog being one line - "are you hungry" - wraps up the movie nicely, and shows what a good director and actors can do when both understand the power of subtlety.

This is one fun movie - lots of laughs, amazing food, and a great soundtrack.

Wonderful "Little Film" -- So-So DVD
Stanley Tucci, as actor, co-writer, and co-director (with Campbell Scott, who also plays a pitch-perfect small part as a car salesman), deserves a great deal of the credit for this small, intimate, delightful film. But the film resonates because it got so many of the little touches right, from the ensemble cast to the soundtrack to the editing to the cinematography. So there is a lot of credit to go around.

Tucci plays Secondo, the aptly named younger of two Italian brothers who have emigrated to New Jersey from the Old Country. Secondo is the entrepreneur, the guy who wants the big Cadillac. Primo (Tony Shahloub), the older brother, is the magician of a chef. Primo is so good, in fact, that his culinary masterpieces go over the heads of the good folks of New Jersey. When contemplating a wonderful seafood risotto, a diner complains that she can't see the seafood, and that her desired side of spaghetti doesn't come with meatballs (inspiring the wonderful line, "Sometimes spaghetti wants to be alone").

Primo bemoans the fact that he is serving food to Philistines, but the sad fact is that most of the Philistines are eating across the street at Pascal's restaurant. Pascal, played with great zest by Ian Holm, knows that you have to give the customer what he wants -- even if it is culinary sacrilege. The contrasts between the restaurants, from the colors to the lighting to the clientele, could not be more staggering!

Secondo laments to Pascal of his financial woes, but refuses Pascal's (repeated) offer to come work for him. Pascal, being a big-hearted guy, tells Secondo to pull of a "big night," with no holds barred. Pascal will invite his good friend, Louis Prima, who will come, eat, and love Secondo's restaurant. Then, the people will come.

So the story builds to the big night (a side plot regarding Secondo's tortured love life notwithstanding), which is where the movie really takes off.

Organizing the banquet scene into courses, "Big Night" revels in the wonders that can only be brought about by great cooking. The cast has a difficult task -- how do you emote rapture without going over the top? The ensemble cast, which includes Isabella Rosselini, Minnie Driver, and Allison Janney, nails this task just right. The cooking scenes are also hectic and impressive without going over the top, too.

Following the big night, many truths are revealed, perhaps because it is impossible to deceive after having such a wondrous experience. If this film doesn't move you, or inspire you to get thee hence to an Italian restaurant, you have no heart!

But again, the heart of the movie is its dedication to the small touches. From Primo using his cup to tamp down his espresso grounds to the making of a simple omelet, this movie gets it all just right.

The DVD does not have much to offer as far as extras go. What it does have is one heck of little film.

A bland meal
I've seen BIG NIGHT described as "one of the great food movies". Let me clarify something here. The adjective "great" modifies "food", but not "movies".

Primo (Tony Shalhoub) and Secondo (Stanley Tucci) are Italian immigrant brothers who've opened the Paradise restaurant in an unidentified surfside town on the Eastern seaboard sometime in the 1950s. The elder Primo is a superlative chef, and both he and Secondo know it. But, Primo cooks to his desires and not the customers'. So, two years into the venture, the brothers are almost broke, the bank is about to repossess, and Secondo, the one with the business sense, is driven to despairing distraction.

Down the street is the competing Italian restaurant owned by Pascal (Ian Holm). While he admires Primo's talent, Pascal gives his patrons what they want, so his eatery is enormously successful. To help the boys out, Pascal arranges to have his friend, the Italian-American singer Louis Prima, come to the Paradise with his band for dinner. Secondo spends virtually the last of their savings preparing for the BIG NIGHT with the expectation that the event and its attendant publicity will yank them back from the brink of insolvency. In the meantime, he avoids emotional commitment to his girlfriend Phyllis (Minnie Driver) while having an affair with Gabriella (Isabella Rossellini), Pascal's mistress. After all, what are pals for?

The best bits of this film are the too infrequent cooking sequences. But the best ends there. BIG NIGHT doesn't know whether to be a drama or comedy, and succeeds at neither. The dialogue is flat and uninspired throughout, and the plot goes nowhere of interest. My wife, perhaps a dollop more impressed than I was, called the film a "character study". But no persona in this otherwise dull movie is engaging, and, indeed, I found Pascal's ebullient crassness positively annoying. About the only other good thing I can say about BIG NIGHT is that it uses as props some well-preserved, large tail-finned, period Cadillacs that will perhaps stimulate vintage car buffs.

Better films to rent that revolve around food preparation are MOSTLY MARTHA (2001) and EAT DRINK MAN WOMAN (1994). These, at least, portray characters to care about.

The American cinema needs more BIG NIGHTS!
The film "Big Night" is not a small little picture that was over-hyped by critics. The only person who would be disappointed in this film would be some 15-year old kid that was looking for some kind of "2 Fast 2 Furious" crap. Over all the Amazon editorial staff does a fine job of presenting the plot or scope of a film, book, or CD. In the case of "Big Night" I am left to wonder if the reviewer watched the film or just read the back of the DVD case. Her opinions are fine but in the review itself she wrongly guides the reader as to both the plot and the outcome of the movie- Two things that should never be done. ... Read more

Amazon.com

Another of those cut-and-paste comedies from Adam Sandler's production company starring one of Sandler's erstwhile Saturday Night Live colleagues, The Adventures of Joe Dirt finds the magnificently caustic David Spade emasculated by a sentimental script and shapeless, haphazard cutting. Spade plays the title character, a white-trash orphan in search of the parents who abandoned him at the Grand Canyon. The humor is supposed to come from Joe's misadventures, his redneck gullibility, and his encounters with such figures as a serial killer, a wacked-out janitor (Christopher Walken), and a lovable gal (Jamie Pressly) who may, unfortunately, turn out to be his sister. But the squishier requirements of the story, requiring the audience to feel deeply for the pain of Spade's caricature, are an irritant and force Spade to veer from the nastier stuff he does so well. With Kid Rock, Dennis Miller. --Tom Keogh ... Read more

Reviews (96)

IT MADE ME LAUGH
Movies like JOE DIRT can't be evaluated for script or quality values. It's a raucous, sometimes unfunny, but always entertaining movie that has enough laughs to keep you with it. David Spade mugs through the role with his usual agressive, though somewhat contained, bluster. The movie's cast consists of such stalwarts as Joe Don Baker, Rosanna Arquette, Brian Thompson (in his brief unveiling as Buffalo Bob), Adam Beach, Kathleen Freeman, Fred Ward, Dennis Miller and so on. The meteor joke is priceless and Kid Rock's attempt at acting as Robbie is also a good joke.
All in all, this isn't a classic comedy but it made me laugh.

This hairbrained comedy will throw you out of your seat!
This sophomoric comedy presents all which it should - immaturely styled jokes, crude sense of humor. Performances are outstanding! David Spade isn't his clever and witty self in this one. Anticipate familiar styles from crew such as Christopher Walken and Brittany Daniel. If you enjoy the Adam Sandler films, don't let yourself miss this one! Those who enjoy the sophisticated, and thinking types of humor - expect to find yourself deeply dissatisfied or enjoying something entirely different.

the forrest gump of smut ridden comedies
this movie has a lot of crude humor.by ctude i mean whole parts centered around a dogs private parts and raw sewage on a persons body.yep,pretty nasty.no need for this i say.well,joe is searching for his parents and ends up on a talk show.he goes through his entire wild story starting with being abandoned at the grand canyon as a child and goes on up to the present day.that one loser from a talk show on hbo is the talk show host.he sucks!kid rock plays a redneck who messes with joe all the time.the material here is not suitable for the underage types.it is a good movie all in all and can be enjoyed by most.there is one sexy chick named brandy in it but.........yup ya guessed it,she keeps her shirt on.theres this other skank too.so,its good is the point if you can handle a few nasty parts.

Mophead
Okay some people like "Dumb and Dumber" and I wonder why. Well they are certainly entitled to their opinion. After laughing so hard at this movie I have to admit I see their point. Let's face it their are some goofy movies that may not have great acting or even much of a story but they are just plain funny. Any fans of movies like "A Night at the Roxbury", "The Waterboy", and "Deuce Bigolow, Male Gigolo" should find this funny. Certainly fans of Saturday Night Live should like it. I have seen men, women, kids, and even grandparents laugh at this one. Considering they made a TV series based on this type person, it must have had something people liked. At least rent it, I don't think you will be disappointed.

Horrible script; Spade had no room to act
This was one of those movies I really wanted to like; I truely did. However, we all know that David Spade's best and funniest moments are when he's allowed to use his sadistic, yet witty humor to bring people down. That's what made Tommy Boy such a success; Chris Farrley (who, by the way, NO ONE can ever replace) and David Spade were total opposites, yet they complimented each on screen very well (ex. Chris Farrley said in "Tommy Boy", "You know, a lot of people go to college for seven years!", to which Spade replies "I know; they're called doctors......oh that HAS to be you."). Come on.....that's FUNNY! This movie simply is not. It gets an extra star simply because it has a lot of heart, and most people will legitimately feel sorry for Spade (both his character and in real life). However, this movie has to contain the worst script I've ever heard in my entire life! How is Spade supposed to be funny when the directors and screenwriters have everyone walking all over him throughout the duration of the movie? BOOOOOOORING!!!! None of the people who bully Spade/Joe in the movie have anything witty to say; their jokes constist entirely of "wow, your mullet is outdated!" and "you're dirty and short!" said bluntly without any attempt to get a laugh outta the audience. This is one of those movies that you can't watch with the mindset that it's a comedy, because it simply is not. It is the only movie I've ever watched that I was unable to laugh even once. I laughed more during "The Hot Chick", for crying out loud! (of course, that's because Anna Faris was in it; we all know Rob Schneider's career should have been cut short after that disaster of a film "Deuce Bigalow"). Hopefully, Spade will be able to move on after this depressing film that could have been so much funnier if Spade was allowed to be himself. ... Read more

Reviews (81)

REPROBATE ALLEN WINS ME BACK, THIS TIME
When it was first released, I avoided seeing DECONSTRUCTING HARRY (a.k.a., Woody) because I couldn't bring myself to face yet another self-deprecating, neurotic, self-indulgent, self-centered Woody Allen on screen (who the newspapers had just confirmed is that way off screen too!). Having first laughed at and then endured Allen since the 1960s, I'd had enough. Nevertheless, to this day Allen's THE FRONT remains one of my all time favorite movies ... mainly because of its truthfulness, honesty and courage. Unintentionally, one night I saw part of DECONSTRUCTING HARRY on cable TV (and then HAD to buy it here in DVD) ... because I couldn't stop howling. I'd only seen perhaps the middle half hour of it, but that was enough. Mercifully, THIS movie was not ALL about Allen. Rather Harry Block-Woody Allen was "exploited" as a vehicle for a higher form of humor. Then there were a parade of actors who I never imagined had it in them: Richard Benjamin, Kirstie Alley, Amy Irving ... of all people ..., Mariel Hemingway ... yet! ALL were great in this comedy ... they were terrific. Equally terrific were Hazelle Goodman as Harry's motherly hooker Cookie (wonderful), Billy Crystal and Robin Williams ... who you'd expect to be funny, were indeed that.

I must admit, Allen pulled one out as writer, director and star. But not merely because of the brilliant writing and directing (oh, O.K., and the acting) but because for ONCE Harry-Woody was not the center of the neurotic universe. He was in the middle of the action .... but he tied it all together in DECONSTRUCTING HARRY. Many modern interpersonal issues, stereotypes and clichés are brought into scrutiny under this microscope. It is the very absurdity of it all, making the movie hysterically funny.

Clearly, this is a movie for mature audiences. It is definitely not a movie for children and adolescents. Probably they would find it boring and confusing. The language and situations are graphic, raw and irreligious. But in this movie these are necessary "paints" for painting this picture. Grownups will enjoy this movies thoroughly.

Allen's self-exploration vignettes
Weaving between fiction and reality, Woody Allen's Deconstructing Harry tells the tale of a writer's sexual exploits, romantic failings, and dealings with depression. Allen's character Harry transfers his life's problems into his books, which causes much strife between the real-life counterparts in his world.

Once again Allen has leveraged his considerable fame to draw in Hollywood's elite. Throughout the film, every face is a familiar one. Billy Crystal is portrayed as the devil who steals Woody's romantic lead, Robin Williams as a blurry actor who can't get his focus, Kirstie Alley as a ex-wife who discovers Harry has cheated with a patient, and countless more celebrity cameos.

The joy in partaking in this film is evident in the celebrity actors who appear. There's a certain prestige in such an endeavor, and we, the film audience, can identify just about everyone in the film. At the same time, each character that appears has so much baggage in our minds. For instance, Demi Moore appears as an ex-wife. How many of us can honestly think of her in any way other that her celebrity profile. While this isn't a major problem, identifying with some of the celebrities proves difficult at times.

Deconstructing Harry catalogs Woody's struggle with sexual desire and his inability to love. Early on we discover that he has finally found true love in a pupil, Elizabeth Shue, but she has fallen in love with his friend.

The plot is shaped around Harry's self-identity questions, and the character's goal is to go to an honorary ceremony at his alum. He has nobody to take. His ex-wife won't let him take his son, his girlfriend has left him, and a hooker is the only one around that will take him up on his need for companionship.

The play between Allen's semi-autobiographical stories, which flash to and from reality, illuminate the film and shows how Allen's writing channels his depression and gives him a release from an otherwise ugly life.

After viewing Deconstructing Harry, I wonder how autobiographical it really is.

Witty, perhaps, but heartless
There is no doubting the genius of Woody Allen. The clever ideas and witty dialogue flow thick and fast here, but there is just one problem: The film is totally and utterly heartless.

Woody Allen's humour here is just downright cynical. Cruel, even. The film has a narcissistic feel to it, where everyone is mocked and ripped apart mercilessly apart from Woody's alter-ego, Harry. Though I saw this a few years ago and loved it, on rewatching it recently, I just couldn't enjoy it. His cynicism here is left untempered by optimism and faith, something that marked out his earlier work. Sorry, but this just left a bitter taste in my mouth.

One of Woody's best!
This belongs on the shelf along with the other Woody greats such as Hannah, Manhattan, Stardust Memories & Crimes and Misdemeanors. I can't imagine any objection to this movie unless you're the type that gets excited whenever you see a Tom Cruise type up on the screen. About as close to art as a movie can get and in the same league as Bergman, Wenders, Godard or any of the other greats.
Enough said.

incredible
This is by far my favorite woody allen film . most people who discredit the movie do so because of course language and/or typical woody allen roles and situations. well, if you can't take a little vulgarity, f__k off this movie's not for you. It's not potty humor, it's unfiltered dialogue fitted to the characters and the situations they find themselves in. As for the typical allen scenerios of love triangles and even squares, that's what has made him. Would you expect a woody allen film where he is not nuerotic, or tense, or in constant insecurity? Then don't expect one in which all the angles of relationships are dissected and exploited. ... Read more

Amazon.com essential video

Based on the novel by Anonymous (a.k.a. political reporter Joe Klein) and released when the Monica Lewinsky scandal was in full swing, Primary Colors may have been a case of too much, too soon for many moviegoers, who preferred the real-life Clinton crisis over the movie's thinly disguised "Clintonesque" comedy. The general public felt that the film was exploiting the president's indiscretions, and as a result one of the most critically acclaimed movies of 1998 was a box-office disappointment. But when considered apart from the Clinton scandals and judged on its own considerable merits, this superb comedy-drama provides an illuminating, insightful, and frequently hilarious look at the harsh realities of presidential politics. John Travolta stars as Jack Stanton, a presidential hopeful whose campaign is challenged by dual dilemmas: how to squelch a scandal involving the candidate's alleged sex with an underage girl, and how to handle information that could potentially ruin Stanton's opponent (superbly played by Larry Hagman). Stanton's wife (Emma Thompson) stands by her man despite awareness of his infidelities, but his loyal campaign planners (played by Billy Bob Thornton, Maura Tierney, and promising newcomer Adrian Lester) experience a crisis of conscience. So does one of the Stantons' oldest friends (Kathy Bates, in an Oscar-nominated role), whose sense of betrayal and lost idealism proves too much to bear. Masterfully adapted by director Mike Nichols and his former-comedy-partner-turned-screenwriter, Elaine May, Primary Colors plays like a sophisticated comedy with loads of memorable scenes and dialogue, but it sneaks up on you with devastating dramatic impact. Anchored by Travolta's superb performance (which is reminiscent of Clinton without being a cheap impersonation), the movie presents a story of great moral complexity and leaves viewers to contemplate their own reactions to the volatile and ethically complicated game of modern politics. --Jeff Shannon ... Read more

Reviews (62)

Be Not Deceived- This is a GREAT Film
Forget Bush and Gore! The more interesting race for the presidency took place in "Primary Colors," an all-around outstanding movie which sank into obscurity, unfortunately, thanks to the Lewinsky scandal. Yes, it's loosely based on the Clintons, but if you put that aside and just focus on the movie in its own right, it's not as hard of a pill to swallow.

To start, seasoned vets Nichols and May provide sharp direction and writing, respectively. Even though this movie is about politics (which, as all of us now know, can get pretty gruesome), they make it interesting and intriguing by going behind the scenes, showing the feelings and emotions of the people involved in a presidential campaign, feelings and emotions that don't come through in press conferences and interviews.

The vision of Nichols and May is turned into fine art by a superb cast. Travolta is surprisingly charismatic, and Emma Thompson deserves much more praise than she has received as his patient but driven wife. Billy Bob Thornton gives a hilarious supporting performance, and Larry Hagman also does a great job as Travolta's opponent who's unwillingly thrust into the spotlight (Rob Reiner also has a humerous cameo as the host of ... call-in radio show in Florida).

But the two stars that outshine the rest are Adrian Lester and Kathy Bates. Lester is absolute dynamite as the campaign manager who yearns for "the real thing," a candidate who actually practices what he preaches. His performance is dramatic and heartfelt. As great as his performance is, Bates is the unsung hero of the movie, and without question, deserved to win Best Supporting Actress (she was robbed by Judi Dench and her 5-minutes-of-fame in "Shakespeare in Love"). She is outrageously funny at times and humble and vulnerable at others, but always comes through with an endearing sincerity.

So, if you want to see an all-around great movie or, more specifically, if you've become disillusioned by the political process and the (so-called) leaders it has produced, there has never been a better time to watch "Primary Colors."

BITTERSWEET ENTERTAINMENT
The machinations of a presidential campaign in "Primary Colors" is presented through the eyes of Henry Burton (British actor Adrian Lester). Henry is a privileged young African American feldgling politician whose grandfather was a civil rights legend. While trying to find out who the candidate is, Henry is virtually kidnapped by the presidential campaign of an obscure Southern governor, Jack Stanton (played flawlessly by John Travolta). Stanton's politically savy, smart lawyer wife Susan (amazingly played by Emma Thompson) is often the brains of the campaign. The parody on Bill and Hillary Clinton is obvious.

Of course, the idealistic Henry and aging Stanton loyalist, Libby Holden (Kathy Bates who possibly hands in the film's best supporting performance) keep hoping that Jack and Susan are as good as they seem. Inevitably, the Stantons compromise everything to win the campaign and power, leaving without much integrity as the campaign progresses.

The movie is very funny and works as a Clinton parody without being offensive. Indeed, the magical collaboration between director Mike Nichols and screenwriter Elaine May produces a very clever and entertaining political melodrama. After three viewings, I'm not tired of this movie. At the end, I gained even more respect for the talents of Travolta, Thompson, Bates, Billy Bob Thornton et al.

This is a must see film.

the story of Bill
basically the story of the evilness of Bill Clinton America's worst president/murderer/rapist/womanizer/drug user/drug dealer/basically you name something that's a crime and he did it

a very good representation of the Clinton's evilness

Is It Real or Just Fiction?
I watched this film recently while reading Bill Clinton's book, "My Life," and after watching another DVD, "The War Room," and I have to say it's hard to tell if this "story" is fiction or a factual summary of Clinton's original run for the Presidency.

Regardless of the story behind the story this movie stands on its own as an excellent political film. John Travolta is fantastic (amazingly close to the real Clinton!) as Stanton the Southern candidate running for office. He leaves behind all hints of his normal sexiness and turns himself into a slick, conniving out of shape politican beant on winning his campaign. He pulls off this role with amazing ability as an actor, tearing up when necessary and showing anger without any brutality, he held it all in his eyes.

Kathy Bates plays a crazy campaign manager who tries to keep Stanton out of the dog house one too many times. She is brilliant in this role as a tough lesiban who succumbs to the reality of politics. She rants, she raves and she delivers great ethical speeches as her character attempts to right all of Stanton's wrongs (which are amazingly similar to Clinton's!).

I believe this film will open up a new level of awareness as to what actually occurs during a presidential campaign. An interesting film with a slow growing message and quite appropriate for political followers. I just wish Stanton/Clinton would finally show his TRUE colors!

"Wow" is the only phrase that comes to mind
When I first stumbled across a very very late night airing of Primary Colors on television, I was hesitant to sit back and enjoy the show. Political films just don't float my boat, since I find the actual politics somewhat uninteresting. However, within about forty-five seconds, I was hooked on this compelling comedy-drama. The story is superb, even though it isn't anything we haven't heard or joked about before. The acting is beyond superb, with every character given a voice and a story, so that you feel that nothing that is said or done is out of place. Although the comedic moments are great, what is really surprising is how, by the end of the film, you are deeply affected by the outcome of each character's story. And although the film is about politics, it is completely non-partisan and leaves the viewer to draw his or her own conclusions.

I feel that I cannot say enough good about Primary Colors. It is a surprisingly wonderful film that I would recommend to everyone. ... Read more

Description

Christopher (Jeffrey Tambour and Grace (Jill Clayurgh) are two jaded New Yorkers who have been very successful in avoiding love...until now.Vowing to keep it strictly casual, their willpower quickly wilts after they discover how compatible they really are. ... Read more

Reviews (14)

A Must See, Must Own
I was recovering from hip surgery and popped this movie in the VCR at about 1:00 a.m. It looked like a cute drama from the cover, something I could watch and fall asleep to. I couldn't have been more wrong. Before long I was laughing so hard I popped my stitches and woke my entire family up. I mean to tell you this is the funniest movie I have ever seen in my life. So funny I had to bury my face in the pillow to keep from waking the neighbors. Gut busting hilarity....Jill Clayburg is like you've never seen her before! Jeffrey Tambor is fresh, charming, and outrageously funny portraying a slightly bent free spirited jazz musician.
There's a little piece of everyone in these two characters and will keep you in stitches for weeks to come! This movie is for anyone over 30 who has ever vowed "Never Again" to serious relationships. It's upbeat, up to date and an absolute must see, and for me....a must own! It's the funniest movie at the video store....and now at amazon.com! "Never Again" is the most under rated, under advertised, block buster comedy of all time. I just can't say enough! 5 stars in my book!

Sincerely,
Sherry Malone

Well? It's a hoot!
I can't remember the last time I picked a lesser-known title from the video store shelf and decided it's a must-buy! I'd had enough theological babble for a few days, went to rent something light and picked this up as an afterthought. I spent the next week telling all my seminary colleagues that this is a definite MUST-SEE for all who think they're gonna do pastoral work at all! How real and really funny and true! If only we really admitted to living this way, the world would be a far funnier place! Enjoy it ... again and again and again....

ONE OF THE BEST COMEDIES I HAVE SEEN!!
I remember seeing Jill Clayburgh in those wholesome romantic movies in the late 60s/early 70s. Boy, is this one different! The language would make a gang member blush! The scene when she wears the sex outfit, while answering the door, may be the funniest thing I have ever seen: I laugh my ass off!! Get this one!

vulgar but funny
Some vulgar language and sexuality and the dialogue is kind of silly at times,but I did find parts of this film funny.I enjoy Jeffery Tambor.

Funny...Sad....Honest.....
I'm very glad I found this film. But I almost didn't watch it because of the terrible song that accompanies the opening titles - a song that is totally out of synch with the style and mood of the rest of the film. And what a wonderful film it is. My wife and I have both been divorced twice and we sat nodding our heads throughout the film at its accuracy and honesty in dealing with tentative "never again" relationships. The performances by Jeffrey Tambor and Jill Clayburgh are terrific. Anyone who only knows Tambor from The Larry Sanders Show will be amazed by his subtlety and depth. The script and direction are near perfect - the dialogue is people talking like real people (albeit very witty real people). The film successfully blends great comic moments with honest emotions and human behavior. Highly recommended for anyone who has ever had a relationship break up or fall apart (that's pretty much all of us, isn't it?). The film offers hope without sugar-coated optimism. More importantly, it is also highly entertaining. I think I'll go watch it again...but with the sound off for the opening credits! ... Read more

Description

Buddy Amaral (Ben Affleck), a cocky, self-absorbed ad executive who--in desiring a tryst with the gorgeous Mimi (Natasha Henstridge), a woman he meets at the airport--gives up his plane ticket back to Los Angeles to writer Greg Janello (Tony Goldwyn). The plane crashes, and Buddy begins a downward spiral of alcoholism and self-loathing until he undergoes rehab. Once out, he decides to pay a visit to the dead man's widow. Abby Janello (Gwyneth Paltrow) is a struggling real estate agent with two young sons. She slowly befriends Buddy and falls in love with him while Buddy struggles with the guilty secret of his connection to her husband's untimely death which could destroy their relationship. ... Read more

Reviews (81)

Romance without the Cliches
In Mirimax Picture's 'Bounce,' an admittedly extraordinary circumstance becomes the catalyst for a story about ordinary people living ordinary lives and being all the more extraordinary for that. Far from being yet another 'chick-flick' romance, 'Bounce' is a movie that explores how guilt and love and friendship and kindness and dishonesty and fear can all intertwine and how average people respond to the randomness of life and chance. It is, in short, an outstanding movie that is refreshingly free of the cliches that normally burden romances of this type.

The story revolves around Buddy Amaral (Ben Affleck), a jet setting ad executive who, in order to get a one night stand with fellow passenger Mimi Praeger (Natasha Henstridge), gives his airplane ticket to Greg Janello, a TV writer and failed playwrite who is anxious to get home to his wife, Abby (Gweneth Paltro) and sons Joey and Scott, played by David Dorfmann and Alex Linz. When the plane on which Buddy was supposed to fly subsequently crashes, killing all including Greg, Buddy is overwhelmed with guilt and descends into alcoholism. After spending time in rehab, Buddy decides that he must make amends to Greg's family and arranges for Abby, now working as a struggling real estate agent, to sell Buddy's advertising agency new offices. Buddy and Abby fall in love, but he cannot bring himself to tell her the truth. At that point, Mimi has a chance meeting with Abby who discovers Buddy's secret.

Notwithstanding a somewhat contrived situation, 'Bounce' succeeds because its characters are multidimensional and very human. Buddy and Abby are attractive people because they are real people that the audience wants to get to know. Buddy is a hot shot at the start of the movie, but he is also vulnerable and lonely and desperate to be liked. Abbey is the grieving widow, but she is also an attentive mother, a suburban housewife and a working woman who has to support two young children but is not sure, even a year after her husband's death, that she can do it. What is more, both are wracked by guilt caused by a situation that they could not predict or control, but that has radically changed their lives.

Make no mistake, Abby and Buddy are not the traditional Hollywood romantic movie heroes. These are not characters who start out flawed and whose romance redeems them from their sins. Rather, both of these characters are striving to overcome their flaws. Not in the typical 'run away to find yourself' soul searching Hollywood way, but rather in the little every day ways of their growing love.

This is powerful stuff because screenwriter/director Don Roos has avoided the snappy dialogue and corny speeches that make most Hollywood romantic characters seem inauthentic. Rather, Roos makes them human and therefore sympathetic. When Abby fails to understand a joke that Buddy makes, the audience can laugh with her because they've been the ones who have missed the joke. When Buddy struggles to tell his secret, the audience can sympathize with his struggle because they have sometimes had trouble telling the truth.

As for the acting, Paltrow puts in an absolutely riveting performance. She deftly avoids the cliche of the happy widow or the tough mom. She makes Abby a totally believable character whose pain is real to the audience, but whose understated courage calls for admiration. In this movie, Paltrow masters a character that could easily have become a one dimensional caricature, but instead takes on real flesh and blood characteristics.

Typically, Ben Affleck's performance does not get quite the rave reviews that his co-star and former real life girlfriend gets. However, this is unfair. For while Paltrow avoids the pitfall of making her character into a cliche, Affleck has the harder job because his character's motivations are less straightforward. Buddy vulnerabilities are harder to define, harder to see and his guilt is more complex than Abby's. For where she feels guilty because her last words to her husband were made in hasty argument, Buddy's guilt is strictly speaking unwarranted. He did a man a favor and random chance saved Buddy's life. Yet Buddy's guilt is real, and is perhaps more rooted in the emptiness he feels in his life and in his sense that the frivolousness of his actions were repaid in tragedy for another.

Affleck conveys this brilliantly and in subtle ways. When a flight attendant spurns Buddy's advances, he looks both amused and baffled and genuinely hurt. When Abby mentions Greg's name after having just clinched the real estate deal that Buddy threw her way, Buddy looks hurt and disappointed in spite of himself. When Abby finally confronts Buddy about his secret, the pain is palpable but restrained. He tears up, his voice cracks as he says good bye and asks for forgiveness, but he does not gush or create the emotional scene that is normally requisite in a Hollywood romance. This is emotionally complex stuff and Affleck deserves credit for what is surely the best performance of his entire career.

As to the rest of the cast, their work is stupendous. Johnny Galecki as Seth, Buddy's gay assistant, is brilliant, more than compensating for the fact that his character is a sort of glorified Jimminy Cricket. Tony Goldwyn is instantly likeable as Greg, as is Natasha Henstridge as Mimi. David Dorfman and Alex Linz are also quite good as Abby's sons. One only wishes that there had been more time to develop the relationship between Buddy and the boys. Fortunately, what the audience does see is both believable and touching.

'Bounce' is emotionally compelling without bludgeoning its audience. Although there are a few plot contrivances that do not quite ring true, this is more than compensated for by characters that are real, sympathetic and engaging. At the start of the film Buddy asks, 'Am I that much of a cliche?' No he is not, and that is what makes 'Bounce' such a moving and human story.

Failed Chick Flick
There's not much to recommend this movie. There's no real chemistry between Ben Affleck and Gwyneth Paltrow, which is a shame because they're both talented actors, and they've both proven they can do romance. They just don't do it here. In fact, there's so little connection it's obvious they're just reading scripted lines. In the end, it's neither their fault, nor the writers: the lines are all right, and they're read well, but there's just no chemistry.

There are only two major failures with this movie, but they're doozies: the characters and the plot concept. The characters fail to grow on viewers despite all the standard awkward situations they're put into to create sympathy. Affleck's guilt over Paltrow's husband seems contrived, rather than genuine or understandable. He is a sterotypical villain, ready, even eager, to prey on others. Even his career is sterotypical: he an ad exec; of course he's a horrible human being. His character fails: a flat-character bad guy that almost, but not quite, becomes a likeable guy. His guilt and self-loathing seem contrived. Paltrow's character fails as well: you sometimes feel sorry for her, but never really sympathize.

The other major failure is the plot twist. The only redeeming factor is the that-could-have-been-me factor, which is given away in the trailers and not developed in the movie. If they had spent more time developing his character around that, and not forcing him to persue Paltrow's character, this movie might have been saved. Instead, they use it as a cheap plot device, and throw it away.

There's not even anything to qualify it as a decent chick-flick- there's nothing to sigh about at the end, you never say "just say yes, you twit! Can't you see he loves you?". It's a little too much like watching a very boring episode of Springer, minus any redeeming drama.

Chick Flick Hell
Prepare yourself and sharpen the razor blades if your woman brings this home to watch with you one evening. This is a romantic comedy without romance or comedy. Ben Affleck is his usual shallow character we see time and time again. Gwyneth Paltrow does her best, but doesn't have much to work with. If you've read enough reviews, you know by now Ben visits and ends up courting a widow whose husband's death he is indirectly responsible for. After about an hour of this yawnfest you'll wish you had a night out with the boys instead of cuddling on the couch. The things us men have to endure for the sake of our women is tedious and sad, but this movie is brutal torture. When she brings this home, do anything you can to get out of the house or pour water on the DVD player.

Good cast, BAD movie
I was appalled by how poor this movie was. I love both Ben Affleck and Gwyneth Paltrow and it's a shame that a movie with reasonable potential could be so bad. The characters are un-interesting and the plot is overly predictable to the point of annoying. This movie was a waste of a perfectly good 106 minutes of my evening.

Sweet & Romantic
This is a sweet and romantic movie, and I suggest it to any romantic-movie-lovers. I don't exactly suggest this movie for teen boys, they may find it too "mushy." ... Read more

Reviews (67)

Sarandon and Portman shines!!!
Susan Sarandon and Natalie Portman are two very talented actress. They are the reason that makes me buy this DVD. And their performances are superb. However, the script is a little loose.
It is about a Mom Adele who is a little bit wild and crazy, who loves so much about her daughter and thinks her planning on her will simply be the best for her. While the daughter Ann has her own preferences, which makes her always wants to escape from her mom. What makes this simple story even more flat (unfortunate) is the script does not provide any chemistry and dynamics between these 2 characters. We know their conflicts, but sometimes, we see the daughter hates her mom, and suddenly, she is be-friending with her. Even both actress tries hard to make them 2 believable characters, still the story lacks certain sparkle to make this a 'real good' movie. Fortunately, the performance of Sarandon and Portman never disappoints you throughout the whole movie.
The ending concludes the movie very well:
Ann: "Even if you can't stand her (the Mom). Even if you hate her. Even if she's ruining your life. There's something about my mother. Some romance, some power. And when she dies, the world will be flat. Too simple, too fair... Too reasonable."

Sarandon in Fine Form Per Usual!
I was a bit leery of this movie when I ordered it because, frankly, I had never heard of it, but was not disappointed when it arrived and I watched it. I love Sarandon and would probably buy anything she was in, and I guess one of these days I will be disappointed in one of her movies. But it didn't happen with this one. The relationship between the mother and daughter is right on! Have you ever known of a teenage daughter who doesn't get irritated with her mother, and yes, even sometimes embarassed by her? And Susan's character does do a lot to try her staid daughter's patience! The beautiful Natalie Portman shows so much sensitivity in this role, as well. Coming of age and coping with all the teenage problems is hard enough but add a mother who is a bit flaky, and you have a big problem! Ann copes and does a fine job of handling things, although a few of life's problems almost get her down. This is the perfect film for mothers and teenage daughters to watch together. A mother's love never fails when push comes to shove, as Ann finds out.

Unlikeable
Unmemorable except for the fact that I remember it was depressing without being introspective, very meaningful, or even likeable.

best movie ever!!!!!
i loved this movie, it is my favorite movie and always will be. The only film i've ver cried in, and never forgot about from when i first saw it in theaters when i was 8. The plot in this movie is inspiring and unforgetable. The cast (sarandan,portman) were truly amazing and once again bringing mothers and daughters close. I would have to say portmans best performance ever with the lines she was given: "even if you hate her, you can't stand her,there's something about my mother, because when she dies the world will be flat".

JUST PLAIN OL' GOOD MOVIE
I like this movie a lot. However, I just don't get the point of the Mothers character. Yeah, she's a free-spirit with quirky tendencies, but they never really get to any point with why she acts like that, or if anything exciting will happen to her. For a moment I thought she was suffering depression in the scene where she just decides to vacuum rather than join her daughter (Portman)