Amazon.com

The world can be divided into two camps: those who will watch Joshua reverently and gratefully, and those who will not touch it with a 10-foot pole. The reverent probably own Joseph F. Girzone's bestselling novel about a mysterious but friendly loner who shows up in a small American town and blesses every life he touches. Whites and blacks, Catholics, Protestants, and Jews will work side by side as newly recognized brethren; an estranged couple will resolve to save their marriage; the lonely and disconnected will embrace and be embraced by community; etc. The message--the healing power of Christ's love--is beyond reproach, the intentions of the filmmakers entirely benign, but there is not one whit of dramatic tension or narrative complication to any of it. The cast is stronger than usual in such religious projects (Tony Goldwyn, Oscar^® winner F. Murray Abraham, Giancarlo Giannini as the Pope), but no one has a prayer with a script that posits the hero's Christhood on the fact that 12 people show up for his going-away dinner. --Richard T. Jameson ... Read more

Reviews (96)

Uplifting and inspirational... a movie to treasure
All too often the lack of quality acting, writing or a budget tends to ruin filmaker's attempts to bring a quality Christian work to the screen. Left Behind is an example and if you are a fan of the series and saw the movie, then you understand what I mean. So it should come as no surprise that anyone like myself who has so enjoyed the Joshua series written by Joseph Girzone would be skeptical about the movie. But very quickly I realized that not only was this movie going to be fairly faithful to the original book, it was also going to maintain the consistant message of love and salvation that sometimes gets lost in Christian filmmaking. Tony Goldwyn whose probably been typecast since Ghost, quickly made me forget that role and pulls off an extraordinary portrayal of Joshua. Add that to a quality supporting cast and some surprises that stray a bit from the book but are nonetheless enjoyable, I would recommend this movie to anyone, whether you are a fan of the series or not.

Touches the Soul
This movie adaptation of Father Girzone's book wonderfully compells the viewer to sit back and be fascinated by a modern day Christ story.

Joshua, an artist and woodcarver, drifts into a small town and within days turns a disjointed group of citizens into a community of good neighbors. Joshua's manner is straightforward, kind, yet fun and amusing---just the kind of guy you'd want at your next get-together. He doesn't preach---he simply is---his love and selflessness runs out from him like cool fresh water to the thirsty. His actions are transforming---but alas, they also cause trouble. The pastor of the local church is frightened by Joshua's charisma and he does his worst to disassemble the band of neighbors by attempting to blacken Joshua's name.

The movie is not as complicated as the novel, the scenes where Joshua is asked to speak at the nearby Jewish Synagogue are completely eliminated as is Girzone's hopeful message of all roads--all houses of worship--leading to the same goal rather than insisting that their way is the only way. The dialogue at times can be a little too persuasive in attempting to disclose the true nature of Joshua--which the audience identifies correctly from the start anyway.

I was disappointed that more attention was not paid to Joshua's exquisite carvings----only one of the statues of Peter is manifested here.
Of note is F. Murray Abraham's portrayal of the threatened pastor and lovely sad-eyed Giancarlo Giannini as the Pope.

Recommended to all who enjoy or need a spiritual kick in the head.

What if Jesus showed up as a carpenter in a small town?
"Joshua," based on Joseph F. Girzone's novel, is not about the Second Coming of Christ. In fact I would think that it is not about a second coming either, because I get the feeling from this film that Jesus has shown up in similar ways countless times before. This time a stranger named Joshua (Tony Goldwyn) shows up in the quiet town of Auburn. He moves into a dilapidated old barn on the outside of town and when he finds a Baptist church that was destroyed in a storm, he starts working on fixing it up. This seems odd to the members of the congregation of that church, but some of them start to pitch in and help Joshua.

There are no real surprises in "Joshua," especially since the opening credits tell us that Giancarlo Giannini plays the Pope in the movie we are about to see. But the point of the story here is not to tell you anything you do not already know. The message, when Joshua actually articulates one, is the one that has been around for almost two thousand years. So the attraction here is the enticing "what if?" as to what it would be like if Jesus suddenly showed up in your neck of the woods and started doing things and talking to people. Joshua does not preach series nor does he tell parables. The important thing here is that when you talk, he listens to you.

This is not the first time that a movie has tried to portray a more "realistic" type of Jesus. There was Jeffrey Hunter in the 1961 film "King of Kings," where Jesus walked among the masses while he gave the Sermon on the Mount. In "The Passion of the Christ" the focus on the story is on the scourging and crucifixion of Jesus, but in the film's few flashbacks James Caviezel reveals a remarkably accessible figure. Tony Goldwyn has an advantage in that he does not have to wear the beard, long hair, and flowing robes of the conventional images of the Biblical Jesus. He plays Joshua as what you can only describe as being a good guy, which is more difficult to play that you would think.

Auburn is not a modern Sodom or Gomorrah. The worst you can say about the place is that the different denominations are not paying attention to each other. But then one of the points about Joshua is that he not only fixes churches and carves statues of Peter, he also fixes small things. "Joshua" is about the ministry of Jesus and the miracles have the same affect they did the first time around.

The supporting cast is solid, with F. Murray Abraham as Father Tardone, the local priest who is suspicious of the stranger in town, Kurt Fuller as Father Pat Hayes, who is captivated by that same stranger, and Stacy Edwards as Maggie, who has a different idea as to what void in her life Joshua can fill. Granted, anyone who has never been to church on Sunday is not going to be interested in this film, but "Joshua" should appeal to most Christian audiences, who will find it a pleasant reaffirmation of their beliefs.

A Gift from the lord
I have watched this movie well over 50 times, though i dont beleive in the church i do beleive in god, this movie i have recommended to others in need weather it be for emotional support or physical pain, it is uplifting, and beautiful. I truely beleive that the actors in this movie at the making were guided by the hand of God, This is a MUST SEE MOVIE....if not a must own movie, one of the nicest aspects of it was all ages can watch it, and get something out of it

A true call to everyone
The first time seeing this movie was completely by chance. My family and I rented it one evening without knowing what it was about at all. For whatever reason it stood out on that shelf, I may never know, however, the impact it has left upon me will last my lifetime. ... Read more

Amazon.com

Star Trek fans were decidedly mixed in their reactions to this, the ninth big-screen feature in Paramount's lucrative Trek franchise, but die-hard loyalists will appreciate the way this Next Generation adventure rekindles the spirit of the original Trek TV series while combining a tolerable dose of New-Agey philosophy with a light-hearted plot for the NextGen cast. This time out, Picard (Patrick Stewart) and his executive crew must transport to a Shangri-la-like planet to see why their android crewmate Data (Brent Spiner) has run amuck in a village full of peaceful Ba'ku artisans who--thanks to their planet's "metaphasic radiation"--haven't aged in 309 years.

It turns out there's a conspiracy afoot, masterminded by the devious, gruesomely aged Ru'afo (F. Murray Abraham, hamming it up under makeup resembling a cosmetic surgeon's worst nightmare), who's in cahoots with a renegade Starfleet admiral (Anthony Zerbe, in one of his final screen roles). They covet the fountain-of-youth power of the Ba'ku planet, but because their takeover plan violates Starfleet's Prime Directive of noninterference, it's up to Picard & crew to stop the scheme. Along the way, they all benefit from the metaphasic effect, which manifests itself as Worf's puberty (visible as a conspicuous case of Klingon acne), Picard's youthful romance with a Ba'ku woman (the lovely Donna Murphy), the touching though temporary return of Geordi's natural eyesight, and a moment when Troi asks Dr. Crusher if she's noticed that her "boobs are firming up."

Some fans scoffed at these humorous asides, but they're what make this Trek film as entertaining as it is slightly disappointing. Without the laughs (including Data's rousing excerpt from Gilbert & Sullivan's HMS Pinafore), this is a pretty routine entry in the franchise, with no real surprises, a number of plot holes, and the overall appearance of a big-budget TV episode. As costar and director, Jonathan Frakes proves a capable carrier of the Star Trek flame--and it's nice to see women in their forties portrayed as smart and sexy--but while this is surely an adequate Trek adventure, it doesn't quite rank with the best in the series. --Jeff Shannon ... Read more

Reviews (410)

True DTS 5.1 Surround Sound Not Listed
Dear M. IMRAN "aka imranbecks,"

The last Star Trek Movie "First Contact" was not release in DTS 5.1 on the theaters.Just like every other DVD that claims to be in DTS does not have the true DTS sound to them because they were not film with DTS sound, with a few exceptions of course.

The listing on Amazon.com only states Dolby while the last two Star Trek Movies states DTS 5.1."Star Trek Insurrection" was film in true DTS Surround Sound and I am just hoping that it is release this way.That Amazon made a mistake but they probably didn't.

Please check this out and confirm if there is a DTS version of this movie.

When it comes to the movie I put it on the top with the few other movies that avoided the Star Wars style.Star Trek is a science fiction dealing with idea and subjects to think about not to have the old one on one battle routine.I know they fought back against the robots but that is not the same as killing other people and making it look as if this is the only answer to the problem.War is sick and I am sick of war movies.Please, they have now killed Star Trek because they turn "Enterprise" TV Series into a war story one episode after another and the last so called Star Trek Movie.

Star Trek has died because the people behind it could not see the beauty behind the previous Star Treks.So, in my opinion "Insurrection" was the last Star Trek of any kind and is the reminder of the original concept of Star Trek.

2.5 stars: Sort of enjoyable, but...
It's often been said that Star Trek producers and writers have the easiest and hardest jobs in the world simultaneously.Different people tune in, pop in a disc, buy a ticket, or otherwise view Star Trek for different reasons. There's some that show up for nostalgia of the old Shatner/Nimoy series, the optimism of Gene Roddenberry's vision, maybe because they've lost some optimism over the years. Others want to be challenged with new ideas, new philosophies and viewpoints. And some, probably more than any of us would like to admit, watch to see weird aliens and ships blowing up. So, although the first group will generally be happy no matter what, it is very difficult to make a Star Trek movie to appeal to the latter two at the same time. The ones that do, though (Wrath of Khan, First Contact), are the ones that are the most memorable.

Insurrection tries to split the difference. Although the ideas of imperialism and "might makes right" are examined, they are often maddeningly relegated to the background for another action sequence. The result is a film that never gains a steady intellectual footing, but also never really develops a compelling-enough story to be more than a light show, but it is a fairly good light show.

That being said, the movie opens perfectly. Data seemingly goes crazy, exposes a "duck-blind" to study a primitive people, then engages in a dangerous outer-atmosphere tango with Captain Picard, which is an excellent scene in nearly every way. It is funny, in an absurd way, but also invigorating, and after seeing its brilliance, you figure that the movie might just live up to its predecessor. Unfortunately, it turns out to be a bright spot in a movie filled with scenes that hit the wrong chord. The subplot about Data discovering his inner-child doesn't really distinguish itself from Data's myriad attempts to understand humanity in the series (does anyone else remember his beard?). The Son'a don't make great villains-they're cold, vengeful bastards, but they don't seem to realize it, like Khan did, so they can't have fun with it. Rather than being villains you love-to-hate, a. k. a. the best kind, they're just villains you hate. Picard gives a speech so self-righteous, he starts to sound like Janeway. Okay, using a pure moral system, the removal can't be justified, but moving 600 people to improve the quality of life for billions? Come on, at least think about it. Picard's much-older love interest subplot does have some juice, but the scenes about slowing down time are preposterous, just another unnecessary element in a sea of gratuitousness. And the ultimate nadir is when Riker pilots the U.S.S. Enterprise-E, an enormous and sophisticated 24th century starship, with what appeared to be a Thrustmaster joystick, circa 1997. (Speaking of beards that should be remembered...)

Much has been said of the humor in this movie, and some of it does hit its mark, but Worf's "aggressive tendencies" line and Counselor Troi's "boob" line are groaners, and in series that have generally gotten by on tense action and drama, going for laughs is a sign that you've run out of material. Check out Superman III for proof of this.

I suppose I shouldn't be too hard on these guys-the movie is a lot better than Nemesis, if only because it isn't obsessed with gloom. Jonathan Frakes once again sits behind the director's chair, and he tries to make this hodgepodge work, but unlike before, the performances are surprisingly unnuanced. Where before he was able to expertly juggle planet-side and ship action, keeping both storylines interesting, he now struggles to keep the action engaging on either front, all the while the movie begins to feel like a cookie-cutter action project-which is NOT a good thing. This movie came out only two years after First Contact, so I think that there wasn't enough time to develop it. I hope so, anyway, because in spite of a few scenes, this one ranks just above The Motion Picture and Star Trek V on my list of quality. If you want entertainment in a Trek movie, you might enjoy this one (emphasize might). If you are looking for something more, don't bother.

Painfully Inconsequential
With the Star Trek film series at an apparent stand-still, it seems a good time to re-examine the various entries;In particular, the "odd-numbered curse".Star Trek: The Motion Picture holds up far better in its director's edition, and Star Trek III serves as a vital and emotional bridge in the original crew's saga.Then things get complicated.Shatner's The Final Frontier is an undisputed failure, but one with noble ideas and containing a number of nice character moments (i.e. Dr. McCoy's flashback), and Generations, while squandering a grand opportunity, is still fun viewing.Which brings us to Star Trek: Insurrection, which is the only one beyond any redemption. And this is because it has no ambition whatsoever.While the creative staff expressed a desire to craft a more light-hearted adventure, why do it with a story that seeks to create parallels with the forced exile of Native Americans?The action pales in comparison to First Contact, and the laugh count is non-existent compared to The Voyage Home.And both of those films managed to have a good deal of heart.Heart has been a variable factor in Star Trek films, built largely upon the strength of a particular entry's guest stars.First Contact had three knock-outs in the form of James Cromwell, Alfre Woodard, and Alice Krige.Following up that, Insurrection boasts Donna Murphy, who is less engaged in the proceedings than Carrie Fisher in Return of the Jedi, F. Murray Abraham, who makes us yearn for Last Action Hero, and Anthony Zerbe, who would fare better if he donned sunglasses and a black robe.All fine actors, all incapable of infusing energy into a script where nothing compelling exists.I read a review that called this "Star Trek: Save The Hippie Commune".Not far off.So check this out for completeness sake, and try to find some moments to enjoy (Geordi watching the sunrise).The good thing to be said here is that Insurrection inflicts no irreparable damage on the series or crew.That would come with the following entry, that would violate the sanctity of even the even-numbered Treks.

Good movie... 5 stars for the extras!!!
Ok, sure, we all know this movie isn't as good as First Contact or Nemesis, but its a good movie with a good story to tell.. Its very light hearted and not as dark and scary as Nemesis and First Contact.. Overall, a good movie! A must have collection for all Star Trek fans!

Here are the extras that will be in this 2-disc DVD set:

Disc 1

The movie, presented in widescreen and enhanced for 16:9 TVs. Audio options include: Dolby Digital 5.1, DTS 5.1, and French Dolby Surround.
Text Commentary by Michael Okuda and Denise Okuda.

Disc 2

Production
It Takes a Village
Location, Location, Location
The Art of "Insurrection"
Anatomy of a Stunt
The Story of "Insurrection"
Making "Insurrection"
Director's Notebook
The Star Trek Universe
Westmore's Aliens
Star Trek's Beautiful Alien Women

Creating the Illusion
Behind-the-scenes footage of sequences filled with action and visual effects
Shuttle Chase
The Drones
The Duck Blind

Deleted Scenes
Ru'afo's Facelift
Working Lunch
Flirting
The Kiss
Status: Precarious
Disabling the Injector
Alternate Ending

Archives
Storyboards
Photo Gallery

Advertising
Teaser Trailer
Theatrical Trailer
Original Promotional Featurette
Borg Invasion 4-D Trailer

most like Roddneberry Trek
Fans like to bash this film as well as Trek 5, Shatner's directoral opus. However, it seems to me that both this one and 5 are much MUCH more like classic Trek story telling that Roddenberry liked so much.

Sure, this is no FIRST CONTACT, but we already have one of those. this is a more thoughtful and human trek story, and one well-directed, with some of the nicest looking effects we've seen. The cast is in top form and having fun. And like the original cast in 4, when they are having fun, so does the audience.

Check this out with an open mind. And an open disregard for the rabid so-called uber fans who casually bash this movie. ... Read more

Amazon.com essential video

A note-perfect cinematic event whose immortality was assured from itsopening night, Amadeus is an unlikely candidate for the director's-cuttreatment. Like one of Mozart's operas, the multiple Oscar-winning theatricalversion seemed perfectly formed from the outset--ideal casting, costumes, sets,cinematography, lighting, screenplay, music, music, music--so the reinstatementof an extra 20 minutes simply risks adding "too many notes." Yet though thisextended cut can hardly be said to improve a picture that needed no improvement,it does at least flesh out a couple of small subplots and shed new light oncertain key scenes. Here we learn why Constanze Mozart bears such ill willtowards Salieri when she discovers him at her husband's deathbed, and we seedeeper into the reasons why Mozart has no students. The structure of the pictureis otherwise unaltered.

The director's cut of Amadeus finally accords this masterful work the DVDtreatment it deserves. The handsome anamorphic widescreen picture is accompaniedby a choice of Dolby 5.1 or Dolby stereo sound options, and it's all containedon one side of the disc. Director Milos Forman and writer Peter Shaffer providea chatty though sporadic commentary, but they're obviously still too mesmerizedby the movie to do much more than offer the odd anecdote. The second disccontains an excellent new hour-long "making of" documentary, with contributionsfrom Forman, Shaffer, Sir Neville Marriner, and all the main actors, taking inthe scriptwriting, choice of music, casting, and problems involved in filming inCommunist Czechoslovakia with half the crew and extras working for the SecretPolice. --Mark Walker ... Read more

Reviews (363)

Rock Me Amadeus
Milos Forman's Amadeus is a hugely entertaining adaptation of Peter Shaffer's play. The movie is told in flashback style from the memory of Antonio Salieri. Salieri was a successful and popular composer who was a rival of Mozart's. History has speculated on the death of Mozart and some people are of the opinion that Salieri had a hand in his death (possibly even murdered him). The film explores this angle of the legend. Salieri is consumed by his jealousy and hatred of the infantile Mozart. Mozart is a musical genius, but a wild spending and is always looking for the next good time. His operas are utterly brilliant, but are unsuccessful. He is in constant debt. Salieri concocts a plan for Mozart to compose a requiem. This work is actually planned as Mozart's own requiem. Mozart is shown as slowly going mad and at the end of the film, Salieri helps him by writing the musical score down for a very weak Mozart. The morning after Mozart and Salieri work together, Mozart is found dead and we are left speculating whether he died through natural causes or if Salieri did something to him. F. Murray Abrham is absolutely amazing as Salieri. He brings across the jealousy and hatred, but doesn't make Salieri a fiend. He has major respect for Mozart's musical talents, but doesn't understand why God would give them to such an obvious heathen. Tom Hulce is equally as good as Mozart. He plays him with a reckless abandon and in an over the top fashion that is perfectly suited for the role. The film took home the 1984 Best Picture Oscar, Mr. Forman won Best Director and Mr. Abrham beat out Mr. Hulce for Best Actor. This was a case where a tie would have been more than appropriate. The new director's cut adds 20 minutes of footage, but the real standout is the remastered sound. The Dolby 5.1 version brings alive the sounds of Mozart in brilliant detail.

Memorable cinematic achievement gets a new look
I was way too young to have seen AMADEUS in its original cinematic release (unfortunately), but it's not hard to see why it not only took home the Best Picture Oscar, but caused a rebirth of "Mozart mania". The story, although fictionalized, is an intriguing one. Salieri, the pious man who prayed to God to be given sublime musical talent, has to face the fact that God has given it to Mozart, who is exuberant, childish, and bawdy. Salieri's subsequent jealousy drives the entire movie. You can see his character becoming more and more consumed by his extremely negative feelings. The character of Mozart, on the other hand, is fun, even though the real Mozart wasn't really that over-the-top. I might add, however, that the distinguishing giggle is actually historically accurate. Listen to the commentary on the DVD and Peter Shaffer himself even mentions something to that effect. Although it was delightful to see the film in its entirety, I could see why some of the scenes were deleted. They simply weren't that strong or they distracted the viewer from the main focus. The only real complaint I had was that there weren't more extras. It does have the commentary, the original trailer, and the short featurette which consists of various people looking back at making the film, but I would have liked to have seen an actual "making of" documentary from around the time the film was being made. Overall, though, a worthy addition to any movie collection.

a mythical, fabulous portrait of genius
Peter Shaffer wrote the "Amadeus" screenplay based on his play, which is a quirky, fanciful vision of Mozart and Salieri, and how God gave Mozart the gift of musical genius despite his character flaws, but bypassed Salieri, who tried to strike a deal with the Almighty, vowing pious devotion, if He would only grant him brilliance and fame.
F. Murray Abraham is marvelous portraying Salieri's pride and envy, and having to suffer the indignity of mediocrity; the part garnered him a Best Actor Oscar and a Golden Globe, among other awards, and as Mozart, Tom Hulce is stupendous, with his high pitched raucous giggle, fluffy wigs, and energetic appeal.
Others in the cast of note are Elizabeth Berridge, excellent as Mozart's wife Constanza, and Roy Dotrice as his stern father Leopold.

The biggest star of the film however, is the music...the glorious sounds of Mozart's operas, and his magnificent Requiem. Many of my favorite scenes are depicted, from the ballet music from "The Marriage of Figaro", to "Don Giovanni a cenar teco", as well as portions of "The Marriage of Figaro", "The Magic Flute", and much more.
Some of the great voices heard are Samuel Ramey (Figaro), Richard Stilwell (Count Almaviva / Don Giovanni), June Anderson (Queen of the Night), Brian Kay (Papageno) and Gillian Fisher (Papagena), though the parts on screen are played by actors, and not those singing.

Twyla Tharp's choreography is fresh and exhilarating, Miroslav Ondricek's cinematography is exquisite, and Milos Forman's direction imaginative and well paced.
As well as Best Actor, the Academy bestowed Oscars for Best Adapted Screenplay, Best Picture, Best Director, Best Adapted Screenplay, Best Art Direction/Set Decoration, Best Costume Design, Best Makeup, Best Sound, all well deserved.
Total running time is 160 minutes.

As close to "perfect' as a movie can get
When I saw this movie in its original release in 1984, it was only due to the fact that I was dragged to the theatre. (A movie about Mozart -- BORING!!) I have never been so quick to change my mind. From the opening moments, hearing F. Murray Abraham shout out the word "MOZART" I was hooked, and my eyes never waivered from the screen. I anxiously awaited the release of this Director's Cut, due primarly to the extras that were purported to be included. The extras more than deliver on their promise.

Not only did I get the joy of watching once again one of the best movies to have ever been released -- to remember how enthralled I was by the performances of Tom Hulce, F. Murray Abraham and Elizabeth Berridge (unfortunately, most reviewers tend to exclude her contribution to this movie, but her performance as Constanza, Mozart's wife, is as powerful as the others) -- but the extras (behind the scenes, the commentaries) added to my delight.

I truly find it hard to put into words how wonderful this movie is. I have spent the last 20 years telling people "Trust me, just watch it, and you will understand what I am talking about." It is more than just a grand journey through the worlds of these two men (yes, granted, told from a "movie" point-of-view). The entire package, from the scenery, the costumes, the story and THE MUSIC, THE MUSIC, THE MUSIC!!! shows you how a movie should and can be produced. Even if you can't stand classical music, you will adore the wonder that is Mozart.

Please -- I'm begging you -- WATCH THIS MOVIE. You will NOT be disappointed!!!

Love it, warts and all
I loved "Amadeus" the first time I saw it and every time thereafter, on tape, DVD and now in this DVD package. It is a very great film, exceptionally worthy of its Oscars, and the role of a lifetime for Tom Hulse. The operatic and musical scenes in this film succeed on a scale never seen before. The finale of "Don Giovanni" is better in this movie than in the two live performances I've seen and the performance Herbert von Karajan led that was shown on PBS in 1990. The direction, acting, script and locations are all sumptuous. It apparently does not follow the play on which it is based, but artistic difference is the basis of enjoyment. Having said all this, I would caution viewers not to judge the real-life Mozart by the portrayal of Hulse in this film. The real Mozart, I have read, was a prudish workaholic that would never go out drinking with his buddies. He also played by the rules of the day and adored Salieri, respecting his role as the musical director in Vienna. Still, it's fair to set history aside in a work of art this fine. Anyone that likes great music or great movies will enjoy this. ... Read more

Description

The Name of the Rose is a gothic medieval mystery thriller set in a 14th-century Italian monastery. Franciscan monk William of Baskerville (Sean Connery) and a young novice (Christian Slater) arrive for a conference to find that several monks have been murdered in mysterious circumstances. To solve the crimes, William must rise up against the Church authority and fight the shadowy conspiracy of monastery monks using only his wit and intelligence. ... Read more

Reviews (66)

Interesting Medieval Movie
Sean Connery plays William of Baskerville, a 14th cenutry Franciscan Monk who comes to an abbey high in the Italian Alps and investigates a series of murders that surround a mysterious book.

A young Christian Slater plays his companion/student. Connery is similar to a Sherlock Holmes, using very modern methods of investigation during this dark ages period.

The Monastery is home to all sorts of creepy monks including Ron Perlman playing a hunched backed simpleton. William find himself the target of heresy charges by a vengeful cardinal portrayed by the villian F. Murray Abraham.

The movie is somewhat slow but not in a bad way. It's a dark but thought provoking movie with religious overtones. Throughout is an on-going battle between William and some of the older monks. It seems the older Monks want the book supressed because it's a comedy and comedy is thought to be the work of the devil.

I've heard that the movie doesn't hold a candle to the book, but since I've never read it I have nothing to compare it to.

The film shows Connery's richest & diverse acting talents !
From the opening scenes you are mesmerized at the story and characters throughout this movie. The setting takes place in an old Italian Monastery where several Monks have died in mysterious ways and Connery, as a fellow Monk of the Order, is called in to investigate what is behind it. I was especially enlightened to this movie when on a trip to Europe I took a Rhine River Cruise and had actually visited the German Monastery where the movie was shot. The props created for the altar scenes are still there for visitors to see. As this movie unfolds the plot thickens testing your wits as to what is really going on in this remote monestary, heightened by the intervention of the Grand Inquisitor because the movie takes place during the period of the Inquisition in Europe. The acting is superb because the casting was excellent. The movie has enough historical fact and content that the viewer will learn something about medieval history as well as being entertained. If you are a Connery fan you will enjoy this movie for its content and story line. As with any GOOD actor you know Connery will not become involved in a bad script, you will not be disappointed with this Monk that he portrays. See it, rent it, buy it for your home library, you will watch it over - and - over again !!!

A Winner in Every Way
I have seen this fine film 5 or 6 times and each time I see something new and fascinating in it. Umberto Eco's novel was a complex story to adapt to a major film, and this was done with skill and intelligence by Andrew Birkin, Gérard Brach, Howard Franklin & Alain Godard. The idea of such a tragic murder solved with only the tools of the time is nothing short of brilliant. I am wondering how much the BBC television series "Cadfael" with Derek Jacobi is based on this motion picture. Both are superb in their own way.

If you enjoy a film with mystery, brilliant performances, gothic photography and magnificent art direction, you will enjoy this masterpiece. Be warned, however... you will require an attention span. This is not a film kids will understand.

Excellent adaptation.
How do you take a long and very dense book, and turn it into a cohesive and quickly-paced film? The makers of THE NAME OF THE ROSE answered that riddle.

All around, this film has everything going for it. The performances are compelling and right on--no one acts like a 20th Century actor trying to act 14th century. The setting is gorgeous, although the squalor of the less fortunate is vividly conveyed. The intricate almost Escher-like quality of the labyrinth within the monastery is an amazing feat of set design and engineering.

Most of all, it's the script and direction that carry the day. Given how much information had to be siphoned and sifted from Umberto Eco's novel, the screenwriters and director Jean-Jacques Annaud masterfully created a taut and convincing murder mystery without getting bogged down in the details. The only time I thought it did was during the dragged out Inquisition scenes. However, these scenes did represent what was at risk for these characters. All in all, this is a marvelous film which murder mystery fans or fans of period pieces will want to have in their collections.

Rocco Dormarunno, author of THE FIVE POINTS.

Dark Rose
1986's The Name Of The Rose is a dark, deep mystery set in the unusual setting of a medieval Italian abbey and is based on Umberto Eco's bestseller. Sean Connery stars as William of Baskerville, an English monk who is sent to the secluded abbey to investigate a murder. Along with his apprentice Adson von Melk (a young Christian Slater in just his third film), they dive into the case in which more dead bodies start turning up. F. Murray Abraham (in his first film after winning the Oscar for Amadeus) plays Bernardo Gui, an icy inquisitor who gets involved in the case, but whose motives are questionable. William struggles to solve the case against the intense religious fervor of the time and the film tries to show the conflicts between religion and justice. Director Jean-Jacques Annaud captures the dark and dank feeling of medieval times and captures the period well. The cast gives strong performances, especially Mr. Abraham in yet another menacing role. ... Read more

Amazon.com essential video

This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

Amazon.com

The satirical sensibilities of writer Peter Shaffer and director Milos Forman (One Flew over the Cuckoo's Nest) were ideally matched in this Oscar-winning movie adaptation of Shaffer's hit play about the rivalry between two composers in the court of Austrian Emperor Joseph II--official royal composer Antonio Salieri (F. Murray Abraham), and the younger but superior prodigy Wolfgang Amadeus Mozart (Tom Hulce). The conceit is absolutely delicious: Salieri secretly loathes Mozart's crude and bratty personality, but is astounded by the beauty of his music. That's the heart of Salieri's torment--although he's in a unique position to recognize and cultivate both Mozart's talent and career, he's also consumed with envy and insecurity in the face of such genius. That such magnificent music should come from such a vulgar little creature strikes Salieri as one of God's cruelest jokes, and it drives him insane. Amadeus creates peculiar and delightful contrasts between the impeccably re-created details of its lavish period setting and the jarring (but humorously refreshing and unstuffy) modern tone of its dialogue and performances--all of which serve to remind us that these were people before they became enshrined in historical and artistic legend. Jeffrey Jones, best-known as Ferris Bueller's principal, is particularly wonderful as the bumbling emperor (with the voice of a modern midlevel businessman). The film's eight Oscars include statuettes for Best Director Forman, Best Actor Abraham (Hulce was also nominated), Best Screenplay, and Best Picture. --Jim Emerson ... Read more

Reviews (363)

Rock Me Amadeus
Milos Forman's Amadeus is a hugely entertaining adaptation of Peter Shaffer's play. The movie is told in flashback style from the memory of Antonio Salieri. Salieri was a successful and popular composer who was a rival of Mozart's. History has speculated on the death of Mozart and some people are of the opinion that Salieri had a hand in his death (possibly even murdered him). The film explores this angle of the legend. Salieri is consumed by his jealousy and hatred of the infantile Mozart. Mozart is a musical genius, but a wild spending and is always looking for the next good time. His operas are utterly brilliant, but are unsuccessful. He is in constant debt. Salieri concocts a plan for Mozart to compose a requiem. This work is actually planned as Mozart's own requiem. Mozart is shown as slowly going mad and at the end of the film, Salieri helps him by writing the musical score down for a very weak Mozart. The morning after Mozart and Salieri work together, Mozart is found dead and we are left speculating whether he died through natural causes or if Salieri did something to him. F. Murray Abrham is absolutely amazing as Salieri. He brings across the jealousy and hatred, but doesn't make Salieri a fiend. He has major respect for Mozart's musical talents, but doesn't understand why God would give them to such an obvious heathen. Tom Hulce is equally as good as Mozart. He plays him with a reckless abandon and in an over the top fashion that is perfectly suited for the role. The film took home the 1984 Best Picture Oscar, Mr. Forman won Best Director and Mr. Abrham beat out Mr. Hulce for Best Actor. This was a case where a tie would have been more than appropriate. The new director's cut adds 20 minutes of footage, but the real standout is the remastered sound. The Dolby 5.1 version brings alive the sounds of Mozart in brilliant detail.

Memorable cinematic achievement gets a new look
I was way too young to have seen AMADEUS in its original cinematic release (unfortunately), but it's not hard to see why it not only took home the Best Picture Oscar, but caused a rebirth of "Mozart mania". The story, although fictionalized, is an intriguing one. Salieri, the pious man who prayed to God to be given sublime musical talent, has to face the fact that God has given it to Mozart, who is exuberant, childish, and bawdy. Salieri's subsequent jealousy drives the entire movie. You can see his character becoming more and more consumed by his extremely negative feelings. The character of Mozart, on the other hand, is fun, even though the real Mozart wasn't really that over-the-top. I might add, however, that the distinguishing giggle is actually historically accurate. Listen to the commentary on the DVD and Peter Shaffer himself even mentions something to that effect. Although it was delightful to see the film in its entirety, I could see why some of the scenes were deleted. They simply weren't that strong or they distracted the viewer from the main focus. The only real complaint I had was that there weren't more extras. It does have the commentary, the original trailer, and the short featurette which consists of various people looking back at making the film, but I would have liked to have seen an actual "making of" documentary from around the time the film was being made. Overall, though, a worthy addition to any movie collection.

a mythical, fabulous portrait of genius
Peter Shaffer wrote the "Amadeus" screenplay based on his play, which is a quirky, fanciful vision of Mozart and Salieri, and how God gave Mozart the gift of musical genius despite his character flaws, but bypassed Salieri, who tried to strike a deal with the Almighty, vowing pious devotion, if He would only grant him brilliance and fame.
F. Murray Abraham is marvelous portraying Salieri's pride and envy, and having to suffer the indignity of mediocrity; the part garnered him a Best Actor Oscar and a Golden Globe, among other awards, and as Mozart, Tom Hulce is stupendous, with his high pitched raucous giggle, fluffy wigs, and energetic appeal.
Others in the cast of note are Elizabeth Berridge, excellent as Mozart's wife Constanza, and Roy Dotrice as his stern father Leopold.

The biggest star of the film however, is the music...the glorious sounds of Mozart's operas, and his magnificent Requiem. Many of my favorite scenes are depicted, from the ballet music from "The Marriage of Figaro", to "Don Giovanni a cenar teco", as well as portions of "The Marriage of Figaro", "The Magic Flute", and much more.
Some of the great voices heard are Samuel Ramey (Figaro), Richard Stilwell (Count Almaviva / Don Giovanni), June Anderson (Queen of the Night), Brian Kay (Papageno) and Gillian Fisher (Papagena), though the parts on screen are played by actors, and not those singing.

Twyla Tharp's choreography is fresh and exhilarating, Miroslav Ondricek's cinematography is exquisite, and Milos Forman's direction imaginative and well paced.
As well as Best Actor, the Academy bestowed Oscars for Best Adapted Screenplay, Best Picture, Best Director, Best Adapted Screenplay, Best Art Direction/Set Decoration, Best Costume Design, Best Makeup, Best Sound, all well deserved.
Total running time is 160 minutes.

As close to "perfect' as a movie can get
When I saw this movie in its original release in 1984, it was only due to the fact that I was dragged to the theatre. (A movie about Mozart -- BORING!!) I have never been so quick to change my mind. From the opening moments, hearing F. Murray Abraham shout out the word "MOZART" I was hooked, and my eyes never waivered from the screen. I anxiously awaited the release of this Director's Cut, due primarly to the extras that were purported to be included. The extras more than deliver on their promise.

Not only did I get the joy of watching once again one of the best movies to have ever been released -- to remember how enthralled I was by the performances of Tom Hulce, F. Murray Abraham and Elizabeth Berridge (unfortunately, most reviewers tend to exclude her contribution to this movie, but her performance as Constanza, Mozart's wife, is as powerful as the others) -- but the extras (behind the scenes, the commentaries) added to my delight.

I truly find it hard to put into words how wonderful this movie is. I have spent the last 20 years telling people "Trust me, just watch it, and you will understand what I am talking about." It is more than just a grand journey through the worlds of these two men (yes, granted, told from a "movie" point-of-view). The entire package, from the scenery, the costumes, the story and THE MUSIC, THE MUSIC, THE MUSIC!!! shows you how a movie should and can be produced. Even if you can't stand classical music, you will adore the wonder that is Mozart.

Please -- I'm begging you -- WATCH THIS MOVIE. You will NOT be disappointed!!!

Love it, warts and all
I loved "Amadeus" the first time I saw it and every time thereafter, on tape, DVD and now in this DVD package. It is a very great film, exceptionally worthy of its Oscars, and the role of a lifetime for Tom Hulse. The operatic and musical scenes in this film succeed on a scale never seen before. The finale of "Don Giovanni" is better in this movie than in the two live performances I've seen and the performance Herbert von Karajan led that was shown on PBS in 1990. The direction, acting, script and locations are all sumptuous. It apparently does not follow the play on which it is based, but artistic difference is the basis of enjoyment. Having said all this, I would caution viewers not to judge the real-life Mozart by the portrayal of Hulse in this film. The real Mozart, I have read, was a prudish workaholic that would never go out drinking with his buddies. He also played by the rules of the day and adored Salieri, respecting his role as the musical director in Vienna. Still, it's fair to set history aside in a work of art this fine. Anyone that likes great music or great movies will enjoy this. ... Read more

Amazon.com essential video

This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

Reviews (52)

Lacking some of the Henson Magic, but still a lot of fun.
This movie has some big shoes to fill. The original Muppet Movie, Muppets Take Manhattan, The Muppet Christmas Carol and the Muppet take on Treasure Island are classics in my mind. Muppets from Space ranks about fourth of the six, but these are six films at the top of the list of all time favorites. This film holds more tru to the earlier films, where our favorite fuzzy friends play themselves and the cameos fly fast and furious. Gonzo (The Whatever) decides that he is tired of being the only Muppet that is specialy challenged. A series of dreams and a sequence lifted directly from Contact help him to realize that he is actually from ?Out there?. Not only that, but his family is finally ready to come get him. From here the movie does what Muppet films do best- Vaudeville type gags and pop culture references that sometimes fly over children?s heads, but help keep parents entertained. I originally saw this film with my wife, brother, sister in law and 6 year old niece. We adults (all raised on The Muppets on TV and at the movies) laughed longer, harder and more often than the moppet. References to contemporary science fiction films and TV series abound and are among the more clever gags peppered through the movie. Be sure to keep an eye open for a reference to Brent Spiner?s appearance in ID4 once Kermit and friends get into the secret lab. It?s a riot. The ending of the film is the only place it really misfires. It can be seen from a mile off and we all knew what would happen before we even entered the theater. Bu that?s OK. We need the happy ending for the kids. The first 90 minutes were for us.

Lacking some of the Henson magic, but still a lot of fun.
This movie has some big shoes to fill. The original Muppet Movie, Muppets Take Manhattan, The Muppet Christmas Carol and the Muppet take on Treasure Island are classics in my mind. Muppets from Space ranks about fourth of the six, but these are six films at the top of the list of all time favorites. This film holds more tru to the earlier films, where our favorite fuzzy friends play themselves and the cameos fly fast and furious. Gonzo (The Whatever) decides that he is tired of being the only Muppet that is specialy challenged. A series of dreams and a sequence lifted directly from Contact help him to realize that he is actually from "Out there". Not only that, but his family is finally ready to come get him. From here the movie does what Muppet films do best- Vaudeville type gags and pop culture references that sometimes fly over children's heads, but help keep parents entertained. I originally saw this film with my wife, brother, sister in law and 6 year old niece. We adults (all raised on The Muppets on TV and at the movies) laughed longer, harder and more often than the moppet. References to contemporary science fiction films and TV series abound and are among the more clever gags peppered through the movie. Be sure to keep an eye open for a reference to Brent Spiner's appearance in ID4 once Kermit and friends get into the secret lab. It's a riot. The ending of the film is the only place it really misfires. It can be seen from a mile off and we all knew what would happen before we even entered the theater. Bu that's OK. We need the happy ending for the kids. The first 90 minutes were for us.

This hilarious film is truly out of this world
Muppets From Space (not to be confused with the original Muppet Show's Pigs in Space) is one terrific movie. The Muppets redefine themselves on the cutting edge of entertainment, put together a film of nonstop action and hilarity, pull off a rather touching ending, impart an important lesson about life to children as well as adults, and really bring their own special magic to the viewing audience. Feature films permit the Muppet universe to expand in altogether new ways. For one thing, you get to see full-body shots of Muppets doing extraordinary things (rather than having to settle for the old above the waist only shots). More significantly, in relation to this movie, there are some pretty good special effects that really make the Muppet world seem more believable than ever. All of the Muppets look great, and some relatively newer characters are nothing short of hilarious (Pepe the Prawn in particular).

Muppets From Space centers around Gonzo, the little guy with the big nose and no real history. He's tired of being a one-of-a-kind creature and yearns to know where he came from. First things first, though. The film opens with the start of a new day in the Muppet house; everyone gets up out of bed and quickly gets down with their bad selves to the funky music of "Brick House." The Muppets have definitely found the funk, and this makes for a really happening, memorable soundtrack. Just when Gonzo is really down about being alone in the world, he receives a communication from outer space (via his alphabet-shaped breakfast cereal). Soon, he is convinced that he is an alien and, what is more, he claims his alien family is on its way to earth. A certain secret agency picks up signs of the aliens and comes after Gonzo, thinking he can tell them what the aliens want and where they will land. The leader of this secret group, played by Jeffrey Tambor, is a little bit out of his mind, and Gonzo falls right into his pending trap by showing up at the local news studio to announce that the aliens are coming. The other Muppets don't really believe Gonzo's claims, but they are eager to help rescue him when he falls into the evil clutches of the Men in Black. The conclusion of the movie is a real hoot indeed, delivering a close encounter of the truly unique kind.

All of the Muppet characters are great; Kermit and Miss Piggy don't get as much screen time as usual, but that may well be a good thing. Gonzo and his roommate Rizzo the Rat (another fantastic, relatively new character) are more than capable of carrying the movie by themselves - of course, they don't have to do it alone because many of the Muppets play important parts. Pepe the Prawn absolutely steals the show, if you ask me; he may be the funniest Muppet yet created. As usual, a number of famous stars make cameo appearances in the film, including Andie MacDowell, Ray Liotta, F. Murray Abraham, Kathy Griffin, Hollywood Hogan (as his NWO self), and an always annoying David Arquette. Kids as well as adults should love this movie. Older viewers will appreciate some of the subtle nods to popular culture; for example, you will find parallels to big movies such as Close Encounters of the Third Kind, Star Trek, Men in Black, Independence Day, and The Shawshank Redemption.

This is as funny and enjoyable a Muppet movie as you will find. Don't let the kids get all of the enjoyment out of Muppets From Space, though; there are plenty of things incorporated into the plot and script to make adults smile and laugh, as well.

CLASSIC
this is such an unexpected movie. This is my kind of humor. Its definetly worth watching, especially if you are a muppets fan.

My favorite Muppets movie!!!
After being disappointed by Muppets Treasure Island (which had so much potential) we were reluctant to see this movie. What a pleasant surprise! This movie is really fun, funny, and the soundtrack rocks. This movie turmed my significant other into a muppet lover. We love the MST2K version with the muppet commentary too. Lots of neat extras. No disappointments! ... Read more

Amazon.com

It helps to have one of history's greatest scoops as your factual inspiration, but journalism thrillers just don't get any better than All the President's Men. Dustin Hoffman and Robert Redford are perfectly matched as (respectively) Washington Post reporters Carl Bernstein and Bob Woodward, whose investigation into the Watergate scandal set the stage for President Richard Nixon's eventual resignation. Their bestselling exposé was brilliantly adapted by screenwriter William Goldman, and director Alan Pakula crafted the film into one of the most intelligent and involving of the 1970s paranoid thrillers. Featuring Jason Robards in his Oscar-winning role as Washington Post editor Ben Bradlee, All the President's Men is the film against which all other journalism movies must be measured. --Jeff Shannon ... Read more

Reviews (66)

Their obsession for a good story brought down a president
This Oscar winning 1976 film is about Carl Bernstein and Bob Woodward, the two Washington Post reporters who broke the biggest story of the 1970's - that of the Watergate scandal. It originally seemed like a small story, a break-in at the Democratic headquarters, but because of these two young men doggedly going after the facts, it brought down a president.

Starring Dustin Hoffman as the chain-smoking and quirky Bernstein, and Robert Redford as the more sophisticated Woodward, there is a chemistry between them which gave them the impetus to push way beyond the limits of what the story required, and as one discovery led to another, build on the accumulated details to go even further. Both the men were good at sizing up people, and the film shows how, in one interview after another, they got each interviewee to reveal those details that could fit into the king-size puzzle that they had taken on. Martin Balsam, cast as the managing editor, wanted to give the job to more senior reporters, but as Jack Warden, the metro editor, pointed out, the two young men had a passion for the story that was very special. Jason Robards, the executive editor, was quick to question all their facts, but generally supported them all the way.

Throughout, there are lots of shots of the massiveness of the tall buildings in contrast to the smallness of the men. And, when it came to the secret informer who they called "Deep Throat", those scenes were cast in shadow. The pacing was excellent and the there was tension throughout, which kept me fascinated even though I knew the eventual outcome. This story became an obsession with the two reporters and it seemed as if nothing would stop them. Occasionally, it got a bit repetitive, but that is the nature of good reporting, which can also be called good detective work.

The film brought back the reality of the 1970s, from the hairstyles to the manual typewriters. I found myself thinking about the cell phones and computers we take for granted today, as I watched them pour through phone directories as well as thousands of library take-out slips as they followed up on every clue. The acting, of course, was excellent as well the screenplay, which focused entirely on the news story, rather than becoming maudlin with the personal lives of the men. I give this film a high recommendation. It's definitely worth seeing.

A timeless historic piece
Absolutely shameful that "Rocky" beat out this Oscar nominee as Best Picture. "All the President's Men" is the faithful big screen treatment of the same-name book by the Washington Post reporting duo that dug deeply enough into the Watergate burglary that it led to the downfall of the Nixon Administration. Robert Redford and Dustin Hoffman, each in some of their best work of their careers, portray their real-life counterparts not only as journalists but with the human frustration they undoubtedly felt while chipping away at what at first couldn't be predicted to become a major event in American history. Just what was at stake for the country is best delivered by the late Jason Robards in his role as Post editor Ben Bradlee, a performance that got Robards one of two back-to-back Best Supporting Oscars ("Julia" was the other). We even get to see Deep Throat. He's Hal Holbrook but, for reasons that still exist, we don't know who he really is and how he has obvious insider knowledge. Read the book by Woodward and Bernstein first, though, for an appreciation of the faithfulness of the movie to its subject. Not only is "All the President's Men" riveting entertainment, it's a vital historical reference. How "Rocky" beat it out for Best Picture ought to be deemed one of those Academy embarrassments.

Re-birth of a Nation
"All the President's Men" is the well-made movie about the political fiasco known as "Watergate". Watergate remains the biggest political mess in American history and it led to the resignation of president Richard "I am not a crook" Nixon.

The movie has big stars, including Dustin Hoffman and Robert Redford as the two Washington Post reporters who begin to unearth the story about the break-in at the Watergate hotel and subsequently piece together the details that implicate a long list of top politicians.

The intriguing story is helped by supporting actors Jason Robards, Jack Warden, Martin Balsam, and Hal Holbrook who plays "Deep Throat", the still-unidentified informant who guided Woodward and Bernstein along the trail of information.

The DVD includes text-based cast/crew info, casting notes, location info, a bit about "Deep Thoat", a chronology of the Watergate activity, and a list of awards which include 4 oscars.

If you don't know much about the circumstances surrounding Watergate, this is a good place to start.

A 70's Time capsule.
Nixon resigned on my older sister's 4th birthday. The actual Watergate incident took place exactly one day shy of two monthes before I was born. For my parents its something they lived through. For me, it's American History. This movie is quintessential 70's. Redford, Hackman and tricky dick. Every 70's time capsule should have a copy of this movie tucked inside a folded brown dinner jacket. Even if you don't believe a word of it, you have to admit ATPM is tremendously well made and entertaining. All the cloak and dagger sneaking around, the high-pressure newsroom meetings, the breathless interviews and the clandestine deep throat meetings are perfect Cold War/X-Files/Michael Moore conspiracy theory what-iffing. The truth is out there: Nixon not only knew, he authorized the Watergate break-in it, Reagan knew about and authorized the Iran-Contra arms sales arangement, Clinton lied and he meant to lie, aliens are alive and well among us, and George W. Bush and Co. used 9-11 as an excuse for the hostile and unwarranted takeover of a sovereign nation for it's oil. And so on. Great stuff.

THEN REDFORD MADE THE KENNEDY-STOLE-1960-ELECTION MOVIE??
"All the President's Men", based on the book by Woodward and Bernstein, was impossible to resist for Redford. Nixon! Oh boy! Again, Hollywood passed up the Kennedy-stole-the-election story. What a shock! You have to hand it to these guys, though; they have talent. "President's" was masterful, thanks in large part to Goldman, who knew how to condense the story. Redford tried to play it close to the vest, and comes close to making it come off as straight and narrow. The actual truth portrayed betrays the lack of objectivity, however, at the Washington Post. Redford is Bob Woodward, a former Navy officer and a Republican. This is revealed to Carl Bernstein (Dustin Hoffman) who gives him a furtive look upon learning this shocking truth. Jason Robards is Ben Bradlee, the Post's editor. We all know the story: The DNC is broken into by Cubans with White House phone numbers in their address books, and in investigating the burglary Woodward and Bernstein suspect a larger plot, which they uncover through dogged journalism that cannot be denied. The two writers are shown to be complete heroes. Hal Halbrooke plays "Deep Throat", the White House insider who gives Woodward the leads he needs to keep investigating. To this day his identity is unknown, and it remains entirely plausible that he was invented out of whole cloth.
The story is the story, and there is no room for liberal bias in that. To Redford's credit, he does not demonize the Republicans or sermonize. Implicit threat against the pair are made, but not expanded into anything. G. Gordon Liddy did volunteer to "off" Jack Anderson for revealing CIA assets in the U.S.S.R., but there is no evidence that Nixon's Republicans ever thought about blowing Woodward and Bernstein away. Domestic political murders, as best as I can tell, are the province of the Democrats. Even in Oliver Stone's "JFK", it is Lyndon Johnson who supposedly was in on the plan to kill the President.
The bias in "All the President's Men" is subliminal, but leave it to yours truly to see it. First, there is the acronym CREEP, which stands for Committee to Re-elect the President. There have been numerous such committees over he years, and they always go by the acronym CRP. But Woodward and Bernstein turned it into CREEP. Gotcha. There is also a scene in which Bradlee, who in real life was a drinking buddy (and God knows what else) of Kennedy's, getting the news that the story is progressing and has real legs.
"You run that baby," he tells Woodward and Bernstein, then does little jig as he leaves the office. This is telling. Redford and director Alan Pakula allowed it, probably because it let them impart their own happiness over Nixon's downfall through the character. In another scene, Robards/Bradlee tells the reporters, "There's not much riding on this. Just the First Amendment and the Constitution of the United States."
Now just hoooold on there, Ben. Was Watergate really about the Constitution? Was that august document threatened? This begs the question, Where was Bradlee and Post publisher Katherine Graham when the Constitution really was threatened by their pal JFK, who stole the 1960 election? Where were they when their pal Bobby Kennedy was wiretapping Martin Luther King? Democrat operatives had to break into homes, hotels and offices to wiretap Dr. King just as the Plumbers had to break into Dr. Fielding's office, and Larry O'Brien's. A free press is undoubtedly the cornerstone of Democracy, but it functions best when it is not populated by over-inflated egos who think they are the soul arbiter of freedom of expression.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Reviews (19)

They didnt Take Orders... They Took Over....
A movie with the hottest leading man and a great story line about the history of New York and the rest of the US. Richard Grieco, Christian Slater, Patrick Dempsey and Costas Manylor are great as the infamous gangster who went down in the history of the US.
This movie captures a true story of the rise of organized crime in America in the 1920's.
The movie follows four daring men and their rise from rags to riches story. Charming Lucy Luciano, the head strong Meyer Lansky, the ruthless, blood thrisy Busgy Siegel and the diplomatic Frank Costello, organized the all the activities in the America.

Well...it could have been better...
I saw this on cable for the other night, and was kind of frustrated by this movie. It was ok, as mob movies go, but the difference between this and a movie like "Goodfellas" is like little league vs Major League baseball.

I saw the potential for a very good or even a great movie, if it had been handled better. This movie was based off of the factual creation of American Cosa Nostra as we know and love it. The formation of the Five Families. The creation of the Commission. The rise to power of Lucky Luciano, Meyer Lansky, Bugsy Siegel. If handled right, this could have been another Godfather.

But it wasn't. Miscasting, for one. And I mostly mean Christian Slater. He could not pull off the role, struggle as he might. Christian, could you have at least tried to do a Sicilian accent? Just a hint of one? No? Ok, how about convincing emotions? A bit of character? No?

When I started watching the movie, I was prepared for pain at the portrayal of Meyer Lansky by that kid who was in all of those late 80's-early 90's screwy romantic comedies. But I was actually pleasantly surprised. The kid was actually trying, and it showed. Christian--take notes!

Anyway, I'm watching this movie, as I said, and watching a good movie try to emerge from a mediocre one, and I was struck by two magic words that could have made this a movie to remember, especially considering the source material.

Those two words? Martin Scorsese.

'nuff said? The Martin Scorsese treatment