Amazon.com

When it was first broadcast in 1975, there had never been a more lavishly produced science fiction TV series than Space: 1999, a British production whose budget for the first of its two seasons ran an astounding 3.25 million pounds. What keeps us fans enthralled after all these years has only partly to due with the first-rate production values, the plausibly constructed spaceship models, and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV sci-fi predecessors such as Star Trek, whose mood was more convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. Those circumstances: the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from Earth's orbit and travel endlessly through space, turning our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this. Of course the show is not without its detractors; it has been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticized the show for its premise in the opening episode, "Breakaway," which had nuclear explosions on the "dark side of the moon" somehow propelling it out of Earth's orbit and flying through space without regard to any physical laws. In "Earthbound" (included in this set), aliens traveling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are serious complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena that the crew members encounter on their journey through the galaxy. In addition to "Breakaway" and "Earthbound," this set includes "Matter of Life and Death," "Black Sun," "Ring Around the Moon," and "Another Time, Another Place." --Jim Gay ... Read more

Reviews (61)

Possibly the worst written Anderson series
The four Gerry/Sylvia Anderson series with which I am familiar ("Thunderbirds", "Captain Scarlet", "UFO", and "Space 1999") all have much in common. At their best, they have high-spirited adventure, good character situations, campy humor, and gee-wiz sets, costumes, and gadgetry. At their worst, they have jaw dropping logical flaws, stock footage overused to the point of obvious inconsistency, and excruciatingly painful sci-babble.

"Space 1999" has some of the coolest sets and gadgetry, and it's hard not to fall in love with them. Despite critics to the contrary, I feel the acting is overall quite competent. However, the episodes tend to be so unflinchingly immersed in trademark Anderson sci-babble that at times I find them almost impossible to sit through. This is a classic and unforgivable example of a show trying to be more cerebral and failing miserably because it substitutes sheer, almost random BS for science and logic. By all means rent these discs, but don't bother to buy them.

WOW!
Where has this show been all my life? I just discovered it on DVD and I'm very excited about it! Great cast, excellent scripts, and striking FX! I will can't wait to see the other episodes of this series.

black sun on DVD
Black Sun is my all time favorite episode of Space 1999 and it looks wonderful on DVD. Space 1999 was a very unique Sci-Fi program and it remains largely misunderstood. One reviewer notes that only when facing certain death do the Alphans come alive, but that's the point: These are highly trained soldiers who must focus entirely on their duties in order to survive. They are trapped inside the Alpha base, which is described as both a barracks and a prison, and are always close to death.
Only under unusual circumstances can the Alphans let down their emotional guard. Black Sun is an unusual circumstance in which they are powerless to avoid destruction. Having exhausted all options, Bergman shares his inner thoughts and feelings with Koenig, who has tears in his eyes, and they make a final toast. It's a wonderful scene which demonstrates just why fans love this show so much.
Black Sun is a great episode of a great series.

YES!
THANKS A&E FOR PUTTING SPACE 1999 ON DVD!
THE FIRST EPISODE GETS THE WHOLE SHOW STARTED WITH THE MOON BLASTING OFF INTO SPACE AND I LOVED THE ZOMBIE LIKE ASTRONAUTS IN THIS EPISODE TOO! SET 1 ALSO HAS CHRISTOPHER LEE AND EPISODES LIKE 'BLACK SUN' WHICH SIMULATE WHAT IT'S LIKE TO BE ON QUALITY LSD. THINGS DRAG AT TIMES AND I WISH THE ZOMBIE LIKE ASTRONAUTS IN THE FIRST EPISODE ACTUALLY ATE THEIR VICTIMS, BUT OTHER THAN THAT I'M REAL HAPPY WITH THIS SET. GREAT SHOW!

really 'out there'
Critics have often not been kind to Space 1999. The program is often accused of having wooden actors because the performers are portraying military and scientific types in a tense situation that they deal with seriously. There's plenty of action, but again some critics fail to be impressed and write it off as just a display of special effects. The weirdness and mysteries presented in the show have often been viewed as bad story telling, and the Alphans have no mission other than to survive and that tends to be viewed as a lack of anything significant happening. Space 1999 is entertaining and exciting if seen as a hybrid of disaster movie and 2001. The moon is hurtling through space and things look grim for the people on it as they struggle for survival and encounter confusing 'far out' alien weirdness. They try to maintain their military and scientific bearing , but their true fear and confusion are visible below the surface and can be incredibly intense. These are great perfomances, the action is exciting, and the weirdness and mystery of it all is compelling. By season two, which I also enjoy, changes were made so that the program was more of a kid oriented adventure show and the Alphans had grown more used to their life on Alpha, but both the tense/trippy atmosphere of season one and the more jovial/comic book vibe of season two can make for entertaining viewing. ... Read more

Amazon.com

When it was first broadcast in 1975, there had never been a more lavishly produced science fiction TV series than Space: 1999, a British production whose budget for the first of its two seasons ran an astounding 3.25 million pounds. What keeps us fans enthralled after all these years has only partly to due with the first-rate production values, the plausibly constructed spaceship models, and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV sci-fi predecessors such as Star Trek, whose mood was more convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. Those circumstances: the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from Earth's orbit and travel endlessly through space, turning our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this. This set includes the episodes "Missing Link," "Guardian of Piri," "Force of Life," "Alpha Child," "The Last Sunset," and "Voyager's Return." --Jim Gay ... Read more

Amazon.com

Set 3 of Space: 1999 contains six more first-season episodes from Thunderbirds creators Gerry and Sylvia Anderson's 1975 British series. The castaways on Moonbase Alpha, led by Commander John Koenig (Martin Landau), continue their drift through the universe, where they encounter fantastic planets, oddball races, and cataclysmic perils. In "Collision Course," Koenig must rely on "a thing called faith" when the moon seems headed for a too-close encounter with a massive planet. Unfortunately, the faith of his crew, including Chief Medical Officer Dr. Helena Russell (Landau's Mission: Impossible costar and then wife Barbara Bain) and Professor Victor Bergman (Barry Morse, who relentlessly pursued David Janssen on The Fugitive) is lacking, and they mutiny. In "Death's Other Dominion," the Alphans arrive at an ice-encrusted "lost paradise" planet, on which survivors of "the Uranus expedition of 1986" seek the secret of eternal life, and dissidents rise up to stop them. "The Full Circle" explores the nature of man when the Alphans encounter a race of cave dwellers. In "End of Eternity," the Alphans learn not to "interfere with other people's justice" when they unwittingly free an evil and quite unstoppable alien(Peter Bowles, much more civilized as Penelope Keith's friendly nemesis in the popular Britcom To the Manor Born. The cautionary "War Games" might better be called "Mind Games," as Commander Koenig considers whether to launch an attack against alien spaceships. One of Landau's favorite episodes, "The Last Enemy," is a Middle East allegory that finds the Alphans literally caught between two perpetually warring planets. Space: 1999's then state-of-the-art special effects hold up well, less so the deliberate pacing. But these fan-favorite episodes are a must for all earthbound Alpha devotees. --DonaldLiebenson ... Read more

Amazon.com

Isaac Asimov reportedly described Space: 1999 as "scientifically preposterous." That hasn't stopped Thunderbirds creators Gerry and Sylvia Anderson's 1975 British series from gaining a devoted cult following. Still, after watching the six episodes included on this two-disc set, one has to concede that (entertaining though they are) Isaac may have been on to something. In "The Troubled Spirit" Moonbase Alpha Commander John Koenig (Martin Landau) resorts to a little "bell, book, and candle" to exorcise a crew member's destructive spirit. "Space Brain"--or, as it is known to series aficionados, the one with all the foam--finds the Alphans desperately seeking a way to communicate with a cosmic intelligence. As Professor Bergman (Barry Morse) observes, "This is either a practical joke or something very interesting." You be the judge. Leo McKern (Rumpole of the Bailey) guest-stars in "The Infernal Machine" as the aged companion to Gwent, an odd-looking plundering spacecraft. In the "can't we all just get along" episode, "Mission of the Darians," guest star Joan Collins looks good for a 900-something alien, one of 14 who survived a mammoth ship's nuclear-reactor explosion. The same can't be said for the other onboard savages whom the Darians use for transplants. "Dragon's Domain" puts new life into the ancient myth about St. George, as crewman Tony Cellini is reunited with a real-life nightmare in the form of a tentacled beast. In "Testament of Arkadia," which closed out Space: 1999's first season, crew members Luke and Anna are determined to live as a futuristic Adam and Eve and "make fertile" a barren planet. As for Moonbase Alpha, it would drift through the universe for just one more season. --Donald Liebenson ... Read more

Amazon.com

Fans of Space: 1999 (and there are many of them) are lavish in their praise for British producer Gerry Anderson's mid-'70s sci-fi series. They rhapsodize about provocative, seriously scientific story lines, expensive production values, the presence of star (and future Oscar^® winner) Martin Landau, and more. But there are others who look at the series' glacial pace, loopy costumes and makeup, cheesy sets, primitive special effects, stilted dialogue, and self-serious tone and wonder what planet those rabid fans are from.

Set 6 of the digitally remastered series, containing six episodes (numbers 31 to 36) on two discs, offers plenty of evidence to support both arguments. On the one hand, there are some intriguing ideas, weighty themes, and good writing here, as in "New Adam, New Eve" (episode 34), in which Koenig (Landau) and company confront the very existence of God himself, or "The Rules of Luton" (episode 31), in which Koenig and Maya (Catherine Schell) find themselves in deep trouble on a planet where plants are the dominant life form. But too often those virtues are hamstrung by poor execution, as in "Luton," where our heroes must battle three absurd-looking and -acting aliens. Smart sensibility, silly look and feel: this is the Space: 1999 paradox. And the truth is that nowadays, when advanced film technology is making even the early Star Wars films look dated, many of these episodes seem positively quaint.

DVD bonus features include a three-minute "making of" featurette (on the first disc), a gallery of production stills (on both discs), and interactive menus. Some material that was not seen in the original U.S. broadcasts has been restored. --Sam Graham ... Read more

Reviews (37)

A Small Masterpiece
This film needs your support! It was apparently completely disregarded by critics when it played theatrically... Written and directed by Henry Bromell, writer-producer of the Baltimore-lensed HOMOCIDE TV series, PANIC is a tight little masterpiece (clocking at less than 1 hour and 25 minutes) of ensemble acting and superior screenwriting. All principal actors hit just right notes in their roles, from William H. Macy (one of the best actors currently working in the US, who single-handedly made my experience of watching ultra-sophomoric FARGO durable), Donald Sutherland, John Ritter, Barbara Bain (Remember MISSION IMPOSSIBLE?), Tracy Ullman (TRACY ULLMAN?!) and, oh, Neve Campbell. The characters are so well-written and so devoid of historionics that some viewers may actually suffer from disorientation, adjusting their brains from the state of overexposure to usual mind-numbing stereotypes in Hollywood movies. Ritter's psychiarist, for example, is one of the two or three among hundreds of psychiarists I have seen in Hollywood movies who actually behaves like a NORMAL PSYCHIARIST and acts SENSIBLY. (MUCH superior to Lorraine Bracco's shrink in THE SOPRANOS) David Dorffmann plays Macey's son, and even though he is supposed to be a super-smart kid, he is NEVER annoying. The scenes are all underplayed with minimum of melodramatics, but they nonetheless pack emotional wallop. The quiet, beautifully lit sequence in which Donald Sutherland introduces the child version of the Macey character to "family business" is not only absolutely chilling, but also immesaruably sad. PANIC reminded me of Paul Schrader's AFFLICTION and Claude Chabrols' morally complex thrillers, such as THIS MAN MUST DIE. It is also like a particularly well-made 1950s film noir suffused with psychological insight ordinarily missing from them.

The DVD version includes a generally informative if a little reticent commentary by Director Bromell, and six deleted scenes. The deleted scenes provide additional background information for characters and deepen our understanding of them, but they also include some stilted and overblown dialogue completely absent in the actual film, the reason I suspect they were in the end dropped from the final product. I am a little disappointed that the audio commentary does not come with Macey, Sutherland and others discussing their acting strategies, given the fact that this film's success depends so much on their contributions, but this is nit-picking. I definitely recommend this movie for anyone who is a fan of Macey, Sutherland, Campbell and those who appreciate morally complex human dramas and/or thrillers. NOT RECOMMENDED, however, to those who want an action film like AIR FORCE ONE or a "quirky" movie like FARGO.

It's Hard Being Someone's Son
It's amazing to me that this film wasn't released as widely as, say, Memento or even Sexy Beast. It is an absolutely superb film featuring William H. Macy(Fargo) in his finest performance to date as Alex, a second-generation hitman railroaded into the business by his controlling monster of a father, played by Donald Sutherland(JFK).

The first thing that should strike any viewer about this movie is its cast. There isn't really a weak link in this movie, even though it does feature Neve Campbell. Campbell's performance, incidentally, really says something for Henry Bromell's direction: she's actually convincing, cast against type, and gives her strongest performance to date as the troubled love interest Alex meets in his psychiatrist's office.

The extreme circumstances featured in this film -- i.e. a middle-aged hitman seeing his shrink -- are really only a metaphor for the mid-life crises of half of America's middle-aged men, who went unwillingly into their father's businesses and sacrificed their own dreams. This movie is not about a love affair or a hitman; it is about how hard it is to be someone's son in America, about the expectations placed on men in our society and the outlets which we are given and which are denied us to express ourselves. Perhaps Neve Campbell herself delivers the most telling line in the film: "It's easier being a man, don't you think?" to which wife Tracy Ullman replies only with a knowing look, then turns her back.

It's a shame this film was overlooked. Henry Bromell's debut as writer-director on this film proves one of cinema's finest. William H. Macy gives the strongest performance of the year, far outdoing Russell Crowe's unintelligible stone-faced Maximus; it is also Macy's greatest role, the culmination of every unsure forty-something he's played. Do yourself a favor and see this movie. Then go home and love your son.

The Sins of the Father ...
What a find this movie was. Subtle, tense, occasionally laugh-out-loud funny and ultimately satisfying.

A hit-man wants out of the family business, and in to the pants of Neve Campbell. Which, I suppose, makes him a murderer and a philanderer. Not that you'll feel anything but empathy and compassion for William H. Macy's character: which, of course, is his genius.

In a story that explores, among other things, the whole family dynamic - from the damage our parents do us, to the effort needed to make a marriage succeed - you'll find it all rings true. The context of the story is alien and exotic, but the relationships aren't. Your father is probably not a controlling and manipulative sociopath (and, you know, small mercies and all that ...) but even so, how many of us would find it easy to step up and admonish him, when he steps over the line?

Donald Sutherland's performance as the sociopathic pater is astonishingly good. He actually had me shouting at the screen. And I'm British. We just don't do that ...

Give this movie a go. You won't find the experience entirely comfortable, nor will it be an escape from the rigours of the world (because there's too much of the world in the movie) but it will make you laugh, wince, cheer and, most importantly of all, it will make you think.

symbolic
There is a scene in the middle of the movie when Alex takes his son to see his grandfather, who has bought him a birthday present. It is the most interesting scene of the movie, and the heart from which everything else should radiate. It is the only time that Alex, his father, and his son are all onscreen at the same time and you realize that this is the conflict that is killing Alex -- he is his father's son, cynical, secretive, and ruthless, but he is also equally his son's father -- innocent, curious, and affectionate. Framed that way, both his father and his son can be seen as reflections of his own psyche. The reason why he is so blank, so tired and depressed, is that they cancel each other out. By then end of that scene I knew how the movie had to end.

The side story involving Neve Campbell isn't very interesting.

Great movie -- what a cute little boy!
The boy who plays Sammy, the hit man's son, is about the cutest thing I've ever seen! He's just darling! He reminds me of that kind from Jerry McGuire -- "the human head weighs 8 pounds" Soooo cute!

The rest of the movie was pretty good, but I just loved the little boy's scenes! ... Read more

Amazon.com

Fans of Space: 1999 (and there are many of them) are lavish in their praise for British producer Gerry Anderson's mid-'70s sci-fi series. They rhapsodize about provocative, seriously scientific story lines, expensive production values, the presence of star (and future Oscar® winner) Martin Landau, and more. But there are others who look at the series' glacial pace, loopy costumes and makeup, cheesy sets, primitive special effects, stilted dialogue, and self-serious tone and wonder what planet those rabid fans are from.

This two-disc set includes the first six episodes of the show's second season.Episode 25, "Metamorph," introduces Maya (Catherine Schell), a shape-changer and scientific wiz who, after witnessing her nutty dad's dastardly deeds, defects to join our Moonbase Alpha heroes. "Journey to Where" (Episode 29) finds Koenig (Landau) and Helena (costar Barbara Bain) returning to Earth--specifically, and bizarrely, 14th-century Scotland--while "One Moment of Humanity" (Episode 27) sees the evil Zamara (Billie Whitelaw) and her android cronies trying to learn the violent ways of humans. Intriguing ideas, occasionally rather lame execution. In other words, there's plenty here to justify the points of view of the show's adherents and its detractors.

DVD bonus features include production stills, TV promotional spots, and interactive menus. All episodes have been digitally remastered, and some material that was not seen in the original U.S. broadcasts has been restored. --Sam Graham ... Read more

Reviews (20)

YEAR 2-BETTER THAN YEAR 1!!!!!!!
Season two of Space 1999 has finaly arrived and it looks better than ever! I have never seen a year two episode that wasnt worn out and scratchy, the pristine quality makes you think your seeing these episodes for the first time. There are more bonuses than the previouse disks but still no "making of" documentary. A and E has again done a great job, making the wait worth it ...
Lets hope A and E puts out more bonuses and the special "MESSAGE" episode!
Season two begins with the addition of Maya, in the episode The Metamorph. After escaping her evil father she goes to live on Moonbase Alpha. Maya has the power of molecular transformation-she can change into any lifeform in the blink of an eye. Space 1999 was one of the first-maybe THE FIRST-television series to have a morphing character, and this was way before computer animation! Her changes were feats of camera work, who can forget her eye! The Exiles is about an alien Bonny and Clyde who hold Alpha hostage. Maya does a really cool midair transformation into a panther. One moment of humanity is about robots who want to learn to kill so they can eliminate their human masters. This episode sizzles with sex! Tony and Helena are pitted against each other and end up almost killing each other. Journey to Where is about time travel going amok. This episode has much in common with many first season episodes and even ends on a grim philosophical note. The minatures of Earths' future cities are very well done and realistic. The Taybor is about a trader who will stop at nothing to get Maya- and who can blame him!
If you want the best of weird and cool sci-fi Space 1999 season two is it.

good escapist TV
I've always thought that the start of both seasons of Space 1999 weren't as much fun as the episodes that came after them. Set 5 has some good episodes and some good moments, but sets 6,7, and 8 are much more fun. As the start of season two, this set has both it's share of draw-backs and it's fun moments.

I wont waste space reviewing every episode, but I will say that The Metamorph is one of my faves! Catherine Schell is introduced as Maya in this one. New theme music, cast members, costumes, and sets are introduced as well. Dr Bergman is gone, and the main control center has now been moved underground. Maya helps to fill the void left by Bergman, and after episodes like War Games the new location of the control center makes good sense. Smart move Koenig.

Space 1999 sets 2,3,4,6,7,8 are my favorites, but 1 and 5 are important to the show and to finish your collection. There are some good epsodes in both so check them out. While you are at it, try the Space 1999 novel The Forsaken by John Muir. It sheds more light on just what happened between the program's two seasons and is an excellent read.

Some fun episodes, but poor sound too
Some of the episodes in this set have inferior sound. It's not unlistenable, but it is sub par. Fortunatley, I don't find it too distracting, but it's too bad they didn't make the sound as wonderful as the picture quality. Apart from the sound problems, I enjoyed this set.
This set contains shows from the second season of Space 1999 which was a more ridiculous season, but there are many guilty pleasure episodes here. My favorites include:
"The Metamorph" which is the first episode of the second season and introduces the new theme music and show opening. I like it. We also get a new command center, some new costumes, and the introduction of Tony and Maya. Tony brings some great humor to the show and he keeps trying to make beer. You have to admire a guy who tries to make beer and maintains a sense of humor while the moon is hurling through space. Catherine Schell is lovely as Maya the Psychlon and Maya can turn into all kinds of living creatures which is fun. She's also the sexiest woman with side-burns ever! Brian Blessed plays Mayas dad Mentor.
"The Exiles" has some very suspenseful moments as 50 missiles suddenly begin to orbit the moon and the intercepting of one of them for further study is pretty tense. There's a great sense of mystery for the first half of this episode, but then it turns silly, but I like silly. "Journey to Where" is a bit of Time Tunnel like adventure with a good performance by Freddie Jones, and "The Taybor" is extremely goofy and features some scantly clad female Alphans, and Maya turning into Mr Hyde. I wont comment on the disco dancing horny android epsiode, or the episode with the living rocks. These aren't the most realistic or brainy TV episodes ever, and Set 5 is the low point of the Space 1999 DVD sets, but there are plenty of fun moments in this one and let us never forget that Catherine Schell is the sexiest woman with side-burns ever.

loved season 2
Season two of Space 1999 is a great deal of fun if you understand exactly what to expect. Expect CHEESE with your Space 1999 and plenty of it. I think season one was great, but no matter how many times you watch a train roll down a track there's just something more compelling about a train wreck. Season 2 is a weird combination of quality elements and wacky cheesy elements that makes for entertaining viewing.

very fun stuff
It would be easy to rip this show to pieces and there are plenty of reviews here that do just that, but I have a blast watching these episodes with friends. It's a wonderful mix of cool stuff, decent acting and writing, dubious acting and writing, and just plain silly stuff that both amuses and brings back the fun of being a kid and watching this sort of monster/space adventure show. My friends and I never saw the show when it was on tv, but it's the kind of thing that the kid in us adore and it's very funny when it isn't fantastic stuff. These episodes are all over the map, but they never fail to entertain. ... Read more

Amazon.com

When Sarah (Neve Campbell) strikes up a conversation with a sad-eyed man called Alex (William H. Macy) at her therapist's office, she asks, "Are you one of those middle-aged guys who's tired of his marriage and thinking maybe a beautiful young thing could help him out?" She's right, but the source of Alex's depression is far from typical: he's a second-generation hit man who wants out, but his mom and dad won't let him quit.

Donald Sutherland makes Alex's laconic and utterly monstrous father the most frightening parent since John Huston in Chinatown. A series of flashbacks show how he introduced Alex to his trade, beginning with shooting squirrels in the woods. We never find out whether Alex's father has mob connections, and the fact that it's just a business to him ("This one's a big job, lots of moola, I'll buy your mother a Lexus") makes him all the more chilling. Alex's mother (the steely Barbara Bain) knows all about the family business, but his wife (Tracey Ullman) thinks he runs a mail-order company, and the only person he confides in is a therapist (John Ritter). When he meets and falls for Sarah, Alex realizes that he alone can stand up to his father, and he needs to act before his own son becomes the next apprentice.

Henry Bromell's debut film as a writer-director probes the same dark corners of the middle-aged male psyche as American Beauty and The Sopranos. Alex's tormented life is a symbol of the damage that parents can inflict on their children, and Bromell imbues his story with a tragic inevitability. Panic received a shamefully limited theatrical release, in spite of its rare combination of a great script and brilliant performances. It deserves to be rediscovered and appreciated by a much larger audience on home video. --Simon Leake ... Read more

Reviews (37)

A Small Masterpiece
This film needs your support! It was apparently completely disregarded by critics when it played theatrically... Written and directed by Henry Bromell, writer-producer of the Baltimore-lensed HOMOCIDE TV series, PANIC is a tight little masterpiece (clocking at less than 1 hour and 25 minutes) of ensemble acting and superior screenwriting. All principal actors hit just right notes in their roles, from William H. Macy (one of the best actors currently working in the US, who single-handedly made my experience of watching ultra-sophomoric FARGO durable), Donald Sutherland, John Ritter, Barbara Bain (Remember MISSION IMPOSSIBLE?), Tracy Ullman (TRACY ULLMAN?!) and, oh, Neve Campbell. The characters are so well-written and so devoid of historionics that some viewers may actually suffer from disorientation, adjusting their brains from the state of overexposure to usual mind-numbing stereotypes in Hollywood movies. Ritter's psychiarist, for example, is one of the two or three among hundreds of psychiarists I have seen in Hollywood movies who actually behaves like a NORMAL PSYCHIARIST and acts SENSIBLY. (MUCH superior to Lorraine Bracco's shrink in THE SOPRANOS) David Dorffmann plays Macey's son, and even though he is supposed to be a super-smart kid, he is NEVER annoying. The scenes are all underplayed with minimum of melodramatics, but they nonetheless pack emotional wallop. The quiet, beautifully lit sequence in which Donald Sutherland introduces the child version of the Macey character to "family business" is not only absolutely chilling, but also immesaruably sad. PANIC reminded me of Paul Schrader's AFFLICTION and Claude Chabrols' morally complex thrillers, such as THIS MAN MUST DIE. It is also like a particularly well-made 1950s film noir suffused with psychological insight ordinarily missing from them.

The DVD version includes a generally informative if a little reticent commentary by Director Bromell, and six deleted scenes. The deleted scenes provide additional background information for characters and deepen our understanding of them, but they also include some stilted and overblown dialogue completely absent in the actual film, the reason I suspect they were in the end dropped from the final product. I am a little disappointed that the audio commentary does not come with Macey, Sutherland and others discussing their acting strategies, given the fact that this film's success depends so much on their contributions, but this is nit-picking. I definitely recommend this movie for anyone who is a fan of Macey, Sutherland, Campbell and those who appreciate morally complex human dramas and/or thrillers. NOT RECOMMENDED, however, to those who want an action film like AIR FORCE ONE or a "quirky" movie like FARGO.

It's Hard Being Someone's Son
It's amazing to me that this film wasn't released as widely as, say, Memento or even Sexy Beast. It is an absolutely superb film featuring William H. Macy(Fargo) in his finest performance to date as Alex, a second-generation hitman railroaded into the business by his controlling monster of a father, played by Donald Sutherland(JFK).

The first thing that should strike any viewer about this movie is its cast. There isn't really a weak link in this movie, even though it does feature Neve Campbell. Campbell's performance, incidentally, really says something for Henry Bromell's direction: she's actually convincing, cast against type, and gives her strongest performance to date as the troubled love interest Alex meets in his psychiatrist's office.

The extreme circumstances featured in this film -- i.e. a middle-aged hitman seeing his shrink -- are really only a metaphor for the mid-life crises of half of America's middle-aged men, who went unwillingly into their father's businesses and sacrificed their own dreams. This movie is not about a love affair or a hitman; it is about how hard it is to be someone's son in America, about the expectations placed on men in our society and the outlets which we are given and which are denied us to express ourselves. Perhaps Neve Campbell herself delivers the most telling line in the film: "It's easier being a man, don't you think?" to which wife Tracy Ullman replies only with a knowing look, then turns her back.

It's a shame this film was overlooked. Henry Bromell's debut as writer-director on this film proves one of cinema's finest. William H. Macy gives the strongest performance of the year, far outdoing Russell Crowe's unintelligible stone-faced Maximus; it is also Macy's greatest role, the culmination of every unsure forty-something he's played. Do yourself a favor and see this movie. Then go home and love your son.

The Sins of the Father ...
What a find this movie was. Subtle, tense, occasionally laugh-out-loud funny and ultimately satisfying.

A hit-man wants out of the family business, and in to the pants of Neve Campbell. Which, I suppose, makes him a murderer and a philanderer. Not that you'll feel anything but empathy and compassion for William H. Macy's character: which, of course, is his genius.

In a story that explores, among other things, the whole family dynamic - from the damage our parents do us, to the effort needed to make a marriage succeed - you'll find it all rings true. The context of the story is alien and exotic, but the relationships aren't. Your father is probably not a controlling and manipulative sociopath (and, you know, small mercies and all that ...) but even so, how many of us would find it easy to step up and admonish him, when he steps over the line?

Donald Sutherland's performance as the sociopathic pater is astonishingly good. He actually had me shouting at the screen. And I'm British. We just don't do that ...

Give this movie a go. You won't find the experience entirely comfortable, nor will it be an escape from the rigours of the world (because there's too much of the world in the movie) but it will make you laugh, wince, cheer and, most importantly of all, it will make you think.

symbolic
There is a scene in the middle of the movie when Alex takes his son to see his grandfather, who has bought him a birthday present. It is the most interesting scene of the movie, and the heart from which everything else should radiate. It is the only time that Alex, his father, and his son are all onscreen at the same time and you realize that this is the conflict that is killing Alex -- he is his father's son, cynical, secretive, and ruthless, but he is also equally his son's father -- innocent, curious, and affectionate. Framed that way, both his father and his son can be seen as reflections of his own psyche. The reason why he is so blank, so tired and depressed, is that they cancel each other out. By then end of that scene I knew how the movie had to end.

The side story involving Neve Campbell isn't very interesting.

Great movie -- what a cute little boy!
The boy who plays Sammy, the hit man's son, is about the cutest thing I've ever seen! He's just darling! He reminds me of that kind from Jerry McGuire -- "the human head weighs 8 pounds" Soooo cute!

The rest of the movie was pretty good, but I just loved the little boy's scenes! ... Read more