Reviews (113)

Ewwwwww!
If you took Clint Eastwood's Harry Callahan and made him overweight, unhygienic, twice as rude, and only about two-thirds as good a cop, you'd have a pretty good approximation of Joe Don Baker's Mitchell, one of the most unattractive movie 'heroes' in all of MSTie-dom (and that's saying a lot).

When life gives you lemonade, a film like 'Mitchell' is enough to turn it back into lemons again. Joel and The Bots (J&TB) do a great job giving this turkey the riffing it deserves, but the episode is bittersweet, since it's Joel's final appearance on the Satellite of Love (save for a cameo in one of the Sci-Fi Channel episodes).

"Mitchell' and the episode that followed, 'The Brain that Wouldn't Die' are must-haves for MSTies because of their place in the history of the series. But this episode is also a great performance in its own right, and one you'll watch over and over again -- in spite of the unpleasantness surrounding Joe Don Baker and some baby oil.

BUZZ OFF!!!
Hey kids, I don't know if Mystery Science Theatre gets better than this. While the movie in question might not be as inexplicably horrible as others that have been lambasted by Joel and the Bots, all of it's elements (cheesy dialogue, incomprehensible plot, ridiculous cops and robbers scenes, and of course, Joe Don Baker the fat slob hero) make for some great opportunities for the MST3K gang to do what they do best. What do they do best? Well they make offhand comments about the movie of course! And they're HILARIOUS!!
Mitchell is some sort of story about a drug bust, and a misfit cop who is given the assignment. At least I think so. There's also some junk about Mitchell and a prostitute, and Mitchell's life as an unloved police officer. But are plots important in these movies? NO!!! The lack of a plot just makes this funnier.
It is well that this should serve as Joel's final hurrah with MST3K, because it's a finely crafted episode, and I'm thankful we can own it on video. So say goodbye to Joel, and say hello to Mike with the next episode, "The Brain That Wouldn't Die."

Oh, and watch out for falling rocks.

My, my, my, my...MITCHELL!
Joels swan song, and also a classic ep. in its own right.

what movie producer ever thought that a film that features a fat, bloated, drunken, slovenly, all around miserable and un-likable main character would be a GOOD idea?

Joe Don Baker IS "Mitchell," a cop on the case of...well, aparently he starts out on some case involving Jon Saxon but then gets assigned to sit in front of some old mobsters house for weeks on end and then comes home and gets beat up by thugs for no apparent reason and then finds hooker Linda Evans in his house, sleeps with her without question ( a VERY disturbing scene, trust me) and yet arrests her for possesion of pot.

there's some talk of a heroin shipment, Mitchell shoots some guy in a park, then there's a boat chase and a big shoot out and your left wondering what ever happened to Jon Saxon and then Mitchell sleeps with and arrests the hooker again and its the end.

I get the feeling a lot of the reson this film plays so badly is that it was edited for content...the original trailer for the film on the DVD lists it as rated R, which means Comedy Central had to chop out some offending scenes...and yet they leave in the shot of Mitchell in bed with Linda Evans grabbing a six pack of Shlitz Beer off the end table next to a big bottle of Johnsons Baby Oil, which to me was far more repulsive than any graphic violence or language they may have had to edit.

the sketches of course revolve around the escape of Joel: Gypsy over hears the Mads discussing doing away with somebody after the experiment, assumes its Joel, and sets out to find a way to get him off the ship and to safety.

I wont spoil the whole thing for those who havent seen it, but its a perfect transition as Joel leaves and is replaced by MST3K head writer Mike Nelson.

"oh my my my my Mitchell..."

BYE-BYE JOEL
It seems they saved the best for last--for Joel Hodgson that is. MITCHELL is the ultimate in the bad made-for-tv movie that doubled as a pilot that thankfully never took off. All of which makes perfect fuel for Joel and the 'bots to tear into. It seems there is no end to the laughs and to the bad taste. Joe Don Baker is an absolute slob, and the fat jokes are deserved--the PC be damned!

I also liked this episode for the spotlight on Gypsy's rescue of Joel in a crate of Hamdingers!

My favorite moment is the horrific scene where Joe Don Baker's revolver slowly, unbearably rolls down the inside of his pants' leg, like some demonic sex organ or, worse, a product of incontinence. The screams from Joel and the 'bots are perfectly suited for the bad joke.

The best MSTK3 episode ever!
This is the episode that converted me over to MSTK3.They give poor Joe Don Baker hell but he deserves it for a funny turkey like this.Every time I need a laugh or feel bad this makes me laugh till i'm in tears. This is $20 bucks well spent. My only complaint with the DVD is that the original version of mitchell wasn't included. MMMIII-TTCHELL! ... Read more

Description

Nothing was going to stop Roy Hobbs from fulfilling his boyhood dream of baseball superstardom.Robert Redford stars in this inspiring fable that begins when 14-year-old Hobbs (Redford) fashions a powerful bat from a fallen oak tree.He soon impresses major league scouts with his ability, fixing his extraordinary talent in the mind of sportswriter Max Mercy (Duvall), who eventually becomes instrumental in Hobbs' career. But a meeting with a mysterious woman shatters his dream. Years pass and an older Hobbs reappears as a rookie for the New York Knights. Overcoming physical pain and defying those who have a stake in seeing the Knights lose, Hobbs, with his boyhood bat, has his chance to lead the Knights to the pennant and to finally fulfill his dream. ... Read more

Reviews (97)

Coulda Been Great
THE NATURAL has some truly great elements, especially the much copied score, good cinematography, and some moments that almost capture the mythical quality of baseball. Unfortunately, it falls short of the greatness it should have achieved. Nevertheless, THE NATURAL is arguably one of the better films about baseball (along with "Pride of the Yankees"), and it's worth a look.

Robert Redford plays Roy Hobbs, a man who truly loves baseball. All his life, he's been poised for greatness, but life has thrown him for some loops. He returns to the game in his late 30s and gets a final shot. Redford is pretty good in the role, although he's really too old for the part. Barry Levinson directs, and his direction is unusally ham-fisted...he and the actors telegraph every plot twist. Glenn Close was nominated for an Oscar, but she really isn't that good as Hobb's long-time love interest. Ultimately, the movie is too melodramatic and unfocused with cardboard characters, especially the villianous judge.

Extras: The only real DVD extra is a documentary on the movie featuring Cal Ripken Jr. It's pretty good, more affecting than the movie!

A Classic Baseball Fairy Tale!!
This fictional 1920s fairy-tale-style film is about a guy named Roy Hobbs (played by Redford) who is a great baseball hitter... thanks to the bat which he made as a kid from a tree that was hit by lightning. Hobbs' career gets sidelined for about 15 years due to an "encounter" with a mysterious woman. The tragic results cause a dark spot in Hobbs' past. Now older, and considered over-the-hill by the baseball community, the sports press, and his soon-to-be manager (wonderfully played by Wilford Brimley), Hobbs unpacks his "Wonderboy" bat and proceeds to decimate ballfields at seemingly every at-bat! Filmed in a retro 1920s style, this is one of the best baseball films ever made. It's not a true story obviously, but you won't care. Was it his "Wonderboy" bat that made Hobbs a star?? Great music by Randy Newman too (high praise coming from me, since I can't stand Randy Newman). If you are undecided on purchasing this one, definitely rent it and check it out... you'll be coming back to watch this one again and again! A great film to curl up and watch with the kids too. END

The Greatest Baseball Film Ever
THE NATURAL, based on the book of the same name by Bernard Malamud, is probably the greatest baseball film ever produced. Why? Because it contains no magical realism, no "tricks," no "gimmicks." It's just a film about second chances and redemption, in this case, redemption through the game of baseball. THE NATURAL is not nearly as dark as the book on which it is based and it's not totally factual in its portrayal of baseball, but who cares? This film gives us something better than facts. It gives us the poetry and lyricism of the game, the magic that made baseball "America's Pastime."

THE NATURAL is the story of Roy Hobbs (Robert Redford), a Midwestern boy who dreams of being "the best" in the world of baseball. Roy's dreams aren't just "pie in the sky." This kid has talent, talent like no one's ever seen before. But, as he's making the trip to Chicago to try out, he encounters Harriet Bird (Barbara Hershey), an enigmatic and dangerous woman, and Roy's life changes forever. Sixteen years later, though, Roy Hobbs is given what most people can only long for, a second chance. Yes, this second chance requires a stretch of the viewer's imagination, but not so much that it becomes an impossibility.

I know many people didn't care for Robert Redford's portrayal of Roy Hobbs, but I thought he was perfect. He really makes us believe in Roy and in his dreams and in his principles. I can't think of any other actor who could have carried off this role and carried it off so perfectly. Wilfred Brimley is perfect as Pop Fisher, Hobbs' manager. Robert Duvall as Max Mercy is also perfectly cast as is a very young Kim Basinger as Memo Paris, the woman who wants to be Hobbs' nemesis "the second time around." I didn't particularly like Glenn Close as Iris, but that's just personal preference. Close did a very good job with her role but not quite as good as did Basinger and Basinger's was far more demanding.

There are few mistakes in the continuity of this film. At one point, while playing for the mythical New York Knights at Wrigley Field, Hobbs' hits homeruns in the bottom of the ninth. What? He wasn't traded to the Cubs, so this has to be an oversight on the part of the production crew since the Knights, as visitors to Wrigley Field, would bat in the top of the inning. There are a few other such oversights, but I don't feel they're worth mentioning.

THE NATURAL works, and works so well, I think, because it relies so heavily on mythology, most notably the myth of the Fisher King. It romanticizes the game of baseball. Sure, it's been romanticized before, quite possibly more than any other sport, but THE NATURAL does it so well that we do believe and we do root for Roy Hobbs and all he stands for. Make us believe? This film makes us believe like no other.

Levinson has changed Malamud's ending considerably, but I feel that's for the best. Had there been no departures from the book, Hobbs wouldn't have been a sympathetic character and the film would have been too dark and contained too much despair. As it is, we're left with the promise of better things to come and hope for the future, just what baseball gave us in the "good old days."

THE NATURAL may be dismissed as "hokum" by some but I think it's an American masterpiece and pure magic.

Redford to the rescue

Director: Barry Levinson
Format: Color
Studio: Columbia/Tristar Studios
Video Release Date: September 26, 2000

Cast:

Robert Redford ... Roy Hobbs
Robert Duvall ... Max Mercy
Glenn Close ... Iris Gaines
Kim Basinger ... Memo Paris
Wilford Brimley ... Pop Fisher
Barbara Hershey ... Harriet Bird
Robert Prosky ... The Judge
Richard Farnsworth ... Red Blow
Joe Don Baker ... The Whammer
John Finnegan ... Sam Simpson
Alan Fudge ... Ed Hobbs
Paul Sullivan Jr. ... Young Roy
Rachel Hall ... Young Iris
Robert Rich III ... Ted Hobbs
Michael Madsen ... Bartholomew 'Bump' Bailey
Jon Van Ness ... John Olsen
Mickey Treanor ... Doc Dizzy
George Wilkosz ... Bobby Savoy
Anthony J. Ferrara ... Coach Wilson
Philip Mankowski ... Hank Benz
Danny Aiello III ... Emil LaJong
Joe Castellano ... Allie Stubbs
Eddie Cipot ... Gabby Laslow
Ken Grassano ... Al Fowler
Robert Kalaf ... Cal Baker
Barry Kivel ... Pat McGee
Steven Kronovet ... Tommy Hinkle
James Meyer ... Dutch Schultz
Mike Starr ... Boone
Sam Green ... Murphy
Martin Grey ... Additional Knight
Joseph Mosso ... Additional Knight
Richard Oliveri ... Additional Knight
Lawrence Couzens ... Additional Knight
Duke McGuire ... Additional Knight
Stephen Poliachik ... Additional Knight
Kevin Lester ... Additional Knight
Joseph Charboneau ... Additional Knight
Robert Rudnick ... Additional Knight
Ken Kamholz ... Additional Knight
Sibby Sisti ... Pirates Manager
Phillip D. Rosenberg ... Pitcher Youngberry
Christopher B. Rehbaum ... Pitcher John Rhoades
Nicholas Koleff ... Umpire Augie
Jerry Stockman ... Umpire Babe
James Quamo ... Memorial Game Umpire
Joe Strnad ... Final Game Home Plate Umpire
James Mohr ... Al
Ralph Tabakin ... Al's Customer
Dennis Gould ... Carnival Boy
Joshua Abbey ... Home Plate Photographer
Gayle Vance ... Maid at Party
George Scheitinger ... League Official
Peter Poth ... Dr. Knobb
Bernie McInerney ... Hospital Doctor
Elizabeth Ann Klein ... Stern Nurse
Charles Sergis ... Newsreel Narrator
Edward Walsh ... Newsreel Presenter
Darren McGavin ... Gus Sands
Brian Reingold ... Baseball Fan

This film made quite a stir when it was released. One of Redford's better ones.

Roy Hobbs (Redford) loves baseball. He played in high school and the semi-pros, and was picked up and given a contract by a scout for the fictional big league team, the New York Knights. Of course, he is the best! A natural.

He has a problem with his past, which he is close mouthed about, but a corrupt club owner, the Judge (Robert Prosky), tries first to pay him to lose in the playoffs, and then tries to blackmail him, and to subject him to the wiles of a femme fatale. And, of course trouble comes in threes...it is also discovered that he had a bullet in his gut that could be fatal if he keeps playing ball. So, guess what? He keeps playing ball.

This is a good, entertaining story. Redford has a huge following, and for good reason. Normally, I'm not enamored of baseball films, but this is a good one. I recommend it to you.

Joseph (Joe) Pierre Great Movie
The Natural is the best baseball movie ever made. Great for everyone in the family. ... Read more

Description

Charley Varrick is a small-time crook who outfoxes the Mob in this fast-paced offbeat thriller directed by Don Siegel. Academy Award winner Walter Matthau stars in a rare dramatic role, along with the powerful Joe Don Baker, as a tough Mafia hitman. Charley robs small banks with small payrolls. That keeps him out of trouble until he stumbles onto the Mob's secret stash. The chase is on as the Big Boys go after the "Last of the Independents." It's a heart-pounding ride that builds to a fiery airborne climax as Charley makes his last desperate run for the Mexican border and safety. ... Read more

Reviews (13)

Thriller-diller from one of the masters
Walter Matthau and Joe Don Baker, two actors I can usually take or leave, are brilliant as evenly matched adversaries with very different styles in director Don Siegel's marvelously entertaining thriller. Matthau is Varrick, a rumpled but very resourceful hustler whose take from a small town bank heist turns out to be laundered Mafia money. Baker is the glib, no-nonsense gorilla hired to recover the bucks. Siegel makes flawless use of Southwestern locales as his stars engage in a fascinating game of cat and mouse that has the brutish Baker (he insults friendly whores, abuses a wheelchair-bound gun merchant and smacks sexy photographer Sheree North around before bedding her) always just a baby step behind the ingenuity of Matthau's likeable anti-hero. The junk yard-set climax, a masterfully choreographed battle pitting Matthau's crop-duster against Baker's car, is pure, edge of your seat Siegel. Who wins? Suffice to say, the ending packs one wallop of a surprise, but you will NOT be disappointed. Very highly recommended.

Siegel+Matthau=Near Gold!
An odd combo: cult director Don Siegel, who forever changed the "Lone Cop" genre with "Dirty Harry", and provided Duke Wayne with his final film "The Shootist"; mixed with Oscar-winning comedian Matthau, who personified Oscar Madison in "The Odd Couple" and the Sleazy Brother-In-Law/Lawyer in "The Fortune Cookie". But it works. Don Siegel brings his trademark hard-edge and mean-sprited characters, while Matthau borders on deadpan thru the whole thing as a bank robber who unwittingly knocks over a Mob-controlled bank in the middle of rural New Mexico. There's also a lean, mean hitman on his trail played by Joe Don Baker, and one of the 60's and 70's best sleazeball white collar villians: John Vernon. Add in the beautiful Felicia Farr (Jack Lemmon's wife), the "Blow-torch and Pliers" line that Quentin Tarantino "borrowed" for "Pulp Fiction", and a great denoument, and you have a cracker-jack action-drama, with a hint of comedy-similar in tone to Matthau's "Taking Of Pelham 1,2 &3", which came out a year or so after this. In short, a quintissential 70's cult movie: memorable, tough, and near-great.

The Last of the Independents
Matthau steals a huge load of money from a rural new mexico bank only to find out it was mob money. the ensuing chase from mafia tough guy john doe baker is amazing and makes for a great game of cat and mouse that finally allows crime to pay. this adaptation is fantastic, and although not readily available, charley varrick is a must see.

Charley Varrick
Bad Guy Walter Matthau? Serious part, a good/bad guy, good direction, script, minimum dialog, pure acting/action.
A TRUE SLEEPER!

A Neglected Gem
This is an off-beat film in which Walter Matthau stars as a small-time thief who, with accomplice Harman Sullivan (ably played by Andrew Robinson), robs a money laundering operation which is cleverly disguised as small-town bank in New Mexico. (Had streetsmart Varrick known of the Mob's involvement, he would not have robbed the bank.) Of course neither the Mob nor the police are pleased with the loss of about $750,000. With that in hand, Varrick and his partner struggle to decide what to do next. Meanwhile, the Mob has assigned one of its ablest representatives, Molly (Joe Don Baker), to locate the thieves, eliminate them, and recover the money. Credit director Don Siegel with selecting Matthau to be Varrick. I have always thought that Matthau's talents as a serious actor were under-appreciated. He is brillliant in this role. All other members of the cast are first-rate, notably John Vernon (Maynard Bock) and Sheree North (Jewell Everett). Siegel makes a brief appearance as Murph. Those who enjoy this film should check out The Outfit (1973) in which Baker also appears as well as The Getaway (1994). ... Read more

Amazon.com

Bing Crosby's company produced the first Walking Tall feature, which was based loosely on Southern sheriff Buford Pusser, a former wrestler who took on organized crime in his hometown. Joe Don Baker's formidable appearance and downhome persona helped sell the filmmakers' depiction of Pusser as an average American who stood up for justice, and Baker's performance and plenty of action helped make Walking Tall a major moneymaker in 1973. Pusser's big stick was handed to Bo Svenson for Walking Tall, Part II(1975), which followed his search for his wife's killers (she died in the first film). Svenson wasn't the only change--director Phil Karlson's no-nonsense style was replaced by veteran TV helmer Earl Bellamy's colorless approach, and American International Pictures took over distribution from the bankrupt Cinemation. Pusser himself, who had served as technical advisor on the first film, had also died in an explosion. Though audiences turned out in droves, the drop in quality was obvious. The addition of action specialist Jack Starrett (Race with the Devil) as director on Final Chapter: Walking Tall (1977) was initially promising, but the result was a tired retread of Pusser's previous adventures and, amusingly enough, the making of the first film. A short-lived series starring Svenson followed in 1981, but by then, the story had exhausted itself. A new theatrical version is reportedly in production.

This three-disc set compiles the Walking Tall trilogy in a no-frills package that's more convenient than collectible. Considering the films' much-vaunted subject and the success of the first film, it's a disappointment to learn that the discs lack any extras or even improved image quality (VHS masters appear to have been used). While it's good to have these lowbrow crowd-pleasers back on the market, the set's threadbare presentation makes it essential for trilogy devotees only. --Paul Gaita ... Read more

Reviews (18)

No frills but a bargain for the money
I agree that the picture and sound quality should have been better. I feel better about the quality of my DVD player knowing that someone else found certain scenes in "Final Chapter-Walking Tall" to be too dark. Also disappointing are the lack of trailers and documentaries, the latter, especially disappointing since these films were loosely based on facts. The packaging is flimsy, hardly protective from dust for the discs, merely adequate. Even so, the set is still a bargain for the money. As one who had the privilege of meeting the real Buford Pusser's mother and daughter and being told the facts, I really don't like Paul Gaita's so-called review and his calling the real Buford Pusser cruel and far from scrupulous. He should at least take the time to get his facts straight before making such statements. He might also be interested to know that the real Buford Pusser did not die in an explosion, but from being thrown from a fast-moving car. His mother went to her grave believing the crash of his Corvette on August 21, 1974 was caused by his being poisoned. Officially, his death was ruled as an accident, caused by drinking and speeding. Curiously though, his mother said that she was prevented from having his body exhumed, which she said would have proven that he was poisoned. Especially strange that there was no autopsy done either, which would have been proof of his drinking or not. She also said she was prevented from having his death investigated any further. I agree that the first film is the best and most factual, but Mr. Gaita needs to get his facts straight before defaming an actual person's character and reputation.

Bufford Pusser walks tall on DVD
I have waited for a long time for the Walking Tall Trilogy to be released on DVD but was not over joyed with the DVD set. First I have to say is that the movies are all outstanding and can be watched over and over aging without loosing their excitement. But, it looks like Rhino did not use a master print but a copy of the video tape. The print they used I think is a very poor print. Walking Tall part 1 has alot of what I call "video tape lines' runnig through it, the Final Chapter is real dark in some scenes, and over all the video quality is not what you expect out of a DVD. It looks like you are watching a video tape. Rhino, you did Bufford Pusser an injustice! And I have to agree with the other reviewer; Where is the TV series at??? Release them pleaseeeee.
Over all, for the movies sake I give it a 5 star plus. On Rhinos part, 5 stars for releasing the movies on DVD, and 2 stars for their transfer. Go back to the master prints, thx them, re-do a new release to DVD including a release of the TV series.
If you like Walking Tall and Buford Pusser at all, this is a DVD set you will wnat to own

true american hero
I seen all the movies, and i liked them all.
Sheriff Pusser wanted to rid his county of the vermin of society
to make it a better place to live, but as reality sets in,the storey can be set to modern day america and the methamphetamine
labs and the under-funded sheriff's who have to keep law and order in area's where everyone and his brother is a weed smoker and aparasite on society.
wish they would change the constitution so more sheriff's
could rid their county's of evil doer's.

Favorite childhood movie series
I recall seeing the first "Walking Tall" movie when I was real small, back in the late '70s. I saw the last two chapters in later years, enjoyed them as well. However, not to take away from Bo Svenson's performances, I was somewhat bummed that Joe Don Baker wasn't in the last two parts. Nevertheless, I decided to buy the trilogy box set and i'm glad I did. If you're looking for a good action movie, you should get this whole series.

This 3 DVD set Walks Tall!!!
This great 3 DVD set from Rhino contains all 3 classic Walking Tall films in a cool collector's case!!! Great for Walking Tall fans!!! A nice package!!! Two thumbs up!!! A+ ... Read more

Reviews (235)

3.5 out of 5
In 1995, action fans rejoiced. James Bond was back and just as fun as ever in GOLDENEYE. This time around, 007, played by Pierce Brosnan, is filled with shame over the death of his counterpart 006 (Sean Bean), believing he was responsible for 006's demise. Suddenly Bond is wisked into a war involving a stolen Russian missile launcher named Goldeneye, meanwhile being pitted once again against the Russian general (Gottfried John) that killed 006. Brosnan is arguably the greatest thing to happen to Bond since Roger Moore; he's every Bond in one, combining Sean Connery's strategy with Roger Moore's humor, George Lazenby's human side with Timothy Dalton's dark side. Brosnan is truly what the Bond franchise was looking for. The film also features a very nice score by Eric Serra; adventurous directing by Martin Campbell; and an action-packed script by Jeffrey Caine & Bruce Feirsten which also features plenty of humor. GOLDENEYE goes beyond the standard Bond flick, and ranks highly among the most entertaining well through it's 130 minutes; action/Bond fans will not be disappointed!

END TITLE: May not be gold, but action fans won't want to miss it

A Great, New Taste in the James Bond movies
Goldeneye is a great James Bond movie. Pierce Brosnan has to get credit for his performance as James Bond. Sean Connery was good, George Lazenby was plain and acted like a stick figure, Roger Moore was too nice and kind, Timothy Dalton spiced up 007 with his "over the edge" approach, but Pierce Brosnan is the greatest James Bond yet! I am a avid 007 fan and I have seen all of the movies so I know just what other people are looking for. The villans are also great. Sean Bean portrays Alec Trevelyan 006, Bond's best friend that also has a darker side that James did not know. Alec was once 007's partner, so he knows his every move. It is great to see a newer and more evil villan. The action sequences are great. The movie first sars off with James bungee jumping off the world's largest dam, then the pace of the movie has you up on your seat when James Bond is drving a WWII tank in the streets of St. Petersburg. If you don't like those cat-and-mouse chases, there is also many awesome mano-e-mano fights, including the climatic scene of 007 and 006 fighting on top of a Antenna cradle in Brazil. All in all, it is a great Bond movie that you shouldn't miss!

Good movie GREAT femme fatale
I loved Goldeneye because of:
a) Tank chase through St. Petersburg
b) The bungee jump off the dam
c) The humour
d) Isabella Scorupco's performance
and e) Famke Janssen's absolutely perfect, deadly femme fatale Xenia Onnatopp. She's the best, absolutely, the best Bond villain/girl EVER! Ilove Famke Janssen, but I've only seen her in this and X-Men. I can't find others anywhere.
But I'm sure you ain't reading this to hear about me going on about Famke Janssen.
The plot- Bond (superb Pierce Brosnan) is investigating a French anti-electric tampering helicopter, the 'Tiger', when it's stolen by Xenia Onnatopp, a fellow car enthusiast who is linked to a Russian terrorist group Janus.
At MI6, it is discovered a Russian satellite base was struck by an EMP weapon from space known as 'Goldeneye'.
Bond then begins his search for 'Janus', the head of the terrorist group, and soon meets up with one of 2 survivors from te EMP strike, Natalya, Isabella Scorupco, and soon discovers a global threat to technology, banking resources, and people's lives.
Excellent new Bond here. Brosnan's first Bond's is one of his best.
Cheesy explosion sounds annyoed me, and the missing action sequence with Bond's car, the BMW Z3 Roadster is completely missing.
But good casting and sets etc. prove that Bond could go on forever, or at least until the films become unprofitable. (Hee hee)

The Gold Medal!!
Goldeneye is one of those films that you know, from the first second, is going to please. It is an almost perfect movie from the awesome beginning to the slow unraveling of the plot to the love interest(the Russian) to the woman villianess (Xenia Onatopp - LOVE THAT NAME and what an entrance!!!!). On top of that we get Judi Dench as the new "M" and what a great bit of casting that was! Exciting, beautiful, sexy - the return of the spy himself.

well crafted movie, an eclectic bond
brosnan's inevitable debut.he really hasnt put much of his own stamp on the character and his portrayal is more an eclectic mix of the previous bonds.
that said, this is a fun debut.
there isnt much of a plot but theres plenty of ambience and some great character acting.
the images of the ghost like stalinesque graveyard are appopriately creepy and a not so subtle visual statement on the fall of the soviet union.
the main heroine and the main villian are a bit colorless but the two side villians (alan cummings and famke janssen) are great fun and sadly remind us that its been some time since we've seen bond villians with this much personality.
too, judi dench brings a much needed 'oomph' to the franchise and one hopes she'll be around for some time.
goldeneye seemd to promise new life to the franchise.
alas, the two sequals that followed fell flat. ... Read more

Amazon.com

Timothy Dalton made his 007 debut in the lean, mean mode ofSean Connery, doing away with the pun-filled camp of Roger Moore'sfinal outings. He establishes his persona right from the gritty pre-credits sequence, in which he hangs from a speeding truck as it barrelsdown narrow cobblestone streets, battles an assassin mano a mano, andlands in the arms of a bikinied babe. This James Bond is ruthless,tough, and romantic. The Living Daylights, set during the thawof the cold war, begins with the defection of Russian KGB GeneralKoskov (Jeroen Krabbé) and his revelation of a Soviet plot toeliminate Britain's secret agent force. Assigned to eliminate Koskov'sSoviet boss (John Rhys-Davies, cutting a memorable figure in his briefappearance), Bond uncovers a conspiracy involving Koskov and anAmerican arms dealer (Joe Don Baker). Maryam d'Abo makes a fine Bondgirl as Koskov's beautiful cellist girlfriend, a classyinnocent who soon loses her naive blush and shows her pluck. Thevillains are lackluster--Krabbé is a clown and Baker a blowhard--and Dalton hadn't yet mastered the delivery of the trademark quips,but it's a sleek script with a no-nonsense attitude. Veteran seriesdirector John Glen's action scenes have never been better--especiallythe show-stopping mid-air battle on the net of a speeding cargo plane--and he returns the series to the smart, rough, high-energy adventuresthat made the Bond reputation. --Sean Axmaker ... Read more

Reviews (97)

"The Living Daylights": Nobody does it better!
With the release of "The Living Daylights", Bond fans finally saw another "Golden Bond Film" in the classic tradition of "Goldfinger". This film was, hands down, the best of the Dalton era films - the only other Bond movie with Dalton being the mildly disappointing "License to Kill". Timothy Dalton replaced Roger Moore as agent 007 when the gray haired Moore decided to call it quits after the release of "A View to a Kill" in the mid-eighties. Naturally, with a new Bond came a new style. I believe that Dalton's style was the most compensating to Ian Flemming's Bond; he wasn't a super man all of the time. He has moments when doubt or fears enter his mind. In other words, Dalton is a much more realistic Bond than Connery or Moore ever were. Unfortunately for Dalton, however, it seems many people like the unrealistic Bond better than the realistic.

"The Living Daylights" has a classic story and action. It's one for all Bond fans to definitely see, while being good enough to warrant the attention of first time viewers. No film (except perhaps "Goldfinger") has done it better than "The Living Daylights".

Timothy Dalton as Ian Fleming's James Bond 007
As a child of the 70's and 80's,The Roger Moore-era movies defined the tone of the entire James Bond 007 series.When Moore left the series after A View To A Kill,Timothy Dalton took over and put Bond in a direction that was familier to readers of Ian Fleming's novels, yet confusing to moivegoers.
The Living Daylights (1987)brought an end to the tongue and cheek tone of Moore's movies.Instead,Dalton becomes the 007 of the original novels,Tough,ruthless ,yet still refined. Dalton read the original novels and redefined the roll.
Unfortunately,movie goers were a bit uneasy with a James Bond who didn't crack cheesy one liners,jump into bed with an average of three women per movie and was harder edged than any other Bond on the screen.
The movie itself is a fine, yet slow-paced, involving a latter-day cold war defection of a Soviet soldier, only to be turn into a plot involving the elimination of British spies.Great scenes include an escape from the iron curtain in an updated Aston Marten, and an airplane cargo fight in mid air.
Dalton only portrayed Bond one more time (License to Kill) before the series was in limbo for six years (until Goldeneye with Pierce Brosnan in 1995).Since then, Dalton's portrayal of Bond has been praised in it's approach to bring Bond back to where it all began.

Dangerous Bond
The taglines for this, the 15th Bond entry, promised- "The most dangerous Bond ever," and right there beyond the flippant fun that Roger Moore had brought, THE LIVING DAYLIGHTS came and made good on that vow. In a cool, totally decked-out Aston Martin, our favorite spy propels himself into this, the last of the series' Cold War intrigues (furthermore being the final title penned by its creator, Ian Fleming). And herein, the flavour of Fleming is found everywhere-

Having been a child of 007's Roger Moore era, I had- on some seven different occasions during the course of his 14-year reign as Bond- looked forward with great anticipation to the very heights of fun and adventure. Moore, with his infectious charm and cheeky wit, was absolutely and completely entertaining as Bond. So I was naturally a little edgy when, in 1987, he retired, to pass the torch to another actor.

I was in college, studying English literature when I heard Timothy Dalton would be the next James Bond. To me, this seemed an exceedingly interesting choice- for here was a classically trained Welsh actor, who at that time had been fairly unknown. Yet I already knew him, of course: not only had he made his impression in some of the Shakespeare plays I'd been studying, but this ardent, sensitive actor had actually won my heart with his perfect portrayals of two beloved Bronte heroes- (Charlotte's "Rochester" and Emily's "Heathcliff.") Needless to say, I just couldn't wait for this one~~

THE LIVING DAYLIGHTS is a spy thriller in every classical sense. From the get-go, it's exciting: the gun-barrel sequence, where John Barry's arrangement pulses more quickly to keep in tempo with the motion of a more youthful 007- the exhilarating pre-credits: where, after a parachute jump onto the Rock of Gibraltar, a double-0 agent gets murdered and Bond jumps onto the roof of a speeding jeep as it hurtles down the cliff, and requites the assassin in like. He then lands emergently onto a yacht- where, by sheer coincidence, the bikini-clad babe onboard has been lamenting her failure to find any "real men" anywhere. Bond grabs her phone to call headquarters, introducing himself with a brisk offhand, "Bond, James Bond". She offers him champagne and, as a consequence, he's an hour late reporting back........

After opening credits - Maurice Binder's flowing artwork gracing John Barry's title song- (a colorful pop number performed by Ah-Ha that won't ever let you forget it's the 80's), Bond reports to Bratislava for a seemingly unrelated assignment. Saunders, of section V, Vienna (Thomas Wheatley) has arranged the defection of a top KGB agent, Georgi Koskov (Jeroen Krabbé). Bond is called in to kill the sniper assigned to assassinate Koskov if he should try to bolt. -This scene makes up the whole of Fleming's short story, wherein our hero turns over in his mind the conflicting implications of his work. Well, it's apparent that this James Bond is definitely a man who, though despising certain aspects of his profession, is quite capable of killing an enemy sniper in cold blood. The sniper, however, turns out being the lovely woman cellist that Bond had only moments before been admiring. And Bond, who follows instincts before orders, observes, "that girl didn't know one end of a rifle from the other," and instead of killing her, shoots the weapon from her hand.

Nevertheless, the coup is a grand success. Hours later, in a safe house on the English countryside- (wherein Bond shows himself to be a connoisseur of good food: "The foie gras is excellent," and champagne: "The brand on the list was questionable, so I took the liberty of choosing something different.") -Koskov reveals a sinister plot by General Pushkin (John Rhys-Davies), the head of the KGB, to kill foreign spies- ("Smiert Spionen," Fleming's SMERSH term meaning death to spies). Bond is immediately a little skeptical of Koskov's story, and his suspicions are further enhanced when, shortly thereafter, Koskov gets snatched out of Britain by forces unknown -pulled off by henchman Necros (Andreas Wisniewski), disguised as the most menacing milkman one could ever imagine. For answers, Bond returns to Czechoslovakia to investigate that female "sniper," and discovers she's Kara Milovy (Maryam d'Abo), Koskov's girlfriend. He then poses as Koskov's friend in the hope that she'll be able to locate him.

The inertia of this complex plot carries Bond further, through a number of beautiful locales in the world- London, Vienna, Tangier, Afghanistan, and New York. His mission involves drugs, deceit, diamonds, eccentric American arms dealer Brad Whitaker (Joe Don Baker), and the Afghan resistance, Mujahadin. There's action aplenty - highlights being a car chase in the Aston Martin fully armed, a ski chase downslope in a cello case, and a seat-gripping airplane ride I'd never in a million years want to ride!

The late 80's had safe-sex everywhere afoot - even in Bond. Kara's certainly endearing as the Bond girl, but she doesn't hold the screen next to Bond so well as many of her predecessors. The villains are undeniably wonderful: a swarthy combination of the fearsome and the ludicrous. And Dalton's tough, gritty Bond is as close to Ian Fleming's creation that any actor has come- yet whether or not that's a good thing is a matter of infinite debate. The cinematic Bond had already been well established by then. Like Connery, though, Dalton has a certain cat-like grace, albeit minus the twinkle in his eye. And though he brings an intensity to the character that even Connery could not own, he never really does let loose - never hams it up or has the famous fun that every other Bond has had! But notwithstanding all that, I'm forever disposed to find him perfect.

first good bond in a long time and daltons great
the last decent bond movie before this was for your eyes only.
then came dalton.
despite what the brosnan fans like to believe dalton was asked twice to be bond, several years before brosnan was even considered.
and when dalton finally took his turn at bond, he delivered.
this one is a bit better than the follow up, which, though featuring a very fine performance from dalton, was a bit too much like a miami vice episode.
dalton gives us his bond which is different than either connery or moore and its a valid and etertaining one.
the first three major bonds all had their own take and all three are enjoyable.
actually, it is brosnan who really delivers nothing new.
dalton's bond is an assassin, albeit one with morales
and for the first and last time bond is NOT a [prostitute]. he has one girlfriend in this and his lack of bed jumping is refreshing.
the quiet intensity dalton gives the character is unequaled by the actors who played the role before and since.
actually he is the best 'actor' to play the character, though connery is the best bond of course.
though living daylights is a bit too long and sags at times and joe don baker is badly miscast, its a succesful entry in the franchise.
grab a beer and some popcorn.

a decent entry with a great bond
the brosnan fans have it wrong. dead wrong.
and the facts are there in print!
dalton was asked twice. long BEFORE brosnan.
dalton turned it down twice before accepting ONLY AFTER brosnan couldnt commit.
for a very long time (way back when moore was even still fresh into it) the original producers both felt dalton would be the quintessential bond.
and, while this movie and it's sequal are decent (not great) they do contain an original performance from dalton.
far more original than brosnan, who is a mix of connery, moore AND dalton.
as a matter of fact, if one has ever even read the original books, dalton is much closer to fleming's bond than connery even was.
and dalton is undoubtedly the best ACTOR that has played bond.
check out the inner intensity in many of his scenes here (popping the balloon after his fellow agent has been killed) and for once, bond isnt (...) his way through the movie. he has one girlfriend and the film does benefit from not going overboard on the bordello activities.
that said, the movie is tooooo long and joe don baker is god awful in an campy, over the top performance.
still, we do have dalton and, sorry pierce, you dont hold a candle to this actor. ... Read more

Reviews (85)

Preposterous, But Fun Jungle Adventure
In the tradition of H. Rider Haggard and "Indiana Jones" comes another blockbuster adaptation of a bestselling Michael Crichton novel. Up until now, this has not been one of his better known books, although it was a good enough read. The film is okay, but hopefully it will lead people to the even better book.

The story begins in the jungles of the Congo. An expedition of scientists has discovered an incredible find: a huge source of pure, blue diamonds. They communicate the good news back home, but before they can transmit their coordinates, they are suddenly attacked and killed. But by what?

Another scientist is sent in to find out. Dr. Karen Ross (Laura Linney), for reasons best left unexplained, attaches herself to a mission already bound for Zaire. A primatologist (Dylan Walsh) is returning his talking gorilla-she communicates through sign language-to her home in Africa. He is accompanied by a mysterious and very shady Romanian "philanthropist" with the unlikely name of Herkermer Homolka (Tim Curry). Karen comes along at a crucial time with a pile of money and is soon part of the gang.

Once in Africa, they meet up with Monroe Kelly (Ernie Hudson), their Great White Hunter "who happens to be black." That's when their adventure begins in earnest and it is a wild one. I won't give it away here-you probably wouldn't believe me anyway-but it is exciting and suspenseful, if never actually believable.

The screenplay for "Congo" was written by noted playwright John Patrick Shanley ("Moonstruck"). He has an odd sense of humor-witness his underrated "Joe Vs. the Volcano"-that is very much in evidence here. The story at times borders on the ludicrous and it is filled with all the delightful cliches that usually populate jungle adventure films (e.g. porters who go missing in the night, and a corpse with a diamond clutched in its hand).

Maybe the film wouldn't have worked any other way. I don't know. By making the story a pseudo-spoof, though, Shanley has removed the dramatic tension and suspense that made the novel work. Since everything is played for laughs-all too frequently unintentionally-then it is almost impossible for us to really get involved and care about what is happening.

Still, there is always pleasure to be had from a film that doesn't take itself too seriously and is not above poking fun at the customs of its genre. "Congo" has that, plus a few exciting scenes and some fun performances, particularly by Ernie Hudson. It is certainly not a great film, but it is a pleasant diversion on a hot summer day.

Why are these folks so critical, was the book so good?
I did not read the novel and while I won't say it's the best movie ever made (It's probably a four and a half in my opinion) I found it perfectly entertaining. Admittedly, I have read a lot of SF and like well made SF and adventure movies (Aliens 2, Matrix, even Bakshi's LOTR) but I also enjoy any genre of movie that is created with attention and art if possible and not with lowest-common-denominator formulaic design or for contract obligations. True, if your looking for dramatic acting, go watch "Boys Don't Cry", or "Men Don't Leave" (Movies, not a Four Seasons greatest hits compendium) Congo lacks the special effects of the newer Godzilla movie, but I enjoyed it more than the latest Star Wars movie (Phantom Menace) Congo, which I have watched twice on VHS and will most likely pick up on DVD, has, as one of the other reviewers noted, a Saturday morning adventure feel. It was tense and the gorillas were well done for monster movie make-up. The characters all unobtrusively played out their archetype roles. I recommend this movie to those who can keep thier minds open and who have a taste for adventure in a E. R. Burroughs vein.

EXCELLENT STORY-EXCELLENT MOVIE!!!
Definitely a great adventure and one of my personal favorites, Congo, brings to the screen a tale set in the African jungles involving an unlikely group that has banded together in search of a lost city and the rare diamonds that are rumored to exist there in abundance. The actors' performances are outstanding, especially Tim Curry whose "Romanian philanthropist" character steals the show. The plot, the jungle ruins, and the battles are all wonderful, making this film one of the best of its kind.
Congo is an action packed movie with strong elements of Indiana Jones and Tomb Raider, therefore, a "must see" for those with a passion for archaeology, mystery and adventure.

Before Python there was Congo
Made way back in 1995. A horror story about a lost city and killer gorillas. A research team is slaughtered by some unknown creature will locking for a dimon to power a laser. Design for communication. She goes on a quest across the africian border to retrive it.

What she things is an ancient legendary city and killer gorilas. Can the survive and get off the island. Before the volcano errupts.

If you like Congo I also recomend Raptor, Python, Phyton 2, Anadaconda.

Entertainment well done
I loved this movie, bought the DVD and watch it over and over the performance is so good. It is hard to single out any one thing. The musical score and songs are so good, I keep playing them over in my head. The scene where Dylan Walsh's character starts singing "California Dreaming" to Amy and everyone of the Africans join in the song shows the universality of music and song to people. As with any well executed movie, the details were done right letting the viewer enjoy the actors work. All of the priciple actors came accross as believable in their characters. The only mystery to me is the total lack of credit listing for Joe Pantoliano's participation and his character not even being listed in the ending credits! There must be some Hollywood Gossip behind that. Ernie Hudson really stole the show. The using of a British accent was genius. Since the English colonized and ruled most of Africa for years and set up most of the schools, an African guide would speak English with a British accent. The ending sequence with the volcano erupting and the land splitting brings back fond memories of 1940s "expedition" movies that always ended with such a scene.

"Congo" is entertaining, well directed, scored and acted. It is well worth the price of purchase and my only critcism (the devil is in the details) is the depiction of too few porters to haul the amount of equipment they kept coming up with for different scenes. Laura Linney's character was great! She had the best lines in the movie too.

Rent it or buy it, you will not regret it. ... Read more

Reviews (14)

Modern Day Cowboy Picture
Good show with Steve McQueen as former rodeo champion Junior Bonner who is past his prime and at the crossroads of life on whether he'll retire, or continue chasing the eight-second buzzer in rodeo competition. He returns to his home in Prescott, Arizona, to compete in the oldest rodeo on the circuit and have another shot at a champion bull that defeated him in previous competition. This is also a homecoming for JR and he unfortunately he finds his father, Ace Bonner (portrayed by Robert Preston), penniless and separated from his mother (Ida Lupino). Mixed into this story is his younger brother Curly (Jo Don Baker), working on his first million as a successful real estate developer and who shrewdly bought their father's ranch for a steal and sold it to a gravel company.

It's a bittersweet reunion, with JR unable to help his father and tensions running high between him and Curly. Curly looks down on JR and Ace as washed-up old rodeo stars who failed to move with the times. Ace and JR live for the cowboy experience and money doesn't appear to be an issue as long as there's enough to get by and neither acknowledges Curly's success with any respect. For the moment however, there's a big rodeo to attend and that's all that matters for Ace and JR.

This is a nice movie by director Sam Peckingpah, better known for his violence-packed features, portraying a father and son who were probably better suited for the 1800s, but accept life as it comes in a modern day world. Steve McQueen fits this role nicely as the likeable and noble rodeo star still trying his best. The presence of Robert Preston and Ida Lupino, and Ben Johnson as a cattle stockowner, reinforce a romantic western theme. A good country music soundtrack, excellent rodeo footage, and the location at Prescott, Arizona, round this out to an appealing feature.

DVD imagery is very good and in letterbox format, music and sound are likewise. For those interested, Prescott is a nice place to visit and the local people, to their credit, have preserved the historical downtown area.

Peckinpah in relaxed mode
Can Sam Peckinpah make a film about the human condition that doesn't involve bullets and bloodbaths? JUNIOR BONNER answers that question with an unequivocal "Yes!"

This contemporary western stars Steve McQueen as a once-proud rodeo star who has had more of a habit of losing than of winning the big shows. He comes home to Prescott, Arizona, home of the nation's oldest existing rodeo celebration, intending on breaking his losing streak. But he finds too much has changed: his family's old ranch is being turned by his older brother (Joe Don Baker) into a mobile-home park; his mother (Ida Lupino) and father (Robert Preston) are no longer on speaking terms; and his own values have become painfully antiquated.

Even this film's ending is deceptively ambiguous: McQueen DOES win the big prize at the rodeo by riding the meanest bull around and staying on for the required eight seconds, but this means he won't be able to stay. As Lupino asks, before he parts: "Ya had to win, didn'tcha?"

Except for the rodeo scenes and one amazingly-staged fight in the local bar, Peckinpah eschews his tricks for a story that practically anyone can relate to. Although JUNIOR BONNER wasn't that well recognized in its time (due to poor distribution and Peckinpah's violent reputation), it has excellent performances from McQueen, Preston, and Lupino, as well as Ben Johnson as the stock contractor who oversees McQueen's progress with sympathy.

This is a must-have for anyone interested in westerns, whether authentic or contemporary, and in Peckinpah; it was proof positive that he could do a story that didn't require any squibs.

Another great teaming of McQueen and Peckinpah
Junior Bonner is not your typical Sam Peckinpah movie, but do not let that scare you away from this movie. J.R. Bonner is a well-known rodeo cowboy on the last legs of his rodeo career. Returning to his hometown of Prescott, Arizona for Frontier Days, the annual 4th of July celebration, Bonner finds that everything he knew before has changed. His father refuses to take responsibility for his life, instead always looking for a way to make easy money while alienating his wife. J.R.'s brother has become a real estate afficionado and is only worried about the bottom line. At the same time, JR has a burning desire to finish off strong by riding and conquering the rodeo's meanest bull for the full eight seconds. I was surprised how much I enjoyed this movie. It is a very understated, self-reflexive film, unlike some of Peckinpah's other films. It is an excellent story about changing times and a family's effort to survive those changes. If you like the teaming of star Steve McQueen and director Sam Peckinpah, check out their other collaboration together, The Getaway. I highly recommend both movies.

Steve McQueen is great as the quiet rodeo cowboy, Junior Bonner, who finds everything in his life is changing, and he can do very little about it. During his career, McQueen perfected the quiet, loner type, and this is a perfect example. Robert Preston is also very good as Ace Bonner, JR's father who refuses to let anyone or anything change him. Ida Lupino plays Elvira Bonner, JR's mother who will not forgive Ace for going out on his own and leaving his family. Peckinpah regular Ben Johnson plays Buck Roan, Junior's good friend and owner of the rodeo. Joe Don Baker plays Curly, Junior's real estate brother. The movie also stars Barbara Leigh, Mary Murphy, Bill McKinney, and Dub Taylor. The DVD offers widescreen presentation and commentary from three Sam Peckinpah biographers. For another great pairing of Steve McQueen and Sam Peckinpah, check out Junior Bonner!

Still workin' on 8 seconds......
As a big fan of film director Sam Peckinpah and actor Steve McQueen, I always thought I had seen their most substantial work. Much to my surprise, I viewed the 1972 film "Junior Bonner" for the first time recently and was stunned by its quality and depth. "Junior Bonner" is a terrific film, complete with Peckinpah's individualistic themes, McQueen's understated though electric presence, magnificient location detail, boozy saloons and elder statesmen (and women) coming to terms with a rapidly receding past.

A genre unto itself, the rodeo lifestyle was documented with surprising fervor in the early 1970s by a handful of interesting films including "Honkers," "J.W. Coop," and "When the Legends Die." Each film explored the themes of a changing civilization which embraced convention while muting individualism and personal freedom. Thus, Peckinpah and McQueen were truly in their element with "Junior Bonner."

The film covers a day in the life of Junior Bonner (McQueen), an aging rodeo star who returns to his Arizona hometown to participate in an annual rodeo competition. We are soon introduced to his family, including his estranged parents (Robert Preston and Ida Lupino) and his budding businessman brother (Joe Don Baker) looking to profit from the sale of his father's land while exploiting the frontier/cowboy persona.

"Junior Bonner" is so understated, that the viewer must read between the lines throughout its brief running time, including a fascinating dinner scene with McQueen, Lupino and Baker when they discuss the family's future. It is a moment of brilliant directing and acting.

Ironically, what is probably the least seen film of Peckinpah and McQueen's careers is also one of their best. Peckinpah has never before been so restrained, if not gentle. Known for his fierce action sequences in such films as "The Wild Bunch" and "The Getaway," Peckinpah utilizes his detailed, frenzied style during the exciting rodeo sequences. But his handling of the more intimate moments, especially those between Preston and Lupino, are some of his most gentle scenes he ever put on film. In many ways, Preston's character is just a scruffy version of Peckinpah himself - a deeply flawed but eventually loveable dreamer. It is Peckinpah opening up to the viewer for one of the few times in his career.

McQueen, likewise, plays a character very close to him as a man. The role of Junior Bonner is that of a gregarious loner, limping from the hard knocks of life, trying to quietly go about his business but discovering he can do anything but. His accent, his mannerisms and his reactions to everyday life always ring with a note of truth. It's absolutely one of his finest performances.

Perhaps the film's only fault is the rather abrupt ending which seems to come out of nowhere. It's unconventional, but then again, so were Peckinpah and McQueen. Unheralded, and relatively unknown, "Junior Bonner" is a great film ripe for discovery. Quiet, unassuming and good natured, "Junior Bonner" is a perfect display of two legendary motion picture talents (Peckinpah, McQueen) exploring themes perhaps closer to their hearts than any film they ever made.

Peckingpah¿s unassuming contemporary western
Junior Bonner is one of Peckingpah's more personal films. Here, as in The Wild Bunch and Ride the High Country, he continues his exploration of men living in eras where their success is in the past. This isn't the typically violent fare of most Pechingpah films, instead he brings a gentleness (for him) to the story.

Steve McQueen is excellent as JR Bonner, an aging rodeo rider and semi-drifter. The rest of the cast include Robert Preston doing a dynamic job as his father Ace, Ida Lupino as his mother Elvira and Joe Don Baker as his brother, Curly.

We slowly become familiar with the family and their divided past. Ace is getting on in years and wants one last chance at adventure in Australia. Elvira, his long suffering wife, just seems to be riding it out while Curly is "on his way to his first million..." There's tension between them but there is also affection, especially between JR and his father.

Junior Bonner is a wonderfully understated western, well recommended. ... Read more

Reviews (7)

A review....and a correction to Amazon's listing
The subject of this movie seems very timely considering the modern McCarthyism currently being experienced.

James Woods plays the role of Roy Cohn to a "T", and the rest of the casting is equally wonderful. The movie begins with a brief view of Roy as a child, switches to 1984, when Cohn is dying of aids, and then presents a wonderful historic perspective of Cohn and McCarthy's "witch hunt" of the '50's. During these dramatizations, the movie shines. Unfortunately, it is slowed from time to time by the intrusion of scenes of Cohn on his deathbed, seeing visions of the people whose lives he decimated. This "fantasy" portion of the movie really drags down the historic portion of the film, and makes what could have been a great movie into a mediocre one.

As for the DVD...contrary to Amazon's posting, the movie is ANAMORPHIC WIDESCREEN. The picture is average, with grain rearing its ugly head on a regular basis.

Also, given that tops of heads disappear on occasion throughout the movie, one has to wonder if the widescreen was created by hard-matting of a full frame picture.

Despite the downfalls, I still would recommend the movie, if for no other reason than to inspire the viewer to delve more deeply into research on the subject of McCarthyism, Cohn, and McCarthy himself.

Imaginative look at Roy Cohn
When Wisconsin Senator Joseph McCarthy muscled his way onto a committee investigating communist subversives in the government, he brought along with him Roy Cohn. The son of a New York state judge and a brilliant lawyer in his own right, young Cohn saw McCarthy's committee as a way to increase his own social and political position. After all, this hotshot lawyer helped send the Rosenbergs to the electric chair, so a stint busting Reds in the government seemed a logical progression for him. After the collapse of McCarthyism and the subsequent waning of the Red Scare, Roy moved into a private legal practice in New York. Many considered this lawyer one of the most brilliant legal minds in the country, and Cohn got plenty of work in high profile divorce cases and even worked with members of the Mafia on occasion. Roy Cohn died in 1986, a disbarred lawyer reduced to a shattered husk of the dealmaker he once was. HBO thought Roy Cohn an intriguing enough character to fund this shrill 1992 effort starring the venerable James Woods as "Citizen Cohn."

The movie tells us that young Cohn quickly fell under the spell of his overbearing mother, an unnaturally close relationship that would last as long as she lived. Roy's father, a liberal judge with the firm idea that "what's right never changes," soon comes to despise his overly ambitious son and his morally suspect ways. After assisting in the conviction of the Rosenbergs, Cohn ingratiates himself with McCarthy in order to serve as the junior senator's chief counsel and personal attack dog. Moreover, Roy tells McCarthy that making Bobby Kennedy chief counsel for the committee (yes, RFK did a stint with McCarthy) could raise ugly charges of anti-Semitism because most of the men called in to testify are Jews. McCarthy soon regrets his decision as Cohn quickly takes over by grabbing the spotlight and developing most of the cases. The new chief counsel even insists on hiring G. David Shine, a hotel heir who doesn't know a thing about how to conduct a proper witch-hunt. It isn't any time at all before Cohn threatens people like Dashiell Hammett and the engineers working for the Voice of America in a shameful series of interrogations resulting in wrecked careers and ruined lives. When the United States Army drafts Shine, Cohn launches a personal vendetta against the Department of the Army. His goal is to procure an assignment for Shine on the committee, but the Army sees things differently. The military recorded dozens of threats Roy made against them and threaten to release them to the media if McCarthy and Cohn refuse to back off. The case does go to committee and the Army's attorney, Joseph Welch, publicly destroys the Wisconsin senator.

The rest of the film shows Roy in his post-McCarthy days: the endless deal making, the unethical behavior, and his closely guarded double life. We see Cohn attempting to work with J. Edgar Hoover to bring down the hated Bobby Kennedy, now the Attorney General of the United States and a man with a personal vendetta against the former McCarthy acolyte. There is a trial where the government brings a host of charges against Roy and cannot make them stick. We see how Cohn accepts money from people as "loans" and then promptly claims that these loans were "gifts." Through it all, no one can ever touch Roy Cohn; he is "the gingerbread boy," a blazing comet that threatens to destroy anyone who stands in his way. His amazement that no one stops him from lying, cheating, stealing, and intimidating people only serves to make him more obnoxious. No one tells Roy Cohn no, and he knows it.

The narrative technique used to tell his story is through flashback, as the ghosts of those Roy once terrorized visit him as he lies dying in a hospital room. These are not happy spirits: Ethel Rosenberg makes an appearance sneering and jeering at Cohn for convicting her of treason. She even charges that Roy did it because of her ethnicity, a claim Cohn rejects when he says he did it for the headlines. Some of these visits are slightly humorous, such as the revenant of Joseph Welch saying, "Have you no sense of mortality, sir, at long last? They need the room." Seeing Roy's mother show up and complain about her son dumping her ashes in the East River is worth a chuckle or two as well.

James Woods does his usual bang up job as the abrasive Roy Cohn and Joe Don Baker bumbles and harrumphs his way through the role of Joe McCarthy. These are the two stand out actors in the film, as the other characters necessarily come and go quickly in an effort to fit as much of Cohn's life into the picture as possible. Even then much of Roy's life is missing. The later sections of the film skip as many as ten years in order spend more time with the McCarthy hearings. While I recognize a screenwriter is going to focus on the Red Scare more than anything else because of the Hollywood Ten and all that stuff, that is no excuse to engage in the type of rampant rumor seen here. J. Edgar Hoover, Francis Cardinal Spellman, and G. David Shine are the targets of the wildest speculations. I guess it is easier to make these brazen charges against people when they are dead than it is when they are alive. Still, despite the historical tightrope "Citizen Cohn" teeters on, watching James Woods in yet another frothing at the mouth performance always pays off in the end.

A riveting movie
I don't know who they were giving oscars to in the year this movie came out but (as always) they fail to give them to the movie or the actors which deserve them and James Woods and the citisen Cohn sure deserved some oscar recognition for this masterpiece

For history buffs such as myself this movie is one of those you can watch again and again

5 stars out of 5

Decent, James Woods is awesome
The wonderful story of Roy Chon, friend and sometime lover of Hoover, died of AIDS. The movie was a little sketchy. It tried to seem dramatic and important but in the end the only thing this one has going for it is James Woods superior acting. Four stars just because Woods is in it.

McCarthy's right hand man
James Woods gives a riveting performance of Roy Cohn, the lawyer at the center of the US communist witch hunts of the early 1950s. The spoiled brat and closet gay on whom Joe McCarthy so naively relied is shown in a series of flashbacks from his hospital bed in the 1980s. The pace is fast with characters such as Bobby Kennedy, Walter Winchell and Ethel Rosenberg popping up here and there to shed light on Cohn's selfish character. Cohn's habit of helping himself at meals to other people's plates, notably Cardinal Spellman's, sums him up precisely. Naturally, there are moot points. There is, for example, no real evidence Cohn was David Schine's lover and Cohn's relationship with his father was more complex than the comtempt shown in the movie. No matter. Cohn's ability to ruin other people whilst serving his own career and bank balance is succinctly portrayed in an excellently written script. ... Read more

Reviews (10)

Hilarious, Great directing.
Eddie Murphy is a street hustler who hustles a seat in the House of Representatives. the first two thirds of the movie, with an accent on comedy, are the best

A Smash!!!
In his long career, we've seen Eddie Murphy in many roles, from cop to crook to royality. In the Distinguished Gentleman, however, we see him in a different role: politician. In the Distinguished Gentleman, Murphy is Thomas Jefferson Johnson, a small-time con man who wants big money...

This movie is a great example of just how... Washington politics is. Murphy comes out well in his preformance. A much better con man preformance than Trading Places. If you're looking to know just how...our system is, give this movie a rent, then you be the judge.

disappointing but has some moments.
I am a political junky AND an Eddie Murphy fan and I had great expectations for this movie. And for the most part the first half has pretty interesting and entertaining. But the script bogged down and just flattened out towards the end. EM still makes it fun to watch. This is a rental, not a purchase.

Boy, politicians should have been great fodder for a comedy but this movie missed its potential

Subtle Humor with Few Belly Laughs
It is tempting to compare this movie to other political satires of previous years. However, it is at heart an Eddie Murphy movie, and you know that Eddie Murphy is always over the top.

The plot is relatively simple. Eddie Murphy is a small-time con artist. Having recently overheard a conversation between several lobbyists and a congressman, Eddie realizes that (in his opinion) being a congressman is the biggest con of all. One day he happens to be in the right place at the right time when a congressman with virtually the same name as his dies. Eddie runs for election to replace the dead congressman with his only platform being that "you know the name". You must know that Eddie wins in a landslide.

Eddie's initial goal is to figure out how he can get as much money as possible. However, as is the case with all con artists, their undoing is when they begin to care. In Eddie's case, his undoing is a beautiful woman and a little girl diagnosed with cancer. The combination of the two makes Eddie care about someone other than himself, and you see Eddie change from that point.

Lane Smith plays Dick Dodge, a senior congressman on the powerful Power and Industry committee. Dick Dodge is a wheeler and dealer who knows all the ins and outs of Washington, and the best way to wield power and profit from his position. Initially Eddie looks to Dick as a mentor. While Eddie initially identified with Dick Dodge, as Eddie discovers that there is a harmful side-effect on ordinary people by the actions of people such as Dodge, Eddie eventually uses his abilities to remove Dodge from power.

This movie is a bit more cerebral than Eddie's typical movies. "Trading Places" was generally slapstick and situational comedy. "Beverly Hills Cop" was one-liners and irony. The humor in this movie is often more subtle, and in some cases may be lost on some viewers. There are places in the movie where the humor is slapstick and one-liners, however, much of the humor is satirical and often harder to discern.

While this movie is certainly not Eddie's best, neither is it among his worst. There are places in the movie that are inspired. However, for every inspired part of the movie there are tired jokes and typical Washington political satire. Worth watching once, and collecting for the avid Eddie Murphy fan, this movie rates a low 4 stars.

The Distinguished Murphy
To really appreciate this film, you have to consider that it was released in 1992 when the Democrats controlled the House and the Senate and graft and corruption were the rules of Congress. The film centers around Murphy as a con man who gets himself elected to Congress and his attempts to put as much money in his pocket as possible.

In order to maximize his influence with lobbyists, Murphy gets himself appointed to the most powerful committee in Congress, which in real-life is the Ways & Means Committee and when this film was made, was run by Dan Rostenkowski, but in the film is run by the equally corrupt Dick Dodge, played by Lane Smith.

In 1994, Rostenkowski was indicted on corruption charges and stepped down as Ways and Means chairman; he lost his House seat in the Congressional elections later that year. He pleaded guilty to mail fraud in 1996, and was fined and served (1996-97) a 17-month sentence.

One of the great things about this film is how it parallels the real-life Congress and how sleazy things were run under the Democrats when they controlled it. This film is a must for anyone interested in politics and for anyone that would like to see Murphy play a different role than his usual fare. ... Read more

Reviews (242)

A well-oiled machine, but is it worthy?
Although it was originally planned that Pierce Brosnan would take on the James Bond mantle from Roger Moore in the mid-80s, the exhilaration of "Goldeneye" (his actual first Bond film) wears off rather quickly, I'm afraid.

You see, I've been spoiled by superior and definitive renditions of the Moore and Connery Bonds to be swayed by Brosnan's working class efforts. Or maybe the product placement is just too obvious in recent 007 films? Either way, this film is just a blip on the screen of an otherwise unstoppable series.

The pros: the sizzling Michele Yeoh as the latest Bond girl, who's both lethal and beautiful, in the best traditions of the genre.

***The proper use of henchmen--Gotz Otto revamping Robert Shaw's oversized killer who nevertheless is no match for Bond.

***And finally, the suitably grandiose (if unoriginal) world-domination plot that has since been missing in action.

The cons: Teri Hatcher--Bond girls have never been famous for their acting skills, but Hatcher looks and sounds out-of-place here.

***An unappealing villain--Jonathan Pryce doesn't have the charisma or the physical appeal to be a proper Bond villain (much less a memorably one).

***The title song by Sheryl Crow; easily one of the worst in the series. The outro closing torch number by K.D. Lang should have been the title cut; it's classic Bond fare.

***Product placement is far too obvious in this film; enough is enough, guys.

Overall, a briskly paced entry in the Bond canon, but it's not firing on all cylinders.

Good Action, Bad Plot
The movie playing last week was As a longtime James Bond fan I had to see Tomorrow Never Dies, or James Bond versus Jonathan Price.

A communications mogul (Price) sets up a communications satellite monopoly, which, unlike DeBeers and other monopolies, is allowed to operate in the United States. To further his power, Price is creating news and having the stories ready as the news happens. His ultimate goal is to start World War III and control all communications afterwards. He will do this by using his armada of communications satellites which will broadcast to a dying world where electromagnetic pulses have rendered televisions inoperable. Oh, I guess he didn't think far enough ahead.

Utilizing the common man's (or should I say scriptwriter's) lack of understanding Geo-Positional Satellites (GPS) he convinces a warship that it is in neutral territory and not in Chinese-controlled waters. Then, utilizing a stealth boat made possible by the theft of some stealth skin (you know, that ultra expensive stuff that becomes completely useless if it gets even slightly damp) and steals a cruise missile. Bond is aided by a Chinese agent (Michelle Yeoh) and they go to Viet Nam where the sunken ship is (oh, didn't they say it was sunk in Chinese waters?). There they confront many bad guys and helicopters that can hover sideways and whose blades can repeatedly chop through buildings with no bad effects.

OK, so the plot, if it can be called that, has a few problems. But it is an action film and plots in action films have less importance than how far the hero can fall. The bad plot is not necessarily because Ian Fleming did not write the story. After all, he did write DOCTOR NO about the madman trying to corner the guano market (the studio gave the madman nuclear capabilities and cut the guano completely from the story). But the movie is fun, nonetheless, with many great lines. While I can't say much for the new Moneypenny, the new M is fantastic.

Do You Believe What You Read?
Years after Ian Fleming's death the "James Bond" series rolls on, recycling the original stories for audiences who never read the original novels. Their villains were in turn Soviet KGB, then organized crime; now one of the most powerful publishers in the Free World! Is Fleming turning over in his grave? This film shows how a powerful publisher can create the news, and not just distort it (use your own example). [Will the viewers make the connection to the Real World?] "Eliot Carver" seems to be modeled after Robert Maxwell (was he the front man for powerful forces who stayed in the background?) There are changes to reflect modern culture and political correctness. James Bond still circulates among high-levels to gather information. But one scene shows him overindulging in vodka, as if to suggest a growing problem in an aging operative.

Bond is caught snooping in the villain's lair, but makes his escape despite the efforts of many guards (who are of various races for this equal opportunity employer, and also recalls Bond's enemies from past films). A former lover of Bond's is murdered (as in "Goldfinger"). The killer in the hotel room looks like he was recycled from "Doktor Strangelove". The car chase in the indoor parking lot recalls "Diamonds Are Forever", but is more spectacular. The skydiving to the wrecked ship recalls other films. Bond and Wai Lin (the female Chinese operative) are caught and brought before Eliot Carver (another recurring scene from Fleming's novels). The villain never delegates these tasks. Their escape shows the product placement of BMW and Land Rover (and reminds me of a Jackie Chan film). They escape the Heckler & Koch MP-5 firing villains. The attack scene in the shop recalls another Jackie Chan film, with its choreographed ballet of action. [Could this ever happen in the real world?] I suspect the scenes in Asia were for that market of film viewers.

The final scene in the "stealth boat" recalls many earlier Bond films. But Eliot Carver seems to be lacking in a villainous character, unlike the classic Bond villains. [Imagine Pee Wee Herman as Goldfinger?] The ending is full of sound and fury, symbolizing the defeat of the villain, his henchmen, and the Plan for World Domination. The earlier Bond films seemed to have had wittier dialogue. The most surprising thing about this film is its villain: a powerful businessman in the Free World, not a parvenu who attacks one of the British Monopolies and has links to the Soviets or the ChiComs.

There's no news like bad news!
The 18th James Bond movie. Since the release of DR. NO in 1962, the James Bond series had established a prototype for rip-roaring action and thrills, evil villains, beautiful women and amazing gadgets. However the definite contributing factor the ongoing success was the ability to change with times, thus making each idea, and each film special in its' own creative way. Bond is more than a Super Agent Spy, he is a hero for the ages, and as the tradition would continue for TOMORROW NEVER DIES, 007 now finds himself against the global communications industry. Hot off the success of GOLDENEYE, Pierce Brosnan once again delivers a dynamite performance as James Bond; confident, fearless, determined, charismatic, irresistible to women, and still with a thirst for dry vodka martinis. Under a clever Bruce Feirstein screenplay, two beautiful women are presented; Teri Hatcher as 007's one time flame Paris Carver, and Michelle Yeoh as tough Chinese Agent Wai Lin. With tried and true elements placed new and fresh, exotic locations in France, Thailand, Germany, Mexico and the United States, and a thrilling music score by David Arnold, TOMORROW NEVER DIES further punctuates the James Bond series even after a successful 35 year wake.

THE ASSIGNMENT: While on a routine voyage, the HMS DEVONSHIRE submarine was mysteriously attacked and sunk in the Chinese sea. The incident is quickly publicized on newspaper accounts thus stirring much controversy and alarm in MI6 headquarters. The culprit: Elliot Carver, a media obsessed megalomaniac, wants to realize his dream of world domination through means of TV, radio and newspaper media accounts. He buys influences, technologies and anyone capable of harnessing information to him, in order to create 'events' to be publicized by this media organization first while securing a monopoly on the world's media coverage. Great Britain and China are unaware of this and place themselves on full nuclear alert, while Carver awaits take over Chi