Amazon.com

From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's The Aviator celebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime (played by Leonardo DiCaprio in his)--and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era. Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes (including one of the most spectacular crashes ever filmed), Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's 20-year span (late 1920s to late '40s), he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion. Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, The Aviator is easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish. --Jeff Shannon

DVD Features
In his commentary track, director Martin Scorsese offers his own impressions of Howard Hughes and rattles off his memories of experiencing Hughes's films.He mentions how he made Cate Blanchett watch every Katharine Hepburn film from the '30s on the big screen, and observes that Kate Beckinsale had "a real sense of the stature of a Hollywood goddess."But in general he doesn't talk much about the craft of making the film.That area is covered better by editor Thelma Schoonmaker, who also appears on the commentary track, and producer Michael Mann makes a few appearances (all were recorded separately).The picture is brilliant, but the 5.1 sound is not as aggressive in the rear speakers and subwoofer as one might expect, other than some nice surround effects in the Hell's Angels flying sequence.

The second disc collects almost three hours of features.There's one unnecessary deleted scene, and an 11-minute making-of featurette that's basically the cast and director heaping praise on each other.More interesting are the short featurettes on visual effects (including the XF-11 scene, of course), production design, costumes, hair and makeup, and score, and Loudon Wainwright discusses his and his children's musical performances.Historical perspective is provided by spotlights on Hughes's role in aviation and his obsessive-compulsive disorder, and a 43-minute Hughes documentary from the History Channel (part of the Modern Marvels series, it focuses on his mechanical innovations and spends less than a minute on his movies).More unusual are DiCaprio and Scorsese's appearance on an OCD panel, and a half-hour interview segment DiCaprio did with Alan Alda.--David Horiuchi

The Personalities ofThe Aviator

Click the links to explore more movies by these stars.

Leonardo DiCaprio as Howard Hughes "Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind."

Cate Blanchett as Katharine Hepburn Howard Hughes: "You're the tallest woman I have ever met." Katharine Hepburn: "And all sharp elbows and knees. Beware."

	Kate Beckinsale as Ava Gardner Howard Hughes: "Does that look clean to you?" Ava Gardner: "Nothing's clean, Howard. But we do our best, right?"

Gwen Stefani as Jean Harlow Jean Harlow in Hell's Angels: "Would you be shocked if I put on something more comfortable?"

Jude Law as Errol Flynn Errol Flynn in Captain Blood: "Up the riggings, you monkeys! Break out those sails and watch them fill with the wind that's carrying us all to freedom!"

Director Martin Scorsese "You get a sense of Howard Hughes being Icarus with the wax wings. Those wings were great for a while, but he flies too close to the sun." --Martin Scorsese

Other Movies by The Aviator's Oscar® Winners

Production Designer Dante Ferretti
Film Editor Thelma Schoonmaker
Costume Designer Sandy Powell
Cinematographer Robert Richardson
See all the Oscar® winners atOscar Central

The Aviator at Amazon.com

The Aviator soundtrack

The Screenplay

Howard Hughes: The Real Aviator

Howard Hughes movies

Great movies of the 1930s

The films of Martin Scorsese

Reviews (147)

"Bring in the milk!"
Let me state a few facts about myself and, in doing so, set up a very sincere question about "The Aviator."

1) I'm a huge fan of Howard Hughes, an absolute buff on the guy.I've read two biographies of him and have to say he's one of the most interesting historical figures of the past century: His brilliance, his wealth, his flaws, his successes, his peculiarities and the periods in which he lived all combine to create a fascinating figure.

2) I'm a tremendous fan of Martin Scorsese.He's made some of my favorite movies and I think he's probably one of the top five greatest directors working today.There's just something about the way he photographs images and people that makes even his worst movies worthwhile.

3) I also think Leonardo DiCaprio is a really good actor, a fact that has been publicly obscurred (but not hampered) by the "Titanic" hype and by some poor choices (or lack of choices, in recent years).

4) And I think "The Aviator" was probably the best produced movie of 2004.The cast is excellent, the sets and costumes and designs are fabulous, the cinematography is exquisite.

So, THAT SAID, why didn't I like the movie more?It's an impressive achievement but I seem to appreciate the parts more than the whole.And as good as DiCaprio is, I think he may have been miscast.Only a star of his level could've gotten this kind of budget, but he simply doesn't look right in the part.It's not until after he grows a moustache that he really start to resemble Hughes.Most of the time, Hughes looked like a guy who was quietly trying very hard not to leap out of his skin but DiCaprio seems more intent on burrowing deeply *into* his body.
He just doesn't have the same kind of intrinsic uncomfortability.

Still, it's an impossible movie not to recommend.There are long stretches of space but every so often, there's a brilliant explosion.

The opulance and scope. Brought to you by Scorsese.
This film is entertaining, and much more effective than any one biography of Howard Hughes. The pace of the movie, coupled with the fantastic acting by Leonardo DiCaprio as the livid Howard Hughes, gives an aura of 3hrs much in the way of inspiration. For underachievers this is a shockingly, unbelievable film. You can feel the energy pulse out of the life of Howard. Sharing his passions for aviation. Revealing the breadth of his contributions to air america. The esprit de corp is flavorful, in symbolisms of the fastest jet planes and the hardest hitting reality at zero hour. A much more breaking of the usual norm of film. It is so wonderful to think that movies such as these aren't being overlooked by the latest craze. When will Scorsese win a *(**( academy award for best director!

IT WAS OKAY!
THE AVIATOR WAS OKAY I REALLY DIDN'T CARE TOO MUCH ABOUT IT IT WAS TOO LONG!

FROM KIRSTEN

Another Oscar-worthy epic from Martin Scorsese.
Director Martin Scorsese makes filmmaking look so easy sometimes.With "The Aviator" he once again breaks from the Gangland themes of his more famous films such as "Mean Streets" and "Goodfellas" and journeys off on yet another unexpected road (e.g. "The Age of Innocence," "Kundun," "The Last Temptation of Christ").Yes, he recently directed "Gangs of New York," but he followed that with yet another left turn by doing a biography on the intensely eccentric Howard Hughes, "The Aviator."Leonardo DiCaprio owns his role here of the off-center genius who has frequent and exponential mental breakdowns, leaving all around him wide-eyed and wondering why he keeps repeating himself as if a record in his brain is skipping.This is easily the best work he has done in years.There are two other actors here that match him.One is Cate Blanchett who nails her characature of the late, great Katherine Hepburn and her short-lived romance with Howard Hughes.Her performance is a breath of fresh air amid all the seriousness of the story.The other is a diabolical and utterly slimy turn from veteran actor Alan Alda.It doesn't hurt that he has some of the best lines in the script, but his scenes with Leonardo DiCaprio have some of the best ebb-and-flow, subtelty acting that I've seen in a very long time.The two pros are butting heads and enjoying every minute of it!There are many solid acting performances from a stellar cast of name actors, though it would have been nice to see the character of Ava Gardner, played competently here by Kate Beckinsale, in depth and her more substantial connection to Howard Hughes.But the movie was long enough, anyway.The visual effects and overall production value are excellent, and the scope of the picture is epic and professionally done.This is top-notch filmmaking in every respect, and is easy to recommend.

Hughes Air West
You have to give credit where credits due. "The Aviator" is a fantastic film.I think it will be more appreciated by film fanatics, it's not what I would call a "popcorn movie".I enjoyed the cinematography more than anything.I have never seen a film using the shades of colours they used.It was enough to wake up the senses.The acting was phenomenal, Leo was fantabulous as were the rest of the cast.Cate Blanchett soared as Katheren Hepburn, in some scenes emulating Ms. Pac Man with those outrageous red lips flapping away."The Aviator" soared with creativity and good quality film making.The score, which evokes a deep yet frantic appeal tells the story of a flawed, troubled soul as it unravels into a quary of intense and manic emotions. Martin Scorsese directs another classic film, although overlooked by the Academy (which seems to have cast a blind eye).R U blind or do u have 20/20 vision, "The Aviator" paints an abstract portrait of someone who had too much and didn't know what to do with it. ... Read more

Amazon.com

From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's The Aviator celebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime (played by Leonardo DiCaprio in his)--and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era. Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes (including one of the most spectacular crashes ever filmed), Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's 20-year span (late 1920s to late '40s), he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion. Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, The Aviator is easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish. --Jeff Shannon

DVD Features
In his commentary track, director Martin Scorsese offers his own impressions of Howard Hughes and rattles off his memories of experiencing Hughes's films.He mentions how he made Cate Blanchett watch every Katharine Hepburn film from the '30s on the big screen, and observes that Kate Beckinsale had "a real sense of the stature of a Hollywood goddess."But in general he doesn't talk much about the craft of making the film.That area is covered better by editor Thelma Schoonmaker, who also appears on the commentary track, and producer Michael Mann makes a few appearances (all were recorded separately).The picture is brilliant, but the 5.1 sound is not as aggressive in the rear speakers and subwoofer as one might expect, other than some nice surround effects in the Hell's Angels flying sequence.

The second disc collects almost three hours of features.There's one unnecessary deleted scene, and an 11-minute making-of featurette that's basically the cast and director heaping praise on each other.More interesting are the short featurettes on visual effects (including the XF-11 scene, of course), production design, costumes, hair and makeup, and score, and Loudon Wainwright discusses his and his children's musical performances.Historical perspective is provided by spotlights on Hughes's role in aviation and his obsessive-compulsive disorder, and a 43-minute Hughes documentary from the History Channel (part of the Modern Marvels series, it focuses on his mechanical innovations and spends less than a minute on his movies).More unusual are DiCaprio and Scorsese's appearance on an OCD panel, and a half-hour interview segment DiCaprio did with Alan Alda.--David Horiuchi

The Personalities ofThe Aviator

Click the links to explore more movies by these stars.

Leonardo DiCaprio as Howard Hughes "Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind."

Cate Blanchett as Katharine Hepburn Howard Hughes: "You're the tallest woman I have ever met." Katharine Hepburn: "And all sharp elbows and knees. Beware."

	Kate Beckinsale as Ava Gardner Howard Hughes: "Does that look clean to you?" Ava Gardner: "Nothing's clean, Howard. But we do our best, right?"

Gwen Stefani as Jean Harlow Jean Harlow in Hell's Angels: "Would you be shocked if I put on something more comfortable?"

Jude Law as Errol Flynn Errol Flynn in Captain Blood: "Up the riggings, you monkeys! Break out those sails and watch them fill with the wind that's carrying us all to freedom!"

Director Martin Scorsese "You get a sense of Howard Hughes being Icarus with the wax wings. Those wings were great for a while, but he flies too close to the sun." --Martin Scorsese

Other Movies by The Aviator's Oscar® Winners

Production Designer Dante Ferretti
Film Editor Thelma Schoonmaker
Costume Designer Sandy Powell
Cinematographer Robert Richardson
See all the Oscar® winners atOscar Central

The Aviator at Amazon.com

The Aviator soundtrack

The Screenplay

Howard Hughes: The Real Aviator

Howard Hughes movies

Great movies of the 1930s

The films of Martin Scorsese

Reviews (148)

Hughes at His Peak But Epic Biopic Not Quite a Masterpiece
This is an audacious, surprisingly amusing piece of Hollywood filmmaking by a veteran craftsman of the first magnitude, yet for a number of reasons, not necessarily of Martin Scorsese's sole doing, the movie does not resonate as much as you wish it would. In staying true to the spirit of multimillionaire magnate Howard Hughes between the late 1920's and the late 40's, Scorsese and screenwriter John Logan are stuck with the facts as they happened, and consequently, the film feels episodic with a great, sometimes dazzling story in the first 2/3 of its epic 166-minute running time and a pedantic, only occasionally involving last hour.

You need to have some familiarity with Hughes' life to understand his halcyon years proving himself as a Hollywood tycoon worthy of respect, and his legendary excess during the three-year production of the now-forgotten "Hell's Angels" is captured perfectly here with truly thrilling aviation sequences. Scorsese then focuses on Hughes' romance with Katharine Hepburn and captures the oddball chemistry of burgeoning eccentrics amid the frenzied environment of studio-owned Hollywood, in particular, the Cocoanut Grove nightclub. These sequences remind me a lot of Scorsese's failed musical, "New York, New York", but this time he seems far more assured. Ava Gardner enters the picture in the forties, as Hughes builds luxury airplanes that can't fly and his obsessions and paranoia start to take over. There's a magnificently filmed sequence of Hughes crashing his XF-11 plane in the middle of Beverly Hills.

Once he recovers from this incident, the film starts to drag, as the story focuses on his power struggles of positioning Hughes' airline TWA against the European-route monopoly of Pan Am and the machinations of Pan Am CEO Juan Trippe and the corrupt Maine senator Owen Brewster who investigates Hughes' WWII government contracts. Even the legendary mini-flight of the Spruce Goose fails to excite this late in the story. Only Scorsese's famous "Taxi Driver"-like, mind-bending touch brings off the surrealism of the sequences where Hughes locks himself up in his room. The film ends rather anticlimactically with Hughes' successful 1947 appearance before Brewster's committee before he drowns in his obsessive compulsive disorder (OCD).

Leonardo DiCaprio's chief asset as an actor is his intensity of purpose, and as Hughes, he has plenty of opportunities to display this attribute with his character's obsessions with aviation, moviemaking, glamorous movie stars and ultimately germs. What he is missing is a level of gravitas that would have made his character's increasing eccentricities more bearable to watch. Even though the reed-thin Texas-tinged voice is accurate, there is something perpetually juvenile about DiCaprio's appearance regardless of the twenty-year span of the story. This unfortunately compromises the chemistry between him and the obviously more mature Cate Blanchett, who initially seems to be crossing the border into parody as Hepburn. She displays the familiar brusque manner without caution and even affecting the even more familiar voice but with an inaccurate throatiness that belies the legendary actress' high, fluttery pitch at the time. But she eventually finds her grounding, especially as she recognizes their too-similar personalities and softens during the Hepburn family gathering scene.

With less to do, the too-patrician Kate Beckinsale is in over her head as Ava Gardner, unable to convey the real actress' palpable sultriness or predatory voraciousness without posturing. On the other hand, Alec Baldwin is becoming a strong character actor with every new film, and he plays Trippe with disquieting authority. John C. Reilly plays assistant Noah Dietrich in his typically hangdog fashion as he subsists more in the shadows. Alan Alda plays Brewster with Hawkeye's familiar mannerisms unafraid to show the underlying sliminess of his character. All the externals are impressive - Thelma Schoonmaker's sharp editing (the pacing never drags...just the story), Robert Richardson's cinematography, Dante Ferretti's production design, Sandy Powell's costumes. Yet for all of this, the movie fall short as a masterwork in Scorsese's filmography.

The first disc has an excellent commentary track by Scorsese, Schoonover and producer Michael Mann - all full of insights without being pedantic. The number of extras on the second disc of the two-DVD set is staggering, really too much for anyone except for those deeply interested in Hughes. There is one deleted scene and twelve separate featurettes and documentaries covering everything from the production to Hughes' role in aviation to OCD to the music. Beyond the sheer number, my complaint about the set is that it's hard to maneuver around the decidedly viewer-unfriendly menus.

"Bring in the milk!"
Let me state a few facts about myself and, in doing so, set up a very sincere question about "The Aviator."

1) I'm a huge fan of Howard Hughes, an absolute buff on the guy.I've read two biographies of him and have to say he's one of the most interesting historical figures of the past century: His brilliance, his wealth, his flaws, his successes, his peculiarities and the periods in which he lived all combine to create a fascinating figure.

2) I'm a tremendous fan of Martin Scorsese.He's made some of my favorite movies and I think he's probably one of the top five greatest directors working today.There's just something about the way he photographs images and people that makes even his worst movies worthwhile.

3) I also think Leonardo DiCaprio is a really good actor, a fact that has been publicly obscurred (but not hampered) by the "Titanic" hype and by some poor choices (or lack of choices, in recent years).

4) And I think "The Aviator" was probably the best produced movie of 2004.The cast is excellent, the sets and costumes and designs are fabulous, the cinematography is exquisite.

So, THAT SAID, why didn't I like the movie more?It's an impressive achievement but I seem to appreciate the parts more than the whole.And as good as DiCaprio is, I think he may have been miscast.Only a star of his level could've gotten this kind of budget, but he simply doesn't look right in the part.It's not until after he grows a moustache that he really start to resemble Hughes.Most of the time, Hughes looked like a guy who was quietly trying very hard not to leap out of his skin but DiCaprio seems more intent on burrowing deeply *into* his body.
He just doesn't have the same kind of intrinsic uncomfortability.

Still, it's an impossible movie not to recommend.There are long stretches of space but every so often, there's a brilliant explosion.

The opulance and scope. Brought to you by Scorsese.
This film is entertaining, and much more effective than any one biography of Howard Hughes. The pace of the movie, coupled with the fantastic acting by Leonardo DiCaprio as the livid Howard Hughes, gives an aura of 3hrs much in the way of inspiration. For underachievers this is a shockingly, unbelievable film. You can feel the energy pulse out of the life of Howard. Sharing his passions for aviation. Revealing the breadth of his contributions to air america. The esprit de corp is flavorful, in symbolisms of the fastest jet planes and the hardest hitting reality at zero hour. A much more breaking of the usual norm of film. It is so wonderful to think that movies such as these aren't being overlooked by the latest craze. When will Scorsese win a *(**( academy award for best director!

IT WAS OKAY!
THE AVIATOR WAS OKAY I REALLY DIDN'T CARE TOO MUCH ABOUT IT IT WAS TOO LONG!

FROM KIRSTEN

Another Oscar-worthy epic from Martin Scorsese.
Director Martin Scorsese makes filmmaking look so easy sometimes.With "The Aviator" he once again breaks from the Gangland themes of his more famous films such as "Mean Streets" and "Goodfellas" and journeys off on yet another unexpected road (e.g. "The Age of Innocence," "Kundun," "The Last Temptation of Christ").Yes, he recently directed "Gangs of New York," but he followed that with yet another left turn by doing a biography on the intensely eccentric Howard Hughes, "The Aviator."Leonardo DiCaprio owns his role here of the off-center genius who has frequent and exponential mental breakdowns, leaving all around him wide-eyed and wondering why he keeps repeating himself as if a record in his brain is skipping.This is easily the best work he has done in years.There are two other actors here that match him.One is Cate Blanchett who nails her characature of the late, great Katherine Hepburn and her short-lived romance with Howard Hughes.Her performance is a breath of fresh air amid all the seriousness of the story.The other is a diabolical and utterly slimy turn from veteran actor Alan Alda.It doesn't hurt that he has some of the best lines in the script, but his scenes with Leonardo DiCaprio have some of the best ebb-and-flow, subtelty acting that I've seen in a very long time.The two pros are butting heads and enjoying every minute of it!There are many solid acting performances from a stellar cast of name actors, though it would have been nice to see the character of Ava Gardner, played competently here by Kate Beckinsale, in depth and her more substantial connection to Howard Hughes.But the movie was long enough, anyway.The visual effects and overall production value are excellent, and the scope of the picture is epic and professionally done.This is top-notch filmmaking in every respect, and is easy to recommend. ... Read more

Reviews (191)

Docked two stars for shoddy DVD treatment
First of all, let me go on the record as saying that Glengarry Glen Ross is one of my all-time favorite films. The acting is nothing short of astounding. Each actor (particularly Jack Lemmon) is at the top of their form. This is an actor's movie. There's no special effects, chase scenes, superfluous love story subplot, or pat ending. It should be obvious to anyone watching this film that it is based on a play -- specifically, David Mamet's Pulitzer-prize winning play of the same name. Mamet also wrote the screenplay, which is full of the fiery brilliance he always brings to the table. This is not a film for the timid. The language is raw and crude. The film takes no prisoners and I love it.

The film takes place in a real estate office, where cutthroat salesman do "cold calling," basically selling land by telemarketing. It's a brutal business (we've all been on the other end of that phone call and usually end up hanging up on the salesman), and the people these guys work for are brutal as well.

Case in point: during an early, crucial scene, Blake (played brilliantly by Alec Baldwin) tells the gathered crew that the top prize for highest sales is a Cadillac. The second prize is a set of steak knives and the third prize -- "you're fired." The speech is a sadistic, humiliating version of a pep talk, all macho brags and venomous insults. He dangles the new contacts, or "leads," in the faces of the salesmen. "They're for closers," he tells them. These guys would kill for the good leads, and Blake knows it. The scene was written especially fo the film and Baldwin eats it up. It's easily the best thing I've seen him do.

Jack Lemmon plays Sheldon Levene, the office's oldest employee. He used to be the best one around (they call him "The Machine"), but he's been on a bad streak lately and desperately needs his luck to change. His daughter's in the hospital and is unable to pay her medical bills. Al Pacino plays Ricky Roma, the current hotshot. His way of befriending a potential client in a bar and gaining his trust is odd, but effective (his opening monologue is totally insane, but thoroughly entertaining). Kevin Spacey is the office manager who will not bend the rules for anyone, much to the rage of the office. Ed Harris and Alan Arkin round out the rest of the salesmen. Harris plays Dave Moss, who has the world's biggest chip on his shoulder. Arkin is George Aaronow, who desperately needs to land a good sale. Most of his role consists of reacting to Harris and Pacino, but he's very good.

The day after Baldwin's talk, the salesman come to work to find the office robbed. The new leads are missing. Probably an inside job. It could have been anyone. Everyone is questioned by the police and everyone is insulted that they are considered suspects. Ricky is mad because the robbery may have screwed up his latest sale, putting his ownership of the Cadillac in jeopardy. Also, last night's client comes looking for him -- he has second thoughts. The way Ricky tries desperately to blow off his client while still playing the salesman is creepy and brilliant. Lemmon is amazing as Levene -- I've never seen desperation played so well.

Having said all that, I, along with the rest of the GGR fans, have been waiting years for this film to arrive on DVD. Especially since it's been promised as a "two-disc special edition." What a disappointing package it turned out to be.

Well, let's be fair. First of all, the film. It looks great. It sounds great. They did a great job with the film itself. But don't promise a loaded special edition and then give us something as lame as this. The only commentary track on the widescreen version is director James Foley. He only speaks during three scenes. The other commentary tracks are only available on the full-frame version (on disc two) and are not scene-specific.

The extras include "Magic Time," a tribute to the late Jack Lemmon, which is well-meaning but could have been a lot better. It does, however, end with a clip from Lemmon's appearance on "Inside the Actor's Studio," which is sweet. There is also "Always be Closing," another slapdash mini-documentary that features directors, playwrights, actors (including GGR's Alan Arkin and Alec Baldwin) discussing the role of the salesman in plays and films, as well as actual salespeople themselves. Sound interesting? It's not. It lacks any kind of cohesive thread. It appears to have been produced by a first-year film student. There's no structure to it. It looks unfinished.

There's also a clip from Kevin Spacey's appearance on "Inside the Actor's Studio" where an audience member acts out a scene from GGR with Spacey. I'll admit, I enjoyed that bit.

Why in the world didn't Criterion release this? They would have done a much better job and besides, they released the laserdisc version (with commentary tracks from Jack Lemmon, among others, I'm told). What we end up with here is an amazing film with an amazing transfer...and a bunch of lame extras thrown in.

If you're a fan of this film, by all means, buy the DVD...but don't expect much in the area of extras.

Best Sales Movie Ever
Exaggeration & Repetition: Performance keys to live by

There are two keys to being a good performer, whether you are writing or telling a story, whether you are selling something or selling yourself: Always exaggerate things by one thousand percent, and use repetition at least 500 percent.

Those who understate a story or product that may not be very strong in the first place, will fall victims to making that story or product look weak. The way to avoid making yourself or whoever/whatever you are representing look weak is to follow the aforementioned keys. The way to do that when the product or story is weak is to learn how to "B.S." That is where being a good performer comes in...

You are an actor, and being outgoing and to the extreme will always give the impression that whatever you are talking about is "the best." A good actor can do this perfectly and not come off as overly co.cky or obnoxious. Always say what the other person wants to hear. The customer is always right. Do whatever you can to "nail the gig."

There is something else to keep in mind when doing this particular form of "B.S.-ing," and that is the "K.I.S.S." method of "keep-it-simple-stupid." That may sound like a contradiction to the keys, but it is not. Keeping it simple, is not disclosing the real specifics, but still making your case sound like it's above and beyond every other possible option. This comes in handy particularly when someone asks you a question that you may not know the full answer to. That is where "filling" comes in---something that students do when writing an English essay on a test. If you have a general idea of what you want to say but don't have a specific reply to a portion of the question, you "fill" that essay with long winded run-on sentences. However, the whole thing must be coherent, and if your essay is well-written and has a good amount of clever puns and humor, you cannot lose. If you are a slick actor or writer, you can fool even the best of English teachers into at least giving you an "E" for effort.

Another thing to keep in mind is that you will never lose if you can "meet in the middle." What that means is this: Suppose a shirt looks like it is worth $15 to a customer but you build it up so much and make it sound like it's worth $50... By the end of the conversation, if you are doing your job, you are going to get them to meet you in the middle and the final conclusion will be that the price of the shirt is around $25. The real worth may be no more than $15 (and maybe even less), and certainly nowhere near $50, but you still get the "E" for effort and earn $25. You aren't really getting into details on why the shirt is worth so much more than the customer thinks, but you are pounding it into their head that it's worth $50. You are exaggerating and repeating. You are using adjectives that may or may not apply to that shirt but you are making it sound great and far above what it's worth. So finally, they will concede a price of $25. You were stretching the truth about the shirt being worth $50 and they may have been undervaluing it at $15. Essentially, you are both lying and both playing a game with one another, but finally, a minimum of $25 is agreed upon. No one may ever find out the true value, but it's irrelevant anyway. This works in any situation.

Exaggeration and repetition. But remember to K.I.S.S.

These keys could have been discussed in one paragraph, but it took an entire page, yet you as the reader were compelled to hang onto each word from start to finish. So I succeeded as a writer in that this essay was read from start to finish and my point was proven.

The "Whale"

A whale is a customer that you pull in, hook, line and sinker and mount on the wall. He is a golden nugget, a superstar, a monster. This type of customer that you get lucky enough to snag will be your customer for life. That means, you will either be set up for life from one deal you strike up or you will have him as a repeat customer that you can call back as a strong possible prospect forever.

Sometimes it is tough to spot a whale, he may not always be overly outgoing or obvious about being a "buyer." So anyone can be a whale. The way to learn if someone is a whale or not is to simply get into their home and learn about their life and about them. So anything you can do to get your foot in the door will work.

Start off small and discuss something that may appeal to their interest and work your way into their world. Don't pre-judge them until you learn about them. This will take time and patience, but all you need is a small "in" and then you can build on that and if you win the whale's trust, all it takes is one big deal to set you up for life.

So practice the "A.B.C." method of "always be closing" with everyone, because anyone can be a prospect. While the impression may be given that you genuinely care about them, the main objective is getting them to sign on the dotted line.

Of course the obvious "Gordon Gecko" type whales who go around showboating their spending habits and their skills are the true whales that if you are lucky enough to somehow snag, you are set.

A play trapped inside a movie.
'Glengarry Glen Ross' has good dialogue and good acting by the fine actors, but this is actually a play trapped inside a movie. They should not have made it into a movie.

Put that coffee down!
If you're looking for car crashes, gun fights and naked people you won't find them here. But if great dialogue and raw emotion hold your interest, it doesn't get any better than this. Every one of these guys should have won an award for their roles in this movie. Not sure if this particular DVD contains the interview with Jack Lemmon that was included after one of the cable TV broadcasts of the film. If not, it should!

Always Be Closing!
Most people think of explosions, car chases and action/adventure films as guy movies. Well, maybe, but those are for boys. There's no car chase in this movie, no deaths and no guns. But it manages to hold your attention while telling its story of real estate salesmen. This is the quintessential guy movie. This screen adaptation of David Mamet's Pulitzer-winning play is incredibly stagebound, which was a stroke of genius: thus, the fast-paced dialogue and the desperate, macho facades of the characters become, and stay, the focus. This allows the amazing talents of the cast to flourish. Pacino and Lemmon are untouchable. Ed Harris is outstanding. Having just the four main characters makes the whole thing seem oddly forced at times. Baldwin's slick delivery of his ball-busting speech to the three underachieving salesmen, is a scene to remember. Highly recommended. ... Read more

Description

Royal Tenenbaum (Gene Hackman) and his wife Etheline (Anjelica Huston) had three children-Chas, Margot, and Richie-and then they separated. Chas (Ben Stiller) started buying real estate in his early teens and seemed to have an almost preternatural understanding of international finance. Margot (Gwyneth Paltrow) was a playwright and received a Braverman Grant of $50,000 in the ninth grade. Richie (Luke Wilson) was a junior champion tennis player and won the U.S. Nationals three years in a row. Virtually all memory of the brilliance of the young Tenenbaums was subsequently erased by two decades of betrayal, failure, and disaster. The Criterion Collection is proud to present Wes Anderson's hilarious, touching, and brilliantly stylized study of melancholy and redemption. ... Read more

Reviews (601)

A cast fit for a king.
Three words come to mind when trying to describe Wes Anderson's "The Royal Tenenbaums" in a positive manner: quirky, witty, and delightful. I also have three words for the film: long, laborious, and quirky (I say quirky twice because it works for and against the movie). As an exercise in subtle humor and acting zeal, Anderson's much-anticipated follow-up to his acclaimed "Rushmore" hits all the rights notes, but his style and storytelling are hit-and-miss, and the slight moments of comedic brilliance are few and far between.

If for nothing else, you must see "Tenenbaums" for its terrific cast, led by Gene Hackman as Royal Tenenbaum, the matriarch of a family destined for dysfunction from the minute he said "I do." The movie begins with his divorce from his wife, Etheline (Anjelica Houston), which has some serious effects on his already-otherworldly children, Chas, Richie, and Margot, the adopted daughter whom Royal sees fit to disclude from major family events. As the children grow in the education-oriented household of their mother, they go on to become great successes in their time, eventually going their separate ways into adulthood.

Picking up many years later, everyone is much older, and things have changed. Margot has lost touch with her play-writing ability and confines herself in the bathroom endless hours of the day. Chas sees it fit to hold emergency fire drills for his two children as a result of the death of his wife. Richie has been sailing around the world, all the while thinking of Margot and falling in love with her. Ethel is on the brink of marriage to her business partner, Henry Sherman (Danny Glover), and Royal is flat broke and in need of a place to stay.

I must say, I think this is probably the best ensemble cast for a movie since Paul Thomas Anderson's "Magnolia." Hackman is anything but lacking in his performance as a man who knows exactly how his family and friends feel about him, and doesn't give a second thought to it. He has a delightful way with words that makes Royal a real treat to watch, adding small touches of comedy to scenes that would otherwise be melodramatic. His scenes with the equally brilliant Houston are funny and engaging; Houston, after a somewhat lengthy absence from the screen, manages to employ a real sense of motherhood in her character, the kind of warmth and quirkiness that one easily warms to.

As adults, the Tenenbaum children are played by Ben Stiller, Luke Wilson, and Gwyneth Paltrow. Stiller, as Chas, exacts a frantic sense of paranoia that will later become the tie that binds him with his father, and carries it off with humor and zeal intact. Wilson, as Richie, is kind and caring, seeing people for their good rather than their bad; as Royal's sole companion throughout much of the film, he will try to use this to keep his family together. As Margot, Paltrow almost steals the show all for herself, playing her character's depression and restrained angst in a manner that brings to mind Thora Birch's character in "Ghost World."

The story hook comes when Royal announces his impending death, which gives him cause to seek out his family and reconcile with them within the six weeks he has been given to live. Of course, we soon know he is not really dying, but the change in him as a result of being surrounded by his family is quite evident, and his quest takes on a greater meaning. All the while, each of the characters is subjected to some part of their past, or their present fears and inhibitions, and must learn to realize them, face them, and overcome them. This allows the cast to really show audiences what they are made of, accepting the challenge of portraying each Tenenbaum's personal struggle realistically; of course, they succeed in doing so.

This is all done in an absolutely off-the-wall approach by director Wes Anderson, who employs such an offbeat feel that it almost becomes unbearable. I was tickled by the fact that no one hardly ever changes clothes throughout the movie... Paltrow with her single red hair clip, Luke Wilson with his headband and sunglasses. The opening credits and title sequences, the music (including the classic Peanuts' theme "Christmastime Is Here"), all strive to elevate the movie to a magical level, but the heavy reliance on quirkiness, as well as a stark absence of continuous comedy, all seems to overpower the potential that it has. It uses the wit of its cast to its advantage, but there is nothing within the story that will provoke a guffaw instead of a mere grin or a chuckle here and there.

Looking back on "The Royal Tenenbaums," I realize that my reservations about the movie are my own fault: I expected too much in terms of outright humor. The laughs here is subtle, which is a tough pill to swallow at times, especially when the material shows great comedic potential. Overall, I enjoyed the movie for much of its dry humor, its strong characterization, and its wonderful use of such a brilliant cast.

The Funniest in Years
Some said Wes Anderson got cocky. He had just directed two wildly popular indie films ('Bottle Rocket' and 'Rushmore') and wanted to do something big. With a big ensemble cast and a better budget, Anderson and co-writer Owen Wilson have delivered the funniest movie in years, and one that will definately be remembered.
Royal Tenenbaum (played with pinache by Gene Hackman) has spent the last 22 years of his life in a hotel after an ugly seperation from his wife, Etheline (Anjelica Huston). Etheline raised their kids in the house at 111 Archer Avenue with strange results; the children are brilliant, if not a bit eccentric. Chas was buying and selling real estate in his early teens, Margot (the adopted one) wrote successful plays and got a $50,000 grant in the 9th grade, and Richie was a tennis pro at a very young age.
Years later, after Chas' (Ben Stiller) wife dies in a plane crash that he survived, he moves back to the house at 111 Archer with his mother. When Margot (Gwyneth Paltrow) hears of this, she moves back as well, as she's unhappy with her marriage to the neurologist Raleigh St. Clair (Bill Murray). Richie (Luke Wilson), who has been traveling abroad on a cruise ship for many years, returns home also. Even childhood friend Eli Cash (Owen Wilson) comes back.
When Royal hears that everyone is back together, he wants to get to know them and make amends for his past inadequacies. This is not an easy thing, because the whole family (with the exception of Richie) distrusts him. So, he lies to Etheline and tells her that he is dying, and wants to spend the last 6 weeks of his life with the children. Chaos (and subsequent hilarity) ensues when Etheline's latest suitor, accountant Henry Sherman (Danny Glover), exposes Royal as a fraud.
This is in all actuality a dark comedy. There are several references to death and even a graphic suicide attempt. You're asking yourself, 'how can this be funny?'. To tell you the truth, you have to see it for yourself. Like TV's 'Everybody Loves Raymond', much of 'The Royal Tenenbaums' is predicated on reaction and subtlety. The quirky characters are endearing and the relationships between those characters are even juicier. for example, Margot is married to Raleigh, but is having an affair with Eli. Eli's best friend Richie has loved his adopted sister Margot "since forever". See what I mean?
If you enjoyed Wes Anderson's last two films, you'll definately like this one. Fans of Gene Hackman, Ben Stiller, or the Wilson brothers must own this movie. The acting is great, the story is brisk, and the comedy is off the charts. Add this to your collection today. You will NOT be disappointed.

sooooooooo freakin good
this is a great great movie. It's funny, touching yet stylish in the most stunningly odd way. Wes Anderson is a genius and the entire cast does an A+ job. I just love this movie soooo much!

A genuinely wonderful movie..
I usually prefer older movies, but this could possibly be my favorite movie of all time. The script it brilliant, it's hilarious and touching. There's sorrow in the humor that makes it seem very real. The movie is very observant of human nature, and very insightful. It's also accompanied by a wonderful soundtrack, that compliments the dialogue and camerawork beautifully.

the best benn stiller movie ever
I am a skeptic on some prticular actors and actresses, and it so happens that two of them were in the royal tenembaums. Of course I'm referring to Luke wilson, and ben stiller.

Stiller has done nothing for me since appearing in theres something about Mary. He falls into this habit of playing the same two characters in every movie. The nice quiet innocent character who alway seems to be thrown to the wolves. nut stuck in zipper, crap on your dates especially favorite loofa, etc, etc. And of course there's the Ben stiller who is just a total jerk. In tenenbaums, Stiller actually flexes his acting muscles creating a new image of him and lodging it in my brain. Wow!! i guess he can act.

As for Wilson i didn't favor him simply because of the god awful shanghai movies. I admit now that was unfair Luke Wilson has my respect now. Not that he cares, but hey.

Ok well enogh rambling the movie was excellent and the charcters were very well thought out, particularly Margot. I will agree with a former reviewer in that the film was a bit tedious, but you win some and you lose some. ... Read more

Amazon.com

To call Pearl Harbor a throwback to old-time war movies is something of an understatement. Director Michael Bay's epic take on the bombing that brought the United States into World War II hijacks every war movie situation and cliché (some affectionate, some stale) you've ever seen and gives them a shiny, glossy spin until the whole movie practically gleams. Planes glisten, water sparkles, trees beckon--and Bay's re-creation of the bombing itself, a 30-minute sequence that's tightly choreographed and amazingly photographed, sets the action movie bar up quite a few notches. And in updating the classic war film, Bay and screenwriter Randall Wallace (Braveheart) use that old plot standby, the love triangle--this time, it's between two pilots (Ben Affleck and Josh Hartnett) and a nurse (Kate Beckinsale) who find themselves stationed at Pearl Harbor on December 7, 1941, during what they thought would be a nice, sunny tour of duty. Then, of course, history intervened.

For the first 90 minutes of the movie, Affleck and Beckinsale find a nice, appealing chemistry that plays on his strengths as a movie star and hers as a serious actress--he gives her glamour, she gives him smarts. Their truncated romance--the beginning of which is told in flashback so we can get right to the point where he has to leave her to go to England--works, thanks to their charm. They're no Kate and Leo from Titanic (a strategy the film strives hard toward), but they're pretty darn adorable in their own right. Hartnett, as the not entirely unwelcome third wheel, squints bravely but makes only a slight dent in the film. Everyone else in Pearl Harbor--from Cuba Gooding Jr.'s brave navy seaman to Jon Voight's able impersonation of FDR--is pretty much a glorified walk-on, taking a backseat to the pyrotechnics and action sequences that keep the three-hour film in fairly constant motion. But when that action does take hold, Pearl Harbor is quite a thrilling ride. --Mark Englehart ... Read more

Reviews (1812)

'Pearl Harbor' a big misfire
From up to its pretty exciting 15-minute sequence as the Japanese bomb Pearl Harbor, 'Pearl Harbor' is a lumbering, barely involving film, which gives us a love triangle between two hunkish World War II fighter pilots, Josh Harnett and Ben Affleck and pretty nurse Kate Beckinsale.

'Pearl Harbor' tries to capture the atmosphere and engaging set up of 1997's better "Titanic" by setting up three star-crossed lovers, instead of the usual two. It fails terribly, but it's mostly scripter Randall Wallace's fault, which tries to balance three to four subplots by compromising the film's integrity and intelligence.

This 3+ hour film is obviously meant as a tribute to the people who died December 7, 1942 and has pretty nice cinematography, but the film itself is a shoddy-made puzzle in which all the pieces don't quite fit together.

The characters wallow in sentimentality and the film unsuccessfully tries to create atmosphere, romance and humor, but the film's bottom drops out in the final third, not only to reveal a plot full of holes, but a incomprehensible story told in bad faith.

Sorry, Bruckheimer. Nice try but no cigar.

September 11, 2001: Another "date that will live in infamy!"
"Pearl Harbor" is a movie of far greater importance after the terrorists attacks of September 11. We are now at war against ideologues committed to destroying our nation. Americans only a few months ago considered "Pearl Harbor" as merely a depiction of a bygone tragic era, but not particularly relevant to our present
concerns. Needless to add, this mindset is no longer embraced by the majority. Jon Voight brilliantly portrays President Franklin D. Roosevelt. You will have a difficult time remaining stoic and tearless when Voight gives tongue to Roosevelt's famous radio speech to the American people after the Japanese treacherous
December 7, 1941 assault on Pearl Harbor. "We are at war," declared the President and "we have been described as weaklings and playboys" unwilling to overcome formidable obstacles, and too cowardly to fight. Does this rhetoric sound familiar? History has been repeated, and once again we are challenged to bravely confront our enemies.

The cast that includes Ben Affleck, Kate Beckinsale, Cuba Gooding Jr, Josh Harnett, Alec Baldwin, and Jon Voight are fantastic. Michael Bay should be congratulated for directing this work of art. The lengthy battle scene ranks among the best of all time. Every moral person should also be taken aback by the scene
where a wounded seaman curses a Japanese-American physician who comes to his aid. Racial and ethnic bigotry was wrong in 1941, and must be wholeheartedly rejected today when some less than admirable individuals are tempted to blame their fellow Americans of Arab descent for the horror of just a few weeks ago. The
United States courageously and ethically faced its enemies over fifty years ago. We must do so once again.

The very fact that this film's creators relied so extensively on focus groups to guide the making of this film was a serious mistake. Both Liberal and Conservative commentators used this as an excuse to blast "Pearl Harbor" immediately upon its initial release. Many wrongly concluded that these marketing studies might be dismissed as a mere cynical attempt by the producers to increase their profits. I strongly disagree with this assessment, and instead strongly recommend that every citizen view this film at least once. It may very well be your duty to so.

Awesome deleted scenes
This is the DVD to get, it has the deleted scenes of the love affair between Doolittle (played by Baldwin) and Beckinsale - the child Beckinsale carries was actually Doolittle's, not Josh Harnett's - in this restored, original version

good but not THAT good
This is a good movie but not great. It's way too long and the actors are not really that good. The special effects are amazing to look at but it gets boring after a while. Jennifer Garner had a very small role in the movie. Why didn't she got a bigger part is beyond me. This unrated version is not that special only has a lot more gore/violence. Why did I waste time and money on this one I really don't know. If you love violence movies buy this now if now avoid it at all costs.

Pearl Harbore, and inaccurate
I must say that, when I saw this film. I was expecting a high intensity build towards the ultimate climax of the attack itself. Instead, we get the usual Hollywood love fest, Hollywood liberties on the truth (though I am not bothered by the liberties themselves, but sometimes the liberties are too ridiculous!) For example, some of the ships used in the movie to be hit by torpedoes are woefully modern, IE not of WWII time period. The Doolittle Raid, look at the aircraft carrier, it shows an angle that only modern nuclear ACC's have, back then the ACC's were long rectangler shaped vessels.

Lastly, I just found it boring and it was like the director was attempting to do a Titanic style story with fictional characters caught in a love triangle all the while the story builds towards the attack as a secondary mentioning. Just way too much Hollywood liberties taken against one of the darkest times for America, and I can't help but feel that the veterans, especially those who were there, should have been given something that respected them more.

I will say though, the attack itself is stunning, why I give it two stars... other than that this movie falls flat for me. ... Read more

Amazon.com

Taking off from an amazing true story, The Last Shot mines some pleasing inside-Hollywood gags about indie-film production. But this is no ordinary indie:An FBI agent (Alec Baldwin) sets up an elaborate ruse to sting some mobsters in Rhode Island, by picking a screenplay from the slush pile and financing pre-production. The movie will never be made, but the bogus production will lure the mobsters into the trap. The hitch is, the starry-eyed writer-director (Matthew Broderick), cast, and crew have no idea they're part of an undercover operation--the poor saps think their ship has come in and they're actually making a movie. Adding to the joke is that Baldwin finds himself enchanted by the moviemaking world and beginning to care about his unsuspecting stooge (Broderick is at his most engaging). Writer-director Jeff Nathanson (who scripted Catch Me if You Can) doesn't quite trust this funny set-up, sweetening the pot with too sentimental nudges, but the two stars develop a handy odd-couple chemistry. Toni Collette, as a has-been actress, and Joan Cusack, as a sharp-tongued agent, have some riotous moments. --Robert Horton ... Read more

Reviews (5)

Making Arizona In Rhode Island?!
The Last Shot is a very unique black comedy about the making of a fake movie as an FBI plot to capture the mobsters. Alec Baldwin is an unerdercover cop named Joe Devine pretending to be Lou Diamond, a movie producer who hires a wannabe screenplay wright(Matthew Broderick/Steven Zancht) to direct a movie based on his script entitled Arizona. This movie is based on a true story and it's funny to see how Broderick's character go through the whole experience without a clue his "directorial debut" is captured on candid camera the whole time.

Toni Collette is very striking as a washed up A-list nominated actress(Emily French) desperately seeking a career revival role, and she got the lead of Arizona after doing a dead on audition for Diamond and Zancht. Calista Flockhart plays Zancht's girlfriend who is an umemployed actress, and she ended up having to play a supporting role in Arizona. Other supporting players including Ray Liotta, and Joan Cusack who gets to deliver some very dirty lines. Both Alec Baldwin and Matthew Broderick turned in funny and convincing performances.

"We are going to make your movie!"
With its penchant for crude, mordant sardonic humour, the Last Shot would have to be of the funniest movies to be released in recent years. Remarkably clever in its re-imagining of a supposedly true story, The Last Shot also features a fine ensemble cast that includes Alec Baldwin, Matthew Broderick, Calista Flockhart Tim Blake Nelson, and the gorgeous Toni Collette.

Baldwin starts as FBI agent Joe Devine, who is trying to catch some mobsters on Teamster-related racketeering charges by posing as a Hollywood producer. He heads to Los Angeles to make a movie, any movie, and happens upon a screenwriter named Steven Schats (Broderick) who's penned a tear-jerker called "Arizona," about a woman with cancer combing the desert for the Hopi Indians before she dies.

When Devine asks the innocent and down and out Schats to direct the movie, he's overwhelmed. Maybe things will start looking up again, he lives near the city pound and he currently needs to get out of his apartment otherwise his struggling actress girlfriend (Flockhart) is really going to go mad at all the barking dogs.

Of course the whole production is a sham, but Devine needs to have a reason to get close to the Teamsters, who, are in Rhode Island, which means that he has to convince Schats to ship the shoot east, where "Arizona" can still be made, with Providence starring as the Grand Canyon. Schats doesn't understand how that could possibly happen but he rolls with it, desperate to make his dream of being a successful come true.

Much madcap hilarity ensures as the production team set up shop in Providence and score the big time with a "nominated" vile, irreverent starlet (an hilarious Collette). Even wackier is when the FBI gets carried away and begins to insist on having input into the movie's creative process. One thing leads to another and the FBI eventually catch up with the mob, just as the first scene of Arizona is about to be shot.

Director Jeff Nathanson displays real off-kilter flair, with an ability to find humor in, of all things, dog suicide, and urinating in a glass. His humor is at once shocking but also remarkably cheeky, and he knows how to pace his story well. The actors appear to be having a ball with the wacky dialogue, which stretches from loopy to the bilious. An unaccredited Joan Cusack is particularly hilarious, playing a crazed, cynical, potty-mouthed producer who lists among her accomplishments, that she once "dated the black guy on Hill Street Blues."

Although Broderick does his trademark wretched, innocent sad sack, he really makes you feel for his character, imbuing him with integrity and making us believe that really loves Devine for believing in him and his cruddy little movie.

Nathanson is also having lots of fun actually poking fun at the industry, and Los Angeles locals will really appreciate his efforts to create an absurd entertainment microcosm that is really a hilarious slant on the real industry. Playfully overwritten and over directed, and mostly a loveless letter to Hollywood, The Last Shot is full of pathetic people slouching toward fame, but who are also incredibly endearing in their ultimate love of movies.

The film is ultimately a movie about movie fakery, based on a true story about a bogus movie, but in the end, none of it matters because the fakery is all so incredibly well done. Mike Leonard May 05.

Satirical Take on Filmmaking. Inspired by True Story.
"The Last Shot" is a satirical but good-natured look at the film industry and the passion to make movies. It was inspired by a real 1989 FBI sting operation, in which an FBI agent posing a producer enlisted two unwitting filmmakers to make a movie in Providence, Rhode Island in order to net some mobsters. In "The Last Shot", ambitious FBI agent Joe Devine (Alec Baldwin) dreams up "Operation Dramex" to nail mobster Tommy Sanz (Tony Shalhoub) by bribing him to intercede with the Teamsters on a movie that Divine will pretend to produce. But first Divine will need a script. Stephen Schats (Matthew Broderick) has been trying to stir up interest in his script, called "Arizona", for years while managing a movie theater and running a kennel for celebrities' dogs in Hollywood. He thinks his dreams have finally come true when Joe offers to finance the film, with Stephen allowed to direct, no less. Devine doesn't actually want to make the movie, but only to use pre-production to trap Sands. But Devine and his FBI colleagues get caught up in cinematic and professional ambition and end up taking the film and the sting operation farther than they had intended.

"The Last Shot" sends up the entire film industry, from Hollywood players to aspiring producers to writer wannabes. It even pokes fun at the vaunted passion to create art. Writer/director Jeff Nathanson's decision to spare no one is one of the film's strengths. Another is the fantastic cast. Alec Baldwin is perfect, and the depth of the supporting cast kept surprising me. Toni Collette is very funny as a screwed-up actress and former "it girl" desperate to resuscitate her career. Calista Flockhart is Steven's actress girlfriend even more desperate to start a career. Joan Cusack parodies a television producer recruited to teach the FBI about the movie business. Ray Liotta is Joe Devine's brother and FBI superior. Maybe only big fans of film and of filmmaking will find "The Last Shot" hilarious, but, if that's you, you won't want to miss this all-out send-up.

The DVD (Buena Vista 2005 release): Bonus features include a featurette about the true story that inspired the film, a variety of material that didn't make the final cut, and a audio commentary. In "Inspired by Actual Events" (12 minutes), FBI agent Garland Schweickhardt and former filmmakers Gary Levy and Dan Lewk talk about their experiences with the real 1989 FBI operation on which the film was based. "Robert Evans Presents" (2 minutes) is a few scenes in which legendary producer Robert Evans provided narration for the film that was eventually cut. You can choose to view the film with the narration or just watch the narration by itself. "Joan Cusack's Montage" (1 1/2 minutes) is a few clips of Cusack's performance that didn't make the final cut. There are 3 extended scenes and one deleted scene available. The audio commentary by writer/director Jeff Nathanson and actor Matthew Broderick is casual, with a lot of comedic banter, but also contains information on directorial decisions and filming. Captions for the film are available in English. Subtitles are available in Spanish and French.

Can't remember when I laughed that hard before!
Okay, so I saw this movie a looooong time ago at a screening when I lived in L.A., and thought the movie was incredibly funny.I've been waiting for the movie to come out, telling everyone that they had to see it, and am a little surprised (and disappointed) that I never heard of it being in the Theatres.

It's not the usual humor that I like, but I can't remember a time throughout the whole of it that I, and the rest of the audience, wasn't laughing hysterically.In fact, I can't remember a movie that I've ever seen that I laughed that hard at.The only part of the movie that I didn't like was the ending, but I am pretty sure that they have changed that part of it, because no one liked it.All in all, it really is a fantastic movie for those times when you need a nonstop laugh-fest!It's just a shame that (to my knowledge) it never made it to the theatres!

VERY HILARIOUS!!
This is Matthew at his best! This movie is very hilarious. It is actually inspired my an actual true story. It is very funny from beginning to end. If you like Matthew Broderick, you will really, really like this movie. ... Read more

Reviews (27)

Absolutely GREAT for SNL fans and collectors!
This is one of my favorite things to watch over and over again that i never get sick of.

Before i watched this, i was all into the 90's stuff like Adam Sandler and Norm MacDonald (which is still very good!), and i always thought "The 70's stuff is so old, and the humor was so much different back then. i hate it". But after i watched this, i absolutely fell in love with the first 5 years! I've always loved Chevy Chase and Steve Martin, but this is truly some of their funniest work. Gilda Radner is such a sweetheart. It was cool when Molly Shannon and Cheri Oteri gave her a tribute, but i wish it would of been longer. Belushi is a side spliter too.

If you are an SNL fan of ANY era of the show, you'll want to pick this up! A must-have for your dvd collection.

I Will Feed Your Fingertips to the Wolverines...
This disc boasts an impressive collection of highlights from the SNL archives, joined together by (for once) some actually funny links. Tom Hanks is the foil of a tried-and-true SNL convention--the host interrupted by audience members--that brings out the comedic best in Jon Lovitz and Christopher Walken. (By the way, if you missed this year's Walken-hosted show, be sure to catch it in rerun. It was the best of the season so far.) The show even contains some sentimental tributes to departed performers. The beauty of these is that they are all done tastefully and they are, if you are old enough to appreciate them, quite moving. The live musical performances are quite good, particularly Elvis Costello backed by the quite intent Beastie Boys. So good, in fact, that by the time this lengthy (but never long) show ends, you might not even realize that the DVD does not include the musical highlight segments that were part of the original telecast. Too bad, otherwise this would be a five-star disc. There is one segment included in the program that did not make it to air--an interesting behind-the-scenes look at the creation of a show. This may not be a disc you'll watch often, but it's an excellent sampling of what is now--gasp!--a TV institution. And that's not a put-down.

Don't Let The Beginning Throw You Off....
Don't let the beginning throw you off. Yeah, it might want to make you shoot yourself, but trust me, it gets 110% better!!! Just skip the first chapter and everything will be A-okay!

The way it works for the most part is that for every half decade or so they have a segment of SNL clips. Of course, some chapters are better then others, because from what I know, NBC was about to cancel the show in the 80's, it got so bad, but the show is chock full of classics, such as the Adam Sandler Songs, the Eddie Murphy classics (like "Mr. Robinson's Neighborhood"), and who could forget all those commercials? Some of the commercials shown are "Schmitt's Gay", "Cluckin' Chicken", and "Oops, I Crapped My Pants". There's even a "Behind the Scenes" roll which is awesome!!! Oh, I could ramble on about how great this DVD is all day!

So, if you're a dedicated SNL fan, YOU JUST CAN'T GO WRONG WITH THIS DVD!!!! It's worth every cent!

Stop releasing the Best of dvd's
The studio needs to stop releasing the best of SNL and give us what we want complete seasons. Stop teasing us with this crap Best of SNL and give us the hole freaking season, so we can truely enjoy the show.

How can people say that mad tvs better.
Some do. How? I don't know. But all I know is that this is hilarious. The only reason that I didn't give it all 5 stars is because of all the profanity. It seems like the ausidence started cracking up every time someone said ass. Other thsn that its a great show with really bad lanugage. ... Read more

Reviews (10)

INCREDIBLY AWESOME!!!!
I LOVED THIS MOVIE!!!! THE BEGINNING HAD THE SPONGEBOB SQUAREPANTS THEMESONG AND AFTER THE THEME SONG THEY HAD SPONGE BOB DANCING A JIG!!!! IT WAS SO COOL!!!! I LOVED IT AND THE BIGGER PINNAPLE WAS DANCING SO HARD IT WENT INTO OUTER SPACE TO THE PLANET NEPTUNE AND BECAME A ROAST CHICKEN!!!!

I LOVE SPONGEBOB
i saw the spongebob movie on the night it came out and i was impressed. the show got me impressed too because it's funny, cute, and awesome. it made me proud in my heart. spongebob will be my favorite show, movie and favorite charactar.

Looks Fantastic!
I have absolutly loved Spongebob Squarepants ever since the tv show was first aired and have been waiting for the movie ever since. The trailers for the movie are really funny! I will be there on opening day, no matter what!

SPONGEBOB!!!!!SPONGEBOB!!!!!SPONGEBOB!!!!!SPONGEBOB!!!!!
I'M READY! (...)FOR THE GREATEST BLOCKBUSTER MOTION PICTURE EVENT OF THE LAST 2 CENTURIES. I WANT TO MOVE TO BIKINI-BOTTOM AND LIVE NEXT TO SPONGEBOB, PATRICK, AND SQUIDWARD AND I WANT TO WORK AT THE KRABBY PATTY AND GIVE MY WHOLE PAYCHECK BACK TO MR. KRABS AND THEN CRASH MY BOAT AT BOATING SCHOOL AND GET MY DRIVING TEACHER THROWN IN JAIL AND HAVE A KUNG-FU FIGHT WITH SANDY CHEEKS AND LOSE TO A GIRL AND GET LOST AND DRIVE A ROCK BACK HOME AND FEED MY PET SNAIL HUGE, GIANT, OVERSIZED CANS OF CATFOOD!!!!! AND I'M 30 YEARS OLD, SO MY WIFE CANNOT SAY NO.

CAN'T WAIT!
I can't wait untill SpongeBob the movie comes out, i've been watching it every day and night on T.V, Me and my friends have stickers, magnets, pencils, everything of Spongebob. We all think SpongeBob rocks, not forgetting Squidwert of course.
Thanks, love Dragon
xxx
P.S Only 5 months and 7 days and counting untill it comes out! ... Read more

Amazon.com

A mixed bag that received mixed reviews when released in 1994, this lavish film works overtime to honor the spirit and style of the vintage pulp novels and radio shows that made The Shadow a household name in the 1930s and '40s. Alec Baldwin plays the Shadow, a.k.a. Lamont Cranston, who arrives in New York from his decadent life in Tibet, fully reformed and disciplined in his ability "to cloud men's minds." A crime fighter who lurks in the dark recesses of the city, the Shadow faces his most deadly challenge when Shiwan Khan (John Lone), the last surviving descendant of Genghis Khan, hatches a plot to conquer the world. The scheme involves a madman (Tim Curry), a hapless scientist (Ian McKellen), and various traps designed to catch and kill the Shadow, who must also contend with his blossoming romance with Margo Lane (Penelope Ann Miller), a slender beauty capable of a little mind play of her own. The movie's art deco production design turns out to be a scene-stealer when the plot drags, and in the title role Baldwin is never given enough good material to create a compelling character. Still, The Shadow is true to the legacy that inspired it, admirably avoiding any conspicuous compromise of its 1930s style and setting. If you can't get into the story, you're sure to be hooked by the look of the production, which is never less than dazzling. --Jeff Shannon ... Read more

Reviews (78)

Moody Fun To Tickle Your Psyche
...though how in the (blank) could Universal have released this on DVD and NOT done WIDESCREEN? The DTS transfer is as crisp and clear as you'd ever want, but this is a movie of astounding visual scope that cries out for a widescreen version. (I have this movie on VHS, DVD, and Dolby Digital Laserdisc, and the DDLD is by far the best of the three, because it's widescreen and the DD is amazingly crisp for LD.)

Still, though, there's a lot to like about this movie: Alec Baldwin is dead-on perfect as Lamont Cranston and his darker side, The Shadow; Baldwin can go from charming to chilling with one flex of his facial muscles, and that ability is nicely on display here, even if The Shadow is buried under a hat and cloak and heavy makeup. Penelope Ann Miller looks gorgeous as Margo Lane, the blonde bombshell with a brain to match, but isn't challenged much by the material. John Lone chews up scenery as Shiwan Khan, last descendent of Genghis Khan and darker reflection of The Shadow's edgy goodness. The art deco sets are terrific; the music is rich and moody; the visual scope of 1933 New York City is breathtaking.

I recommend this one with qualifications: If/when a widescreen version comes out, get it instead of the other DVD or VHS versions. But the movie itself is well worth seeing, particularly if you're an old-time radio fan.

The seed of wide screen adaptation bears bitter fruit!
I want to like this film completely....to give it five stars. It really is well produced and acted, but I can't get my head around the portrayal of Lamont Cranston as a former opium dealer who is converted by a young, prodigal Dalai Lama into the hero we know as: The Shadow.

Alec Baldwin does a good job as Cranston, playing the part with wit and an entertaining offhand quality that suits the part. However, I'm not so sure he portrays the Shadow himself...that's DEFINITELY one of his longer-nosed brothers in the transitional scenes, and the make-up obscures the Shadow actor's real features completely. The Shadow character also doesn't "move" like Alec Baldwin does as Cranston. We almost never see any closeups of the Shadow's face as well.

However, storyline-wise, acting-wise and as pure entertainment, this was one of the better popcorn movies of 1994. Penelope Ann Miller is a competent Margot Lane, the art direction is excellent, and there's a dolly shot in here that will have just about every movie tech-freak baffled.

John Lone's portrayal of a descendant of Genghis Khan with equal ability to Cranston's is suitably arrogant and cold-hearted, a mindset I find a LOT of Lone's character's possessing over the course of the last decade or so...

Ian McKellen's first major popcorn movie role was here too, playing Margot's father, a sceintist, and Tim Curry, (AGAIN!) plays a smarmy, foolish scientist colleague of McKellen's that hooks up with Lone's megalomaniac Khan descendant.

When you get right down to it, this movie is FULL of moral dilemnas....Besides the question of Lamont Cranston's opium connection, there's the rather sick fictional conceit that an oriental could be responsible for the creation of the atom bomb, and the way Lone's Khan is defeated in the end is VERY cruel! Perhaps this is payback for the character he played in "The Moderns".

Other players in the movie are Jonathan Winters and Peter Boyle, Winters playing Cranston's Uncle, the chief of police, Boyle playing one of The Shadow's sidekicks. You'll also probably recognize Arsenio "Sonny" Trinidad from "Batteries Not Included" as one of Khan's henchmen.

All in all, a VERY interesting flick.

What Evil Lurks in the Heart of Men...The Shadow Knows!
"The Shadow" was a popular radio program (before television sets were made for the home). It began on the Dectective Story Hour on July 31, 1930 as a character in the story. James La Curto was the voice 1930-31 and then Frank Readick Jr (1931-37), Orson Welles (1937-38), Bill Johnstone (1938-43), Bret Morrison in 1943, John Archer in 1944 and Bret Morrison again in 1945-54. The last radio program of "The Shadow" was broadcast December 26, 1954.
Two motion picutres were made with Rod La Rocque as "Lamont Cranston"/"The Shadow", THE SHADOW STRIKES (1937), INTERNATIONAL CRIME (1938). They also made a movie serial in 1940. In 1958, Richard Derr played the role in INVISIBLE AVENGER (1958).
In 1994, they tried to resurrect the character of "Lamont Cranston" with Alec Baldwin in "THE SHADOW" (1994). Imagine the Invisible Man and Kung Fu in the land of film noir. And oh yes, the rainy mist and full moon. While on a case searching for the chinese and there taste for opium, Lamont is captured by the "emperor". He is spared and taught mystical powers. he is now able to continue finding and fighting the crooks and keeping his own identity a secret.
Also in the cast: Johnathan Winters, John Lone, Penelope Ann Miller, Ian McKellen and Tim Curry.
No extras, no bonuses on this DVD.

It's FULL SCREEN.
Let's say the movie deserves 4 stars at least. It's beautiful and the plot stays true to the original characters. Whatever you may think of Alec Baldwin's acting ability it's still a good movie. But the DVD is an old style, barebones, FULL SCREEN version. It's crap. The only reason you should buy this is that you can't wait to see it one more time and it's cheap...otherwise get the even cheaper serials like the Invisible Avenger and wait for the Special Edition.

"The Shadow"
A film of grandiose design with a camera that can't capture it. From beginning to end, we're constantly (and painfully) aware of the great film it might have been had it been directed with more patience and a better sense of rhythm. As it is, the film simply has no drive, no forward charge to it; it's as if it's standing still throughout the entire running time. Alec Baldwin, in the title role, is as bland as he's ever been, though it's not as if the script gives him anything real to work with. There's nothing plot-like here, and things are not helped by groan-inducing attempts at humor. It's not an utter loss: the production design is marvelous, and the scene where Tim Curry confronts the Shadow in an abandoned hotel has a genuine intensity that you'll wish had been present throughout the film entire. Also featuring Penelope Ann Miller, Ian McKellen (who's largely wasted), Jonathan Winters, and Peter Boyle. ... Read more

Reviews (652)

Great Visuals, But Not Much Plot.
I had heard mixed reviews before watching the film on tape so I wasn't sure what to expect from FINAL FANTASY: THE SPIRITS WITHIN. A lof of friends of