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Despite its melodramatic title, which carried on a '50s doomsday naming convention, this taut 1961 English science fiction thriller offers an object lesson in the power of story over special effects. When both the Soviets and the West detonate nuclear tests simultaneously, the seismic double whammy jolts the earth off its axis and onto a new orbit sending it fatally closer to the sun--a fate that writer-director-producer Val Guest views from the street-level perspective of its principal characters, rather than an off-world vantage point. The street in question, however, is London's Fleet Street, the venerable hub of its newspaper and tabloid publishers, and the hard-nosed reporters growing realization that their number is up carries its own stark punch. Edward Judd is Peter Stenning, a rugged, appropriately grim reporter, Leo McKern is tough but compassionate editor Bill Maguire, and Janet Munro is Stenning's love interest, in an elfin, sexy turn that's a striking contrast to her best-known turn in Disney's Darby O'Gill and the Little People. With an effects arsenal that consists largely of a spray bottle to apply beads of "sweat," Guest and his small but crack cast are surprisingly effective, and the cold war plot hook still works, thanks to its uncomfortable proximity to more contemporary environmental terrors. --Sam Sutherland ... Read more

Reviews (17)

A definite must-see!
This is one of my all-time favorite films, available at long last in widescreen format on DVD! Intelligent and classy, The Day the Earth Caught Fire isn't my usual so-bad-it's-good fare, but a movie you'll actually enjoy watching.

Reporter Edward Judd uncovers a nefarious cover-up on the part of the government: the Earth's been knocked out of orbit by atom bombs, but the powers that be want to keep the lid on the news to avoid mass panic...which of course happens anyway. Janet Munro sets the screen on fire as the sexy temp who spills the beans to Judd, doing her first nude scene after leaving Disney. Leo (Rumpole) McKern as Judd's fellow reporter is his excellent, lovably irascible self. Some very effective special effects

The DVD includes commentary by producer/director/co-writer Val Guest, and features tinted opening and closing scenes as shown in some theaters.

Very highly recommended.

I've got the marshmellows...
The Day the Earth Caught Fire (1962) has impressive credentials, given that it was co-written and directed by Val Guest, the man who brought to the screen such classic films as The Quatermass Xperiment (1955) and The Abominable Snowman (1957).

Peter Stenning (Edward Judd) is a down on his luck newspaper man, struggling with the difficulties of his recent divorce, maintaining a relationship with his young son, and taking up the drink a bit more often than he probably should, all having a negative effect on his once upwardly mobile career and his life in general. To top things off, London begins suffering a heat wave like it's rarely seen before. Not only that, but it seems all around the world strange phenomena has been occurring from flooding, earthquakes, drought, freak snowstorms, typhoons, etc. All coming on the heels of news that within the past week the Soviets and the Americans both detonated atomic devices larger than had ever been seen before.

Leo McKern plays Bill Maguire, an associate and close friend at the newspaper where Peter works, and begins to develop a theory about what's going on, but is not able to confirm anything as the government has kept a tight lid on what it knows, handing out canned responses to an ever questioning press and public. Peter, while trying to squeeze some information out of a government office, meets Jeannie Craig (Janet Munro), a worker within the office who sometimes operates the switchboard receiving calls. Peter starts putting the moves on her, but she isn't very responsive...at first.

Soon the temperature starts rising, lakes and rivers start drying up, and government enforced water rationing measures are put into effect. Facts about the current condition are sketchy as the government is still not very forthcoming, but Jeannie overhears some startling information she is hesitant to share, but is unable to keep it to herself. She shares it with Peter, after making him promise that it would only be between them, to which quickly releases the information to his newspaper. One may think Peter quite the cad, but given the enormity of the information, he really had no choice. Jeannie finds herself in hot water as she is discovered as the 'leak', and Peter finds himself on the outs with Jeannie for the betrayal. What was this startling information? What is the government hiding? What's causing the all the natural catastrophes? It's not too difficult to figure out, but the film does offer a few surprises you may not see coming.

Despite the low budget, director Guest does an amazing job creating a world on the verge of an apocalyptic nightmare. The focus on the newspaper and its' staff, working feverishly to uncover facts and report accurately while the world is falling apart around their ears gave a unique view into the genre. The main characters in the film were nicely developed, but not always likeable, adding a realistic sense. Also, the documentarian style used in many of the scenes served nicely to give the viewer more of a sense of dread, as if this was something that could really happen, or was really happening. Shot primarily in black and white, there are a number of scenes at the beginning and the end in color, but use an orangish gel to create a creepy and oppressive effect. The effects are decent, but are used in a complementary effect, taking a back seat to the substantial, intelligent, sparkling and well thought out plot.

The wide screen print provided by Anchor Bay Entertainment looks beautiful, and the audio is quite good. The listing of features on this site claims a full screen format is available here, too, but I didn't see it. Special features include a commentary by director Val Guest and journalist Ted Newsom, TV spots, a theatrical trailer, radio spots, a still gallery (with a couple of pretty racy photos of Janet Munro), and a biography of director Val Guest. If you're looking for big bang effects to cover an inconsequential plot, like the more recent films Independence Day (1996) or The Core (2003), then you'll be disappointed here. If you're looking for an effective, thought-provoking science fiction thriller with lots of meat and little filler, then this is a great choice.

Cookieman108

A disaster classic from England...
With the summer hoopla of the end-of-the-world saga "The Day After Tomorrow" smashing theaters, I'm reminded of one of the great disaster films of all time. You probably haven't heard of the 1962 flick, as it was made in England of all places. But it was a brilliant little suspense drama, told from the viewpoint of a bustling London newsroom. Called "The Day the Earth Caught Fire, this terrific disaster drama did not have great box office success, but critics rightfully regarded it as a diamond awaiting discovery. The special effects are minimal, as we see littered abandoned streets, thick London fogs, a few burning buildings and drunk beatniks dancing on cars.

The beauty of this film is emphasis on story and character rather than special effects. British science fiction from this period leaned towards respectability, and "The Day the Earth Caught Fire's" writer/director Val Guest was responsible for many of these films. His "The Quatermass Experiment" began the trend in 1955, and he continued with "Quatermass II: Enemy From Space" (1957) and "The Abominable Snowman" (1957).

"The Day the Earth Caught Fire" has been a favorite of mine because most of the intense drama is played out in the confines of the newsroom. Edward Judd plays a down-on-his-luck reporter suffering the trauma of divorce, writer's block and alcoholism. His buddy and mentor, wonderfully played by Leo McKern, covers for him and even writes a few stories under his friend's byline. The dialog crackles in "The Day the Earth Caught Fire," and alert viewers will find themselves rewinding the film just to catch lines a second time. Witty conversations move at a quick clip, reminiscent of Howard Hawks' classic overlapping dialog in "The Thing" (1951) or "His Girl Friday" (1940).

Judd stumbles upon the story of the century as he discovers a paranoid meteorological scientist attempting a cover-up. With temperatures rising to record numbers, twisters forming in London and floods wrecking havoc across the globe, Judd realizes something is amiss. It appears the Soviets and the West detonated nuclear tests simultaneously, and the double-barreled explosion knocked the earth off its axis. Our doomed planet is moving closer to the sun.

Judd finds time to romance the lovely Janet Munro, a part-time phone operator at the newspaper. The scene where she and Judd consummate their attraction is surprisingly sexy. Due to an oppressive heat mist fog which shuts London down, the two fledgling lovebirds find themselves stranded at Munro's apartment. With temperatures hovering around 90 degrees, they strip to their underwear as night begins to fall. A bedside phone rings, Judd speaks to the newspaper, and the sweaty pair end up in each other's arms.

I love the frantic activity of the newsroom as reporters scurry to make deadline. These British reporters go about their job with energetic professionalism, the scenes as realistic as any seen in the classic newspaper film "All the President's Men." Arthur Christiansen, an actual newspaper editor, plays himself. He has the best line when he asks a reporter for a story. The reporter snidely replies, "Isn't it too late to still be writing stories?" Christiansen answers, "It's never too late for a good news story well written."

"The Day the Earth Caught Fire" predates global warming and other environmental terrors by several decades. It's a shockingly good film for those unacquainted, with some of the best dialog ever written for the genre. By most accounts, "The Day After Tomorrow" is all special effects and little dialog. With "The Day the Earth Caught Fire," you get all dialog and little special effects.

It's never too late for a good film well written.

Hammer sometimes made good movies....
Val Guest's script and direction are effectively handeled in this movie, that looks a bit more like an expanded Twilight Zone episode, rather then a movie, but the strength of the screenplay and cast make this a good movie to watch as the Earth's days are numbered in a story that is an effective protest against nuclear weapons testing.

A 1950s Story for Our Times
I saw this film as a 15 year old in 1958 living in a west-of-London suburb and, with the Campaign for Nuclear Disarmanent movement at its height, it resonated as loudly as a church bell. Not only that I was fascinated by how newspapers operated and this film gave me a, probably eroneous glimpse, inside that world, the film laid out a highly convincing scenario. Yes, the film suffered from a massive lack of budget but the British film industry was in crisis (when isn't it?) and there were no bankers for this type of honest story. And yes, Britsh actors were just coming out of the Noel Coward stereotype and finding their angry young man 'Look Back in Anger' feet, so weren't the hottest acts in town but this film made its own small contribution to honesty in acting as well as story telling. It's as much an anti-nuclear arms/war classic as "On The Beach". It's brilliant. ... Read more

Reviews (21)

ALFIE!
Altoghter now..."What's it all about...ALFIE?" This 1966 film directed by LEWIS GILBERT stars MICHAEL CAINE as Alfie, a wonderfully shallow WOMANIZER who is trying to figure out what life is, well, all about! Actually this is an excellent SATIRE of the SWINGING SCENE in England in the SIXTIES! Also featuring SHELLEY WINTERS and DENHOLM ELLIOTT, along with MILLICENT MARTIN, JULIA FOSTER and JANE ASHER as the women left in Alfie's WAKE! Unfortunately, there are NO EXTRAS besides the trailer on this DVD, because this film deserves more than the bare minimum treatment!

The Movie That Launched Michael Caine
Most huge movie stars have a movie which launched them onto a bigger career path where they never had to look back again. "Alfie" was that movie for Michael Caine just as the "The Graduate" did it for Dustin Hoffman in that same '60s era. Caine plays a Cockney philanderer who flits from woman to woman in one night stands. He is not attractive necessarily though to female viewers who will find his lower class bent offputting. His lifestyle will come off as tawdry at best to many of these viewers. Caine's brilliance in this role though is that his way of talking to you the viewer, speaking directly into the camera conversationally throughout the movie, draws you into the character of Alfie, wanting to know what makes him the way he is. ("What's It All About, Alfie?" was its famous song and is the question which occupies the viewer.) Although you do not sympathize with Alfie, you come to be fascinated by him. Shelly Winters also renders a noteworthy performance as a well-to-do woman Alfie dallies with for her money. I've read that Michael Caine himself in real life comes from origins similar to Alfie's and that the Cockney voice he uses throughout was the dialect he grew up with as a boy.

A pointless grim tradgedy, No comedy here. A waste.
Just as the pseudo protagonist wastes his life and those around him, he spreads the misery to the audience. To spend 2 hours with a man that refers to woman as an "it" rather than she wastes 2 hours of your own life. The good performances only serve to highlight the bad writing of the flick.

The enduring sport of pursuing the tenderest prey
Alfie is the quintessential cad. He's so charming and good-looking that foolish birds flutter about him as soon as he speaks. Very few actors have the charisma to effectively pull this kind of magentism off. Michael Caine makes trashing the dreams of his conquests into a veritable science. He knows he doesn't want to have to work for anything these hungry gals will eagerly do for him. He gets good as long as the getting's good--and then he gets out. Of course, this film doesn't let him flit about. He faces danger, terror, and the hurtful side of human existence he's been so desperate to stave off. It gets him like it gets all of us eventually. It is this development that lends Alfie a dash of wisdom to go along with his easy manners and flashy grin. Of course he always had it. It just wasn't useful before. In other words, suffering has allowed him to actually feel like a person. Still, there is no doubt that he's going to give it another go as soon as he sees one he fancies. He isn't reformed. He just went through a rough patch. Birds are his game. Nice suits, decent food, a bit of money. He doesn't have to ever grow up and take responsibility for anything as long as he plays the game the right way. He'll never have to face his Self and what he is really worth. What it means to be alone with nothing to solve it. He's already accepted the emptiness of what he does. His coldness. His fear of their pain. He'll says he's not a wolf, but he devours them just as ravenously as if they were his prey--discarding their carcasses as soon as he's sated his appetite on their white, quivering flesh. Some men were born to be so loved because of not despite their abject cruelty. It is a gift, perhaps.

Vivien Merchant ("The Maids", "Accident", "Frenzy") radiates prim carnality as Lily. She is easily the most "proper" lady in the film--and subsequently saddled with a sick husband and three kids. She's too much for Alfie--and far too hungry. Shelley Winters is a scream as the hostess with the mostest. She commands the screen with as much veracity as Caine. Her fangs prove to be a bit too much for Alfie once they are bared. Denholm Elliot as the abortionist has a few minutes of screentime--but he makes the most of them with a solid, commanding turn.

This is exquisite entertainment. It gets terribly dark in places but such is life. 5/5.

Overall, a fine film.

'Alfie' is one of the best British 60's films
Michael Caine plays the title role to perfection. Alfie is an attractive, sexy, but shallow and obnoxious playboy who goes about his business of womanizing while frequently turning to address the audience with his views, philosophies, justifications, etc., so that you get a sense of shadowing him like an invisible imaginary friend he's always talking to. He has very little respect for women and he's every mother's nightmare of the type of fellow she would not want her daughter involved with. Some may find the film disturbing because Alfie is such a rotten person, but the unfortunate fact is, he is realistic. Almost everyone has known men who behave just like him, just as everyone has known wonderful 'nice guys' like several of the male characters who appear in contrast to Alfie's type.

Alfie seems to be in a constant battle with himself to remain insensitive, uncaring, and focused only on an 'empty sex is everything' point of view. He carries on affairs with married women who yearn to run away with him, and at the same time with single girls who'd do anything to pry a commitment from him, and he makes a few people pregnant along the way. Every female he meets is desperate to get him for a serious partner and he is indifferent to them all. Irony comes when he meets and finally falls for someone, at last wishing to commit himself. The object of his desire is a flashy, worldly older woman (Shelley Winters), and the problem is, she is a female replica of himself who uses men and views them with the exact same disregard he has for women. To her, Alfie, 'the bloke all the other gals are dying for', is just another meaningless piece of sexual action, and thus, he ends up getting a good dose of his own medicine.

The DVD is beautifully clear, almost 3-dimensional. I've never seen it with such clarity! And yes, as someone asked below, the great hit song 'Alfie', sung by Cher, is indeed played with the end credits. I've heard that the British release of the film had it sung by Cilla Black, but the American DVD has Cher's version, as did the American theatres. ... Read more

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The Quiet American proves that elegant and intelligent filmmaking can be emotionally powerful. Michael Caine plays Thomas Fowler, a British journalist in 1950s Vietnam with a lovely Vietnamese mistress named Phuong(Do Thi Hai Yen) and a jaded view of the political strife teeming around him. He befriends a seemingly innocuous American named Alden Pyle (Brendan Fraser), who falls in love with Phuong--and slowly, Pyle's real purpose inVietnam becomes revealed. Fowler finds that, to hold on to the carefully balanced life he's created for himself, he must make choices he's long avoided. Caine and Fraser are both superb and give a human face to complicated politics; as a result, The Quiet American manages to becompelling as both history and a story about very specific people embroiled in a very personal conflict. An impressive film from director Philip Noyce (Rabbit-Proof Fence, Patriot Games). --Bret Fetzer ... Read more

Reviews (92)

Caine scores again
Michael Caine gives yet another outstanding performance in "The Quiet American," Philip Noyce's 2002 adaptation of the Graham Greene Cold War novel (the first movie version was released in 1958). Set in 1952 Saigon, the film features Caine as Thomas Fowler, a world-weary British journalist who's been sent to Vietnam to cover the attempt by colonial French forces to hold back the communist insurgence from the North. But Fowler has a problem. Despite the fact that he is a reporter, he freely admits that this country exerts a sort of magical hold on him and that, in order to maintain that image, he must will himself to look beyond the ugliness and strife that are tearing the country apart. In fact, reporting is the last thing on Fowler's mind. He is even madly in love with a beautiful young Vietnamese girl who lives with him. When his publishers back in England threaten to call him back, Fowler realizes that he must become more actively engaged in the events around him if he hopes to be allowed to stay.

One day he meets Alden Pyle (Brendan Fraser), an American eye specialist who falls in love with Fowler's girl. Even though they are drawn together by much that they have in common, Fowler and Pyle soon become rivals for the woman, though by the end, their conflict has broadened to include the issues of war vs. peace, truth vs. deception, and personal feelings vs. political expediency.

"The Quiet American" is typical Greene in that it provides an intense personal drama played against the backdrop of geopolitical turmoil in an exotic setting. Both Caine and Fraser bring a quiet intensity to their scenes together. Caine, in particular, is brilliant at conveying the many moods of a man who wants to be left alone to live a simple life with the woman he loves but who knows that circumstances are conspiring to make such a life impossible. He is heartbreaking as he sees that ideal existence suddenly slipping away, with little he can do to stop it from happening. He also begins to see just how difficult it is to remain emotionally detached from the horrors happening around him once the atrocities begin to encroach on his world directly. Fowler also has to decide whether his final action is truly rooted in a humanitarian impulse or the product of wanting to eliminate a pesky rival from the field of competition.

In addition to telling a fairly solid story, "The Quiet American" also provides a glimpse into the history of its region, particularly showing how the Americans ended up usurping the role of the French in that far off, alien country in the late '50's and early '60's. This is reflected in a wonderful coda that chronicles the steps leading up to this slow handoff of power and responsibility.

But for all the film's various virtues, it is Caine's performance that is the real reason to catch "The Quiet American."

The seduction of American innocence
Of all the films I've seen over the years concerning America's involvement in Vietnam, THE QUIET AMERICAN is perhaps the most seductive.

It's 1952, and Thomas Fowler (Michael Caine) is the aging correspondent for the London Times in Saigon. France is in the process of being tossed out of Indochina, but the former doesn't realize it yet - Dien Bien Phu is still in the future - and its military fights on ineffectually against the communists. In the meantime, Fowler submits the occasional story to the head office while finding comfort in the arms of opium and his Vietnamese mistress Phuong (Do Hai Yen), a former taxi dancer at a local club. Then, one day, THE QUIET AMERICAN Alden Pyle (Brendan Fraser) shows up. Pyle claims to be with a medical aid mission in country to combat trachoma, a bacterial disease causing blindness. But what is Pyle, really? He seems awfully chummy with the conniving powers over at the U.S. legation. In any case, Alden very soon falls in love with Phuong, attention that neither the jealous Fowler can prevent nor Phuong finds particularly unwelcome.

Not since LITTLE VOICE (1998) has Michael Caine acted so powerfully, and this is perhaps his greatest role ever. An Academy Award nomination is deservedly due. Fraser is perfect as the clean-cut, idealistic and naïve Yank who may be something other than he claims. Yen is positively exquisite as the delicate Phuong. As Fowler puts it, his death would begin if he lost her.

THE QUIET AMERICAN, based on the Graham Greene novel, can be seen as an allegorical story of America's fledgling interest in succoring Vietnam from the Red Menace. After all, the French seem unequal to the task. Pyle perhaps comes to symbolically represent the American innocence that is seduced by Vietnam in the form of Phuong, and the former wishes "to save" the latter from the escalating national chaos. Only the tired and world-weary Fowler knows that this is impossible. He would "save" Phuong himself if he could, but he can't.

THE QUIET AMERICAN is an anti-war, anti-intervention film best viewed these many years after America withdrew from its Southeast Asian debacle and passions have cooled. This is one of the best films of 2002.

Beatiful film
I've always loved both Michael Caine and Brendan Frasier, but I was surprised when I saw them in a film together.

'The Quiet American' contemplates the effects of unbridled passion, jealousy, and war. The violence is not overwhelming, and not over-the-top gorey, but is honest, nonetheless. Besides the Vietnamese war that is omnipresent, the film focuses on the mental anguish that it causes, as well as the relationships that are the product of it.

Overall, a wonderfully acted film. I highly recommend!

Fine performances, good story, well acted; questions.
This adaption or adaptation of Graham Greene's novel, features fine performances, by Michael Caine, Brendan Fraser, and the lovely actress who played Caine's mistress Do Thi Hai Yen. Set in Vietnam, when the French were involved, the movie surrounds the relationship of these three people. It concerns the involvement of an American (Fraser) and a journalist (Caine), and their love for the same woman (Yen). It also poses questions about the involvement of the Americans (especially as the headlines are shown at the end of the movie-about U.S. troops and others). All is not quite as it seems with Fraser's character turning out to be a CIA operative and dealings with the regime, who it turns out is as bad as the communists it's trying to replace; with help from the Americans. The brutality that is set against the backdrop of the "love story" is truly horrific and leaves one (at the end of the movie) questioning the United States' involvement, like that of the French before, in Southeast Asia. [Not unlike our involvement now in the Middle East.] A well acted movie with stellar performances, as usual by Mr. Caine, who is among the premiere actors Britain has ever produced, to my mind, and who always brings a certain class and passion to his roles. Mr. Fraser is also good. Worth seeing.

A bright diamond of a film.....
The plot has been described well by a number of reviewers. This is a steadily paced film. In it we see the lives of its characters growing more complex and nuanced, precisely as Vietnam itself is undergoing the same. Michael Caine is in love with a beguiling, beautiful and disciplined Vietnamese woman, but tethered to a wife in England. In one remarkable scene, a man joins Caine at a table at an outdoor bar and laments to Caine the loss of his son, about which he's heard from home, but Caine cannot spare the time to listen, and appears puzzled by the story, perhaps doubting the credibility of his guest. A bomb explosion in the city is vividly captured. Everyone and everything is growing more difficult in this country, and to all expatriates the home country beckons in one way or another. A brilliant introduction to the country on the eve of a chaotic epoch. ... Read more

Reviews (18)

Recommended visually stunning epic drama with good acting.
"The Last Valley" is a visually stunning film. Set during the 30 years war in Europe during the 17th century the film depicts the brutality of the era and the distasterous consequences of religious intolerance. Author James Clavell makes a brave and ambitous directorial debut. Michael Caine gives an outstanding but underplayed performance. I find the movie gets better with each viewing. A number of people I know are pleased they made the effort to watch it and the reaction is always the same - how come they'd never heard of it before? It is well worth seeing - an undiscovered gem.

We Killed God at Magdaberg.
The film directed by James Clavel and based on his book is a dark and brooding peace depicting the world savage and cruel of the thirty years war. Michael Caine plays the Captain the leader of a band of mercenaries who come across a valley free from the ravages of war, plague and pestilence. Omar Sherif plays Vogel a teacher and traveller who too has in adversity stumbled across a promised land. The story that follows is a study of politics, love, war and religious dogma. Caine gives an excellent performance as a realist who understands only too well the nature of the latter, though finding solace and mutual education with the teacher Vogal. The films closing battle scenes could have been taken from a period woodcut of the time apocalyptic and hellish in there vision, the film stands today as worthy example of expressive rather than decorative historical drama.

Omar Sharif
Great movie. Well worth viewing. The theme reminds me of other movies and of course, reality. I was glad the priest got it, though it should have been before Erica. It's like all of mankind can never learn from its mistakes, we're only doomed to repeat them over and over, all in the name of a god.

Surprisingly Good
Another little known sword and battle picture, gets the DVD makeover and will no doubt ride in on the shirt tails of new releases like Troy. Don't be put off however, this is a very good and polished piece of filmaking, which deals (quite graphically for the year of production) with the savage and often futile 30 years War that raged across 17th Century Europe. This is not a typical story though, and interestingly deals with an uncomfortable but workable peace pact between, Michael Caine as the warring Captain (and mercenary army) and Omar Sharif as a local peasant. As this wafer thin respite gradually succumbs to the vagaries of the marauding soldiers, the story kicks up a notch with some good action sequences and thought provoking scenarios. Caine is superb throughout, and is something of an island of drama amidst what would otherwise be a plodding script, despite the pedigree of writer James Clavell (of Shogun fame). Overall a good solid war style movies that is more than a little different. Enjoy

Good Story Comes Short
James Clavell (author of Shogun)wrote this story specifically for this movie. The Thirty Years War presents a unique setting for a movie and showing how religious fanaticism with political ruthlessness brings out the worst in people. The Thirty Years War is by far one of the bleakest conflicts to have touched Europe prior to the world wars of the 20th Century. The war brought utter misery and devastation across a vast stretch of Europe during the early 17th Century; mostly fought by mercenaries who had about as much religious ethos as their petty patron kings.

The story follows the story of Vogel (Sharif), a scholar who flees the horrors of the war and comes upon a secluded and pristine valley untouched by the war and populated by Catholics. At the same time, a band of mercenaries led by their captain (Caine) fighting for the Protestants arrive at the same time wrek havoc. With blood about to spill and his life at risk, Vogel acts as an intermediary and is soon appreciated by the Machiavellic captain who sees the valley as a valuable base of operation. The pristine beauty and prosperity of the valley acts as a sharp contrast to the outside world wrought with pestilence and war. The mercenaries decide to an uneasy truce with the villagers to hold out for the oncoming winter. Tempers boil and rivalries begin to flare in all sectors.

Great plot development but the casting of Sharif as a German scholar leaves much to be desired. Caine plays his role quite well as the Captain and even keeps up a good German accent. The script could have been a little more refined. The music seemed more like it was made for a T.V. show as opposed to a feature film. The special effects and props were also rather poor and seemed more like something for the stage. Worth watching at least once but I personally regret having purchased it: it makes a better rental. ... Read more

Reviews (352)

Not As Good As The First Two
The first Austin Powers movie was hilarious. The second movie basically recycled the same jokes, but I laughed anyway, probably because I was reminded at how good the first movie was. It was comedy by association. I'm sorry, but I can't give this third movie, Goldmember, the same sort of pity laugh. There were a few mild chuckles here and there, but it doesn't even come close to reaching the bar set by its two predecessors.

I'd tell you about the plot of the movie, but I couldn't remember what it was even when I walked out of the theater. Beyonce Knowles did a solid acting job, but it was fairly easy to tell that she was acting in her first movie. Unlike Elizabeth Hurley and Heather Graham in the previous movies, Beyonce doesn't serve as Austin's love interest, so there isn't any of the playing hard-to-get that viewers found so funny in the first two. She's strictly business, which isn't very funny. There's also a new character added to this movie called Goldmember. He's a disco-dancing rollerskater who peels off and eats pieces of his own dry skin. Disgusting? Yes. Funny? No. And, of course, there's Dr. Evil, Fat Bastard, Mini-Me, and all the rest of the usual supporting cast. They each have their funny moments, but not many.

I know several screen writers, and they all say that every scene in a movie is supposed to mean something. In this case, every scene should either provide some sort of comedy or advance the plot of the story. There were several scenes in the movie that didn't do either of these. They were just there holding the movie and its audience in limbo. Everyone in Hollywood is under pressure to meet deadlines and cut costs, and it was very evident that this pressure played a major part in the making of this movie. I'm sure the movie studio knew that people were going to see this movie regardless of quality just because the previous movies were successful, so there was no incentive to make a good movie.

I have to admit that I'm a big Austin Powers fan, and if they make a fourth movie I'll definitely go see it no matter how good or bad it is. Unfortunately, there are alot of other people just like me, and the movie studios know it.

Beyonce can really work it out!
I was so excited to see Beyonce as Foxxy Cleopatra. The movie is extremely funny! The opening scene was extremely funny! The dialogue, the casting and the usual Austin Power pranks are really enjoyable. The movie is basically a trip back in time- a modern day type past? Myers is back but this time he's actually funny. Maybe Knowles helped his performance? Probably! Knowles is the latest in the series, we've loved Liz Hurley, loved Graham, now it's time for Beyonce. The enjoyable part was the usual the dirty jokes, the pranks, and the overacted cast! But you'd probably only enjoy this if you enjoyed the others in the series. If you thought the others were fake and unrealistic, you'd probably hate this! The feature is hilarious!

After quite a lot of years Myers finally once again meets Dr. Evil. Teaming up with the unexplained Goldmember, Dr. Evil comes up with a time-traveling plan to take over the earth, one that includes the capturing of Nigel Powers, Austin's darling dad. In 1975, Myers meets his lovely Foxxy Cleopatra (Beyonce) who plays a sexy detective. It's up to Foxxy and Austin to save the day and to stop Dr. Evil from his evil plans. The movie is great!

Written by Myers himself, the movie is yet another creative weird James Bond movie. The soundtrack includes Beyonce's solo performance in "work it out" as well as two songs written by Myers! Myers was eager to make the third film in the series interesting and just as funny, and he has succeeded! Way to go Myers and Knowles!

----Ahmed Mashhood

Same Old, Same Old...
I won't hesitate a second longer - 'Goldmember' was terrible. The first sequel,' The Spy Who Shagged Me', was bad enough but this really stretches the franchise way too far and over the top.

I would have thought that the writers would have come up with some new material but no, its still the same 'Yeeeah Baby' and 'Very Shagadelic' one liners which bring down this films' credibility even more. It's only saving grace are the vast amount of cameos near the beginning, from then on; its trash. The overused 'mole' joke really gets on your nerves after a while and is just another blatant lack of fresh ideas for this third instalment. Even the appearance of Destiny's Child beauty Beyonce Knowles isn't enough to keep you interested. For real comedy, just stick to the first film.

Funnier Than #2
I found this movie to be more entertaining than the 2nd installment so in that sense it was an improvement, however I would like to know why Beyonce was cast in this film? She is atractive, yes, but so is a good portion of Hollywood women and believe it or not-- Black Hollywood women if that is what their aim was. But alas, I have chalked it up to some good dealing with through her management and tried to look beyond her role at the overall movie. It was decent and I did laugh enough to say it is worth renting. Owning the DVD, on the other hand, is for those who want the deleted scenes which they did a god job of packaging.

Just as Funny as the Other Two Austin Powers Movies
I like all of the Movies in The Austin Powers movie trilogy and Austen Powers - in Goldmember didn't disappoint me at all. Yeah sure, they copied some of the gags from the first two movies but they were still funny and I think Mike Myers was great as always as Austin Powers and Dr. Evil and the rest of the cast was pretty good too, Michael Caine and Seth Green were great and Beyonce Knowles was good too. I have watched this movie two times and each time I watched it on DVD in widescreen and I highly recommend the widescreen because it allows you to see the whole movie while the Fullscreen DVD is just an edited pan & scan with the sides cropped. ... Read more

Reviews (187)

Shark Revenge??
Ellen Brody (Lorraine Gary) is convinced that the same kind of shark that attacked her husband and kids in the past is out to finish her family off in this mediocre third sequel to the 1975 Steven Spielberg classic. When he youngest son, now taking over for his father as sheriff of Amity Island, is killed by a shark while investigating wreckage in Amity Harbor on Christmas Eve, Gary escapes with her other son Mike (Lance Guest) for the Bahamas, and meets up with a congenial local airplane pilot (Michael Caine).

But Mr. Whitey isn't through with the Brody family just yet. The result is a series of admittedly scary but otherwise thoroughly pedestrian shock sequences, topped off by flashbacks experienced by Gary to events that she never even witnessed (!!) and a climax that is both totally unbelievable and rather disgusting.

JAWS 4 does boast a good music score by Michael Small, and is directed well enough by Joseph Sargent, a journeyman director who has made at least two great films prior to this--1970's COLOSSUS: THE FORBIN PROJECT, and 1974's THE TAKING OF PELHAM ONE-TWO-THREE. But his cause is hindered by Michael De Guzman's inert screenplay, which simply uses the revenge format as a raison d'etre for the scares and the killings. Like JAWS 3, its immediate predecessor, this film is admittedly watchable. But that is ALL it is.

JAWS4 SWEEEET!!!!!
This was AWWWWWWSOME!!!! No wonder it got a PG13 rating, BLOOOD. New invention, SOME FLASHEY THINGEY.That Jaws in this movie looked scarier than Jaws 1, 2 and ,3! New place, BAHAMAHS BABY!! keep shopping!

Best Michael Caine comment
Cheesy schlock that, like the other sequels, buys into the horror cliches that Spielberg so brilliantly subverted for the first movie (does not the scene in the origninal Jaws where a child and a dog get eaten by the monster in broad daylight at a crowded beach right in front of the hero break every horror movie rule?).

However, it did produce one great moment. When asked by an interviewer about this movie, Michael Caine said, "I have not seen the film, but I hear it is terrible. However, I have seen the house that it paid for, and it is superb."

Amazing, simply amazing.........
....amazing that the great Michael Caine would associate himself with such a dreadful movie. This is among the worst movies I've ever seen.

Please do not buy this movie
Let me start off by saying sorrying if my spelling is incorrect and oh yah this is the most terrible jaws movie I have ever seen and it is a disgrace to the first movie and how dare the women who played Brodys wife could ever sign a contract wanting to be in this movie. Second of all throughout the whole movie the shark is "supposibly" trying to track down the Brody family and trying to eat every one of them like it did to one of Brodys sons in the first scence of the movie. And throughout the whole movie Brodys wife some how has some sort of psychic ability to know if the shark is close or something bad is happening that has to do with the shark its a know doubt one 100% quality corny movie. And another thing when they are killing the shark the shark is making loud moaning noises which really goes to how how much the director knows (hey a little hint sharks don't have voice boxes so they cant make any type of noise what so ever). The movie is terrible so please I beg the people who read this review please and i mean please dont buy this movie it is a huge disapointment to all you shark movie fans because I am a shark movie fan myself but in final words don't by the movie ... Read more

Amazon.com

Fans of The Great Escape and The Longest Yard will cheer venerable director John Huston's rousing 1981 adventure that pits Allied prisoners of war against their German captors in a soccer match. Michael Caine, who starred in Huston's The Man Who Would Be King, heads an international all-star cast as true-Brit John Colby, a former soccer champion, who heads the rag-tag squad. Max Von Sydow costars as the humane German officer who proposes the match, improbably staged for maximum propaganda impact in a stadium in Paris. As the Allied team, which includes real-life soccer legends Pele and Bobby Moore, practices, the officers' only goal is an audacious half-time escape. Sylvester Stallone is somewhat out of his league as the American determined to join the team. As an actor, Pele may not be on the same playing field as his Oscar-winning costars, but he is thrilling to watch as he executes some awesome, game-winning kicks. --Donald Liebenson ... Read more

Reviews (29)

Victory...A Winning Actioneer War/Sports Movie!!
VICTORY is notable for the fact that it was directed by the great John Huston (TREASURE OF THE SIERRA MADRE) and stars an international cast with Sylvestor Stallone, Micheal Caine, Max von Sydow (THE EXORCIST), and Pele(N.Y. COSMOS). Upon it's initial release, soccer had become a popular international sport, but war movies were on the decline. Therefore, the movie became a box office obscurity and a forgettable gem. It was probably seen by hardcore soccer fans or devoted war moviegoers. A German officer Major Steiner (Max von Sydow) visits a POW camp, sees some prisoners playing football(soccer) under the coaching of British Captain Colby (Micheal Caine), and gets the idea to stage a match between the allied POW's and a German all-star team. Steiner wants to see the game played for the love of the sport, but when word reaches the Nazi Intelligence, they look at it as a political opportunity to show off the master race. At the same time, Colby sees it as a chance to get some of the prisoners some proper food and clothing, but when word reaches the camp officers in charge of escape activities, they see it as a chance to mastermind an elaborate escape plan. This was a clever plot device in the story. Colby then assembles an international team including Stallone(Hatch), Pele(Fernandez), and other allied players. These roles were filled with other international soccer players of the 70's. The Stallone character is cleverly written is as an American only familiar with American football. He is chosen to be the goalie because he was a wide-receiver and good at catching a ball. The movie moves between some suspense (when Stallone must contact the French Resistance Underground) to sports movie when the soccer game is played between the Nazis and the Allies. There is somewhat of an implausible sequence when the allies have a chance to escape during halftime. From a scene lifted from KNUTE ROCKNE, ALL-AMERICAN (with Pele) crossed with a scene from THE GREAT ESCAPE, they decide to go back and play the Germans because they feel they can win the game. However, it makes for a great climax for the movie because even Steiner (von Sydow) stands up and cheers for the allies with a look of disgust coming from his fellow German Officers and Nazis. Overall, an entertaining, yet forgotten film with a pretty well filmed soccer match. One of Stallone's best roles in a supporting performance including a thrilling scene of him blocking a free kick in the game againts the Germans.

A rarity - a Stallone film that's not terrible.
This film has been villified by most reviews I've read, but I disagree.

Granted, the ending (where they choose to finish the game instead of escape) is ridiculous, but if they did escape, you wouldn't have had a movie.

Sylvester Stallone, Michael Caine, Max von Sydow, Pele and the former 1981 New York Cosmos football (soccer) team star in a movie about WW2 Allied POWs in a German camp, who are forced to play a football game against a German national team in a stadium in occupied Paris as part of a German propoganda stunt.

Of course, an American movie must have an American hero, so enter Stallone (the only American in the cast), who big-mouths his way onto the team so he can effect his own escape, but ends up organizing an escape for the whole team.

The whole idea is implausible; this never did happen in real life. However, it was certainly original, and the acting by the actual actors (not the real-life soccer players) was fine. Furthermore the whole movie builds up to a very-well filmed football game at the end, choreographed by Pele.

And I LOVED Bill Conti's musical score for this movie.

So - watch it for enjoyment, just not for realism.

As unrealistic war movies go, there have been much, much worse.

Has Parrallels with Real Life Team, Club Dynamo
Some that comes out of the football soccer world, does not always display the best of mankind, but maybe that is because, the sport is so universal. This movie, puts forward (no pun intended) Football's best foot; and they don't make them like this very often. A feelgood movie in a manner, that some other Stallone movies are; namely Rocky.

I can't add, hardly anything to the excellent reviews I have read here, but feel, it does need to be mentioned, there exists a historical precedence for this movie; I am not totally knowledgeable of this myself, save that a Ukrainian team, with some of the nations top stars, defeated the German Luftwaffe team during World War II. Please search out this information for yourself, there is a statue of this team in front of Club Dynamo's stadium in Kiev Ukraine. The fate of the Ukrainian team, was not as fortunate however. In this vein, early in the movie, we see, Caine, requesting some Eastern Europeans to play for the All-Star team, who are currently prisoners under the Nazis, when that request is granted, we see, these prisoners, suffer from both malnutrition and poor treatment from their captors. A book on this topic exists and can be found on amazon, possibly simply titled "Dynamo."

As for Stallone, hey, an Italian American, is going to probably know soccer-football, as if it were in his blood, like his countrymen, from Italy; so, knowing this, Stallone does fair enough, even as "the" Yank; it is in the Englishmen's blood, and we get inspired performances from Michael Caine and the others. Pele is magnificent, a pleasure to watch. One German officer, a former top player for his country demonstrates some un-Nazi-like good sportsmanship in all this; and in fact, is the one who grants, the Eastern European players, I mention above, to be granted status in regards to playing for the Allied All-Star game.

Just a re-edit note, I do need to rewatch this film, noting one reviewer, cites Stallone plays a Canadian in this movie and thus, fights by the side of the English in battle. It would be nice to ascertain this fact, but to the movie overall, I don't think, it affects this review. Canada having a rich soccer history, with appearances in the World Cup, this would be a curious point.

Hatch! This game means a lot to us...you know that!
Even though the story is totally unrealistic, it really is one of my guilty pleasures in my DVD collection. I have to agree with many of the good points that have already been said (good soccer footage, great music score, etc). The one item that people get wrong is that Stallone's character is NOT and American, but rather a Canadian soldier, who during WWII would've fought alongside British troops.
It was a good idea also to let the actors carry the story (albeit, a little clunky at times) and limit the lines of the "real" players used in the film. This film should be in every serious soccer players dvd collection!

If only World War II had been ninety minutes long!
A very different kind of war movie. Some very popular cinematic stars such as Sylvester Stallone, Michael Caine, and Max Von Sydow appear with world class soccer stars headed by Brazil's Pele in an interesting and exciting film where the adversaries of history's most destructive war sublimated their hostilities to the soccer field. This was one of the last efforts of legendary film director John Huston and this one doesn't disappoint. Panoramic shots of the field and the continuous action of the game and its players during the last half of the film are the best since the chariot race scenes in "Ben Hur". This is a film worth watching even if you're not a soccer fan or you don't like war movies. ... Read more

Reviews (13)

Did I watch the same film as the critics?
I got a chance to watch the much maligned Norman Jewison film The Statement on DVD this weekend.

It's a damn fine film!!!

Without giving too much of the story away, the film is about an old Frenchman (played by Michael Caine) who is on the run throughout the south of France for war crimes he committed back in WWII. He has to excape both investigators and assassins (possibly from a radical Jewish organization) by taking refuge in primarily catholic churches.

It was actually filmed in France in real churches and government buildings. Excellent Hitchcockian cinematography and music. Well paced editing and outstanding acting from Tilda Swinton, Jeremy Northam, Ciaran Hinds, Frank Finlay, Alan Bates...and especially Caine. The screenplay was expertly adapted by Ron Harwood. And, for a film with a pretty low budget, the DVD transfer (anamorphic) is excellent and the 5.1 surround sound is decent.

What's up with the critics? OK, I'm a big Michael Caine fan, but that doesn't mean I like ALL the films he's in (Secondhand Lions was kinda corny, his role in Goldmember was far too small, etc.). This role is a true showcase for him. And anyone who respects Caine as an actor should watch this movie.

In truth, the storyline may be hard to follow...I'm sure that's the primary problem for the critics. I had the advantage of reading the original novel first, so there was virtually no confusion for me...and the film is remarkably faithful to the novel!

The novel was a bit complicated at times and I found myself having to re-read the occasional passage to keep up with the story...so maybe the film is similar in that respect.

Also, a lot of critics had a problem with the fact that the English actors aren't speaking with French accents...but this has been the case with many films before (Quills, The Last Emperor, Three Musketeers), I don't know why this film should be any different...besides, I can't think of anything more distracting than listening to a bunch of actors speaking with phony French accents for 2 hours!

I say take a chance on the film. It's definitely a thinking-person's thriller. I'd hate to see one of Michael Caine's best late-career performances go completely unnoticed.

A Very Powerful Film Full of Intrigue, History, and Mystery
THE STATEMENT has all the ingredients of a keenly written espionage film with all the added assets of superb acting, breakneck speed direction by Norman Jewison, and magnificent photography of France. Based on a true story, Pierre Brossard (Michael Caine in a finely nuanced tragic performance) worked with the Vichy regime during the Nazi occupation of France and was responsible for the murders of seven Jews in 1944. It is now 1992 and Brossard has been in hiding under the cover and support of the Chevaliers, a band of men connected with the Catholic Church. Politically he has been pardoned, but there are those who wish him dead. A new French Judge (Tilda Swinton in another fine performance) and military Colonel Roux (Jeremy Northam) join forces (somewhat unwillingly) and commit themselves to ferreting out Brossard. Their efforts are parallel to the forces who plot to assassinate Brossard and it is this bipolar cat-and-mouse intrigue that chases Brossard from Abbey to Abbey throughout France. The ending comes as somewhat of a surprise, but the chase makes it all worth the wait. Adding immensely to this film are the cameos by Charlotte Rampling, Alan Bates, Ciaran Hinds, Noam Jenkins, and Marr Cravens among a host of others. This is an underrated movie that is full of intrigue and deserves a wider audience, if for nothing else than to alert the world of yet another WW II atrocity.

a truly bland thriller
**1/2 In Norman Jewison's tepid thriller, "The Statement," English-accented Michael Caine plays Pierre Brossard, an aging French war criminal whose past has begun to catch up with him. In 1944, Brossard, a member of the infamous Vichy regime, not only collaborated with the Nazis, but was personally responsible for the cold-blooded execution of 14 unarmed Jewish Frenchmen as well. Immediately after the war, Brossard was tried and convicted for these offenses, but somehow managed to escape before he could face his deserved punishment. In the years since, Brossard has lived his life underground, finding protection and sanctuary from a branch of the Roman Catholic Church sympathetic to his cause. And although the French authorities have been unsuccessful in their attempts to locate him, Brossard has recently found himself the target of a mysterious group of assassins, possibly members of a secret Jewish organization seeking justice for his yet unavenged crimes against humanity.

The idea of a Nazi war criminal still living in hiding all these years after the end of World War II has the makings of an interesting movie, no doubt, but "The Statement" is not that movie. To the filmmakers' credit, they do at least attempt to present Brossard as a three-dimensional character, a man who, decades after his horrendous crimes, is still seeking redemption through his pious devotion to the Church. Caine, in a deftly balanced performance, manages to make Brossard almost sympathetic while still allowing us to see the "monster" hidden beneath the ravaged soul. Unfortunately, the actor is let down by a screenplay that seems more concerned with tired cloak-and-dagger espionage routines than with a serious study of a fascinating and conflicted character. Even more annoying is the attempt on the part of the film to paint the entire Catholic Church hierarchy as a bunch of diabolical, self-serving individuals who are busy either protecting one of their own at any or all costs or acting out of political expediency rather than true moral conviction. Fans of "The Da Vinci Code" may swallow this anti-Catholic paranoia without question, but the rest of us can merely wonder why the Church hasn't been able to cop a break from the movies since Father Damien kicked the be-Jesus out of the devil in "The Exorcist," thirty long years ago. I'm certainly no apologist for the Catholic Church (see my review of "The Magdalene Sisters"), but even we non-believers can wonder when we will be seeing a little more evenhandedness and balance in the movies' portrayal of the Church. Certainly there must be SOME well-meaning priest, nun or bishop out there that some filmmaker might consider as worthwhile movie material.

There are other problems with the film as well. Tilda Swinton, as an impassioned judge searching for Brossard, and Jeremy Northam, as a more pragmatic policeman who reluctantly joins her in her pursuit, make an annoying, constantly bickering couple who look, for all the world, like a minor-league Mulder and Scully, minus the attraction and charm. Alan Bates and Charlotte Rampling (reunited from "Georgy Girl," though the two actors never appear in the same scene together) are wasted in minor roles. And Jewison, who was once so fine a young director, fails to bring any of the scenes in this film to life. One also questions the propriety of taking a serious subject like Nazi atrocities and using it as little more than cheap window dressing for an undistinguished, run-of-the-mill thriller.

"The Statement," despite another fine performance from the ever-reliable Michael Caine, is a tired, lackluster and cynical exercise, strangely devoid of meaning, conviction and purpose.

Justice Done
I rented this DVD solely because of Michael Caine and wasn't disappointed in his performance. I agree with other reviewers that the plot is unreeled slowly and certain key points (the motaives of the conspirators, and the motives of the Roman Catholic Church) are undeveloped and remain cloudy.

My chief disappointment was with the ending. Brossard, the French traitor, is finally gunned down by the government assassins who suceed in placing their STATEMENT on the body. The statement says that Brossard was executed for his war crimes, but then further condemns the Catholic Church for protecting Brossard for nearly 50 years. Is this condemnation the true meaning of the story?

Directly after this scene, in which Tilda Swinton's character of a French judge arrives too late to take Brossard into custody, the film cuts to a ball-room scene. The judge goes up to several highly-placed French officials and subtly informs them that their time is up, and that justice is coming for them. The implication is that the actual assassin (a member of the French police) has been arrested and is naming names. However, we do not see that scene, only the vague reference (just one line) made by the lady judge. (That polieman, in my opinion, would never have named names because he is dedicated to what he believes is a just cause.) Thus the film reminded me of one of those crime dramas of the '30s, where the outcome must always be the same, even if it defies reason: G-Men always get their man and that "crime doesn't pay."

Since the screenplay does not go deeply into the nature of the conspiracy of the French ministers, and we never learn their names, their titles or positions, but instead focuses on Brossard's quest to "die in a state of grace and forgiveness" the film suffers from a split personaility. In the end, the audience is left in the middle. The filmmakers do not finish either story but instead make a statement of their own: that we should not forget the memories of those slaughtered by a reprehensible regime.

It struck me that Brossard actually paid for his crimes when he was shot dead. Did it really matter who did the shooting? If the judge had caught him, he would have been put on trial and sent to prison for the rest of his life (probably a very short time as he was already quite old and suffering from heart disease). Since the entent and purpose of the "official" conspiracy wasn't dealt with in detail, I would have preferred the more ambiguous ending of seeing Brossard gunned down and his assassin successfully escaping into the night. This is a more perfect ending since Brossard kisses a religious icon just before dying, thus believing that he really did die "in a state of grace and forgiveness." I like ambiguity, and in this case, it works perfectly.

I am not familiar with the novel. Should I be? When I see a film, it's story should be enough. I realize that liberties are taken in translating books to screenplays, but either version should stay true to it's theme. But you have to have a theme in the first place. If the theme in this film was to make a statement that we remember the Jews who were betrayed and killed, (but at the same time provide some sense that "justice was done") then the final scene should have been supported by a previous scene in which the policeman responsible made some sort of statement of his own. That, of course, would have meant that the conspiracy story should have been further developed. Otherwise the ending is self-serving and the dramatic structure is betrayed.

Please nobody complains...
,,, about the English cast. Since my karma was bad enough to have me born in France, and aside from the (good) reasons given by N. Jewison (see special features), I can tell that shooting this movie in french would have been very difficult. Although there are a few hints about in the film, nobody is really aware (part of the few who are dont want to be reminded, and worse, the other part don't want to be exposed) that the main change in 1945 was to add communists (one of the worst indignities being that Maurice Thorez, upon Staline's earnest recommendation, got his death sentence commuted in a position as a minister in the governement by de Gaulle himself...) to the Vichy dignitaries who escaped the fate they deserved. And, although it is briefly mentionned, the communists only entered Resistance after Hitler and Staline parted; their only aim was to be his position to deliver France into Staline hands, and maybe their greatest achievement was to perform terrorist attacks when and where they were certain that reprisals victims would be those who didn't share their communist vision: so they could be seen as patriots while getting rid of their opponents.
One other reason for the leniency towards french police (a good one in the short term, but a most poisonous one in the long term), was that nobody wanted to alienate in any way the only organisation thought able (?) to take care of riots and miscellaneous disorders following the 'Liberation'; and, since they were in charge of preventing witch-hunts, it would have been very difficult to make them understand they should have been investigated as well.
One should not forget, for a better understanding of the story background, that after Pie XI (pro-fascit to the core, altough opposed to racism) died in 1939, Pie XII (who was convinced that Hitler represented the last defence against communism) never condemned nazism, and even gave (through his bishops) his blessing to german armies. But, since the Roman Catholic Church was the first one to practice large-scale genocides (remember South America and the Conquistadores' mudering and pillaging in the name of God, which is the proof that the so-called "no prescription for crimes against humanity" should be better understood), maybe he felt some sort of kindred sympathy... ... Read more

Reviews (68)

An slick entertaining thriller.
Jack Carter (Sylvester Stallone) find out the news that his brother died of an car accident, based on Drunk Driving but Jack doesn't believe it. Once Jack meets his brother's wife (Miranda Richardson) & his daughter (Rachel Leigh Rock) & his old friend (Mickey Rourke) not everything's it's seems to be. Then he meets his brother friend (Micheal Caine) & his business parter (Alan Cumming), the situation is getting much worse than he has think.

DVD's has an sharp anamorphic Widescreen (2.35:1) transfer & an strong Dolby Digital 5.1 Surround Sound. An good running commentary track by director:Stephen Kay. Deleted Scenes with the Original Ending. Cumming is the Stand-Out in the film, who has the best supporting role in this. An underrated thriller was an Box Office Flop but it has a good Stallone's Perfromance, his best since Cop Land. The Problem with the film, it`s comes to no surprise of the Identity of the Killer, who murder Carter`s Brother, that`s only main problem but another than that. It`s a solid, stylish film which is Based on a Novel by Ted Lewis, which it`s originally called:Jack`s Return Home. Screenplay by David McKenna (S.W.A.T., Blow, American History X). Super 35. Grade:B+.

Distilled "Carter"
Having not seen the original for some time,I finally saw it in its entirety last week.Considering I've only just seen the remake tonight,it's fair to say it's going to be difficult to describe it as a film that stands on its own two feet.GET CARTER(1971) was about a mobster going back to Newcastle to find who murdered his brother.His search for the truth is ruthless. GET CARTER(2000) follows much the same story,Newcastle is now Seattle.I had my misgivings about Stallone playing Carter,but surprisingly he pulls it off.Not only does he look the part,this is one of his best roles. Supported by a sleazy Mickey Rourke,Miranda Richarson as his late brother's wife,and Rachael Leigh Cook who shines in this version,as her daughter Doreen. I wasn't expecting an action fest because the original gets by because of Micheal Caine's ruthless determination to get the truth. I do like this version but I have to deduct two stars for trying to sanitise Carter and adding a happy Hollywood ending.Also most of the film,the director is so obsessed with attention span,he "strobes" the picture regularly and unnecessarily.The final confrontation between Carter and Mickey Rourke is an anticlimax.The beach chase replaced by a brawll on a dancefloor.Not quite as memorable. Stallone seems to better with age and here he still packs a punch.And rather being a hinderance to a remake with a"you're the disease,I'm the cure" approach,he's much better in this film.

GET CRACK!!!!
You'll need it to stay awake!

good movie for another era.Haven't seen the original but..
If this movie was made about 20 years ago; I could see it being a hit. The trouble is that Stallone is choosing scripts that would have worked ...if done in the eighties.

We've all seen this plot before. He performance is good but his character is too one note. He wants revenge for the death of his brother. I didn't believe his hit man with a heart of gold act though. The action scenes were good. The action was very influenced by music videos. While not a total waste of time the movie needed more substance to work.

I could see Stallone in roles taken by Al Pacino and Robert DeNiro..I think that he needs a role that doesn't put him in the tough guy mode. "Cop Land" proved to me he could do Oscar material.

An Underrated Stallone Classic!
Get Carter is film in which Stallone fans will enjoy thoroughly. Although it is different. The different camera angles and weird screen effects make the movie hard to follow the first time out.
The acting is pretty solid. Though Mickey Rourke seems to sort of slump on his part.
All in all, it's a great thriller movie that does have some nice action to it. Stallone delivers well here. I don't think many will be disappointed. ... Read more

Amazon.com

Michael Caine was robbed of an Oscar. He gives his finest performance ina decade as big-talking small-time agent Ray Say, a paunchy, pale life of the party hiding his desperation under gold chains and cool bravura. When he hears the almost magical voice of Jane Horrocks's meek little LV (short for Little Voice) fill her bedroom with the rich voice of Judy Garland, he sees his ticket to the big time. Little Voice is ostensibly LV's story, and in fact the original play was written for Horrocks, whose amazing vocal impressions of Garland, Shirley Bassey, and Marilyn Monroe (among others) form the centerpiece performance of the film. But as directed by Mark Herman (Brassed Off), the story of this mousy girl who shuts herself in from a bellowing world is just as overwhelmed by the bombastic characters as LV herself. Brenda Blethyn babbles a blue streak as LV's overbearing mother, Mari, an aging widow who escapes her unhappiness in carousing and becomes almost pathologically jealous when Ray's attentions turn from her to LV. As Ray puts his dreams on the line for LV's showcase, he reveals his true self: a venal man who spits and barks out his bottled-up anger in an astoundingly bile-filled delivery of Roy Orbison's "It's Over." The showstopping moment once again overwhelms LV's tale, but Caine's performance is so astounding it seems a fair trade. --Sean Axmaker ... Read more

Reviews (81)

Funny, charming film with talented Jane Horrocks
Charming film about L.V. (Little Voice), a meek-voiced, shy British woman who enjoys singing the music of Judy Garland, Marilyn Monroe and others. Her mother, a sex-crazed record store owner, and the agent Ray Say (a terrific Michael Caine)both attempt to manipulate her into stardom. This is an interesting, charming, and funny movie which takes some interesting turns along the way. Jane Horrocks, as the title character, is terrific, and sings her own songs beautifully. She is incredibly talented, and the movie is a charmer. Look for a nice performance by Ewan McGregor as L.V.'s wanna-be beau.

Wow!
I'm so glad I rented this DVD! This is such an endearing, charming little film. Part of it is a very sweet (but not too sweet, if you know what I mean) love story between two very likeable characters, and part of it is the story of two rather shabby, not-so-nice characters who are still very interesting and believable--thanks in no small part to the strong performances of Michael Caine and Brenda Blethyn. Jane Horrocks's singing is wonderful and the centerpiece scene of LV's triumphant performance really sparkles--I'm glad the sound quality on the DVD is so good. The only slight negative to the film is that, as an American, I sometimes couldn't understand what LV's mother Mari was saying since her Northern English Cockney accent was so thick. This was also true of the more minor characters of Mr. Boo and George. Fortunately, on DVD you can turn on the subtitles feature for a quick "translation" into English! I liked this movie so much I watched it twice in a row on the spur of the moment--it's only about an hour and half long. To top it off, the ending is quite inspiring in an understated way and I plan on buying the DVD and making it a permanent part of my collection.

Jane Horrocks is remarkable
Jane Horrocks is a British comedian who amongst her many talents is a great mimic of female vocal artists. This film was originally a stage play based around her.

The plot of the film is simple. Jane plays Little Voice a young woman who lacks self confidence and whose life has been destroyed by an overbearing and grotesque mother. The mother continually belittles her daughter who is so lacking in any social sills that she sits in her room each night playing old 50's and 60's records owned by her father. It would seem that the father was also destroyed by the mother. She sings along to these records and is able to mimic such greats as Billie Holiday, Judy Garland and Marilyn Munro. (Okay Marilyn Munro was not a great but you know what I mean)

Michael Caine plays a seedy music entrepreneur who is limping along in obscurity heading career wise somewhere worse than obscurity. He has a brief drunken fling with Little Voice's mother and hears her voice coming from her room. He immediately sees her as an unexploited talent that might just bring him back into the game.

The film centres on a concert organised by Caine and its aftermath. Broadly the film is a morality tale in which the mother and Caine get what is coming to them and Little Voice is able to achieve something more than fame and that is normality.

The film is both good and bad. Horrocks at its centre is brilliant and it is her talent that is responsible for everything good about it. Her performance scenes are breathtaking made more remarkable by the use of her own voice. It is the other characters and the rest of the film that is the drag. The morality tale is rather telescoped and the character of the mother a repellent and grotesque rather than being real. The end a little bit of an anti-climax. One would imagine that this stems from the difficulty of converting the play to a film.

Never the less the performance of Horrocks is so strong and the premise so clever that the film is worth looking at despite its faults.

Caine, Horrocks, Blethyn, McGregor --
As others have said, with this cast you can't go far wrong. This is a modest movie in many ways -- it takes place almost entirely in about three settings, and these people live in a very confined world. But it's still not confined enough for L.V., who longs only to live in song and memory. The movie features two different forces working to pull LV out of her shell. Ray and her mother try to exploit L.V.'s gift for their own benefit, not caring if they hurt her or, ultimately, each other. Bill, on the other hand, is almost as shy as L.V.; because he understands her and only gently tries to get to know her, he actually makes some headway. (I still think one of the most romantic moments I've ever seen in a movie is the scene where he offers to answer the telephone for her, so she won't have to talk to a stranger.)

This movie is more than a simple comedy -- by the end, it has become emotionally wrenching, as L.V., her mother and Ray each hit their breaking point. But Bill's presence in L.V.'s life -- and, more importantly, the confidence she has gained through his friendship -- assure us that L.V. is headed for better things. Sometimes the tone is uneven; Ray's vicious attack on L.V.'s mom near the end makes the cut-downs in "Who's Afraid of Virginia Woolf" look tame, and coming after so much gentle humor, the final spiraling-out-of-control is jarring. But these scenes are so brilliantly acted that it's worth it.

Even if the rest of the movie were not as good and as memorable as it is, "Little Voice" would be worth seeing just for Horrocks' amazing vocal performance. It's almost unbelievable how brilliantly she sings in so many different styles, and after her big finale, I found myself singing "Get Happy" for weeks.

Horrified - IF I COULD IT'd be NO STARS
You know, I'm usully not a freak out when it comes to outrage on a movie when they abuse someone in the sake of comedy, but this one I just have to. I just watched this awful show on television. It is listed as a comedy and I don't see anything funny about it! An outright abusive, unloving ... of a mother and her gold digger boyfriend abuse and force an obviously troubled psychologically young girl into singing for their own ends instead of getting the girl into therapy! This show is awful. ... Read more

Description

Imagine if one day, out of the blue, your wildest dreams came true! That's exactly what happens to junior executive Larry Burrows (James Belushi -- TAKING CARE OF BUSINESS) when he bumps into a mysterious stranger (Michael Caine -- MISS CONGENIALITY, CIDER HOUSE RULES). Instantly, Larry's ho-hum life becomes his ultimate fantasy -- huge mansion, beautiful wife, cars galore. But before long, his new lifestyle isn't so enchanting. Ultimately, Larry discovers it's going to take a lot more than wishful thinking to get back to where he once belonged! Co-starring Linda Hamilton and comedian Jon Lovitz, MR. DESTINY is a delightful rags-to-riches comedy brimming with totally magical entertainment! ... Read more

Reviews (31)

See this movie!
With so many studios using the word "classic" quite liberally nowadays, it's hard to really know anymore. This movie really passes the test. It stars Michael Caine as Mr. Destiny, and Jim Belushi as Larry Burrows, who gets to experience what life could have been. He gets everything he dreamed of, but soon finds out it's not all it's cracked up to be. Linda Hamilton and Jon Lovitz give great supporting performances, this is movie is a gem!

Go forward with your life!
Mr. Destiny is not only fun entertainment, it deals with the question every person asks at some time in their life: How would my life be different now if only I had....? James Belushi charmingly plays the man who lost his job, and finds himself wishing he could change his past and start over. He finds his chance to do just that after a little magical intervention by Mr. Destiny (Michael Caine). With just one change in his past...from losing the big baseball game, to winning it, Belushi's life takes a different path. Suddenly plopped into his new life, with a different wife and a different job, he encounters many troublesome adventures...humorous for the viewer, but disastrous for Belushi. Just at the point of hopelessness, Mr. Destiny intervenes again, but I won't give away anymore of the plot here. I loved Belushi's character... in spite of his troubles, he confronts all situations with grace and humor. The movie is sweet, funny, and even carries an encouraging message: Don't regret the past, but go forward and make the best of what you've got!

sticky sweet
Interesting premise, gets bogged down in complete fantasy. Not even believable for what it is. Second half of the movie is out right ludicrous, with stale pollyannish dialogue. Belushi is one of the rare lights in this dim bulb of a film.

"Swung too late?"
Only James Belushi can take a formula story and turn it into a fun to watch script. Even when you know how it will turn out in the end, the details and how they evolve are fun to watch over and over. And there is a great supporting cast. You could tell where this movie was going when Jewel Jagger (Courteney Cox) threatens to fork Larry Burrows (James Belushi) to death.
Larry Burrows is unhappy with his life and pins most of it on the fact that he swung too late and misses t the ball in a game and in life. Michael Caine as Mr. Destiny gives Larry a new chance be the person he wanted to be. But will he like his new life?

The soundtrack is still available Mr. Destiny (1990 Film)

Don't Fight Your Destiny
Is this movie trying to implying that it's bad to be a greedy, maniacal corporate leader without conscience or empathy? C'mon, get outta here. They could not possibly think THAT up in Hollywood, could they? Well, Mr. Destiny, played by Michael Caine, offers James Belushi a chance to be a wealthy corporate hot shot instead of a regular James. As you can imagine, it does not work our well for James. You know, self-loathing, John Lovitz (a friend) almost commits suicide--the usual stuff. The movie has funny moments, and the pace is pretty good. The ending is somewhat predictable, James is happy to be a regular James (again). It's not all about the money. I don't blame him, I wouldn't wanna be a Kenneth Lay either. ... Read more