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In his 19th screen outing, Ian Fleming's superspy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives--and blame them for squandering The World Is Not Enough's initial promise by the final reel.

By now, Bond pictures are as elegantly formal as a Bach chorale, and this one opens on an unusually powerful note. A stunning pre-title sequence reaches beyond mere pyrotechnics to introduce key plot elements as the action leaps from Bilbao to London. Bond 5.0, Pierce Brosnan, undercuts his usually suave persona with a darker, more brutal edge largely absent since Sean Connery departed. Equally tantalizing are our initial glimpses of Bond's nemesis du jour, Renard (Robert Carlyle), and imminent love interest, Elektra King (Sophie Marceau), both atypically complex characters cast with seemingly shrewd choices, and directed by the capable Michael Apted. The story's focus on post-Soviet geopolitics likewise starts off on a savvy note, before being overtaken by increasingly Byzantine plot twists, hidden motives, and reversals of loyalty superheated by relentless (if intermittently perfunctory) action sequences.

Indeed, the procession of perils plays like a greatest hits medley, save for a nifty sequence involving airborne buzz saws that's as enjoyable as it is preposterous. Bond's grimmer demeanor, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who's even more improbable as a nuclear physicist. Ultimately, this World is not enough despite its better intentions. --Sam Sutherland ... Read more

Reviews (447)

The best Bond film yet.
The 19th MGM James Bond-007 movie is here. It's probably the best movie yet. It has the best stunts.

Filmed in: England, France, Spain, Turkey, Azerbaijan, and the Bahamas. The name is taken from 1969 On Her Majesty's Secret Service when James takes a look at his coat of arms and is told that the family motto is: The World Is Not Enough.

Of course, Pierce Brosnan returns as the role of 007. Sophie Marceau as the murdered tycoon's daughter, Elektra King. Denise Richards as nuclear expert, Dr. Christmas Jones. Robert Carlyle as the doomed terrorist, Victor Zokas aka Renard. And John Cleese as R, Q's assistant. The movie also sees Robbie Coltrane's return as Valentin Zukovsky and Judi Dench 3rd appearance as M, the boss.

The plot involves Sir Robert King, an oil industrialist. He buys a report about the Soviet's missile department accidentally thinking it contained info about the terrorists attacking his pipeline in the East. Surprised to find out his money was wasted, a Swiss banker retrieves the money. M sends 007 to pick it up. But the banker, Lachaise, is in for a surprise. The report Sir Robert bought was stolen from an MI-6 agent who was killed for it. Knowing Lachaise knows who killed the agent, Bond threatens him. Unfortunately, Bond only escapes with his life and the money. No name. After a spectacular scene, Sir Robert is dead. Days later, his daughter Elektra takes over the construction of the pipeline. But 007 suspects there is something suspicious about terrorist Renard, the King organization, and even Elektra herself. M refuses to listen to 007's crazy instincts. Only Dr. Christmas Jones & Valentin are on Bond's side.

The movie sees Q's retirement. And a good thing too. After all, the DVD isn't dedicated to Desmond Llewelyn for nothing. However, Q has given the Q labs to R. Probably a bad choice. R will talk you through putting a shirt on!

The language features are: Languages-English and French. Subtitles-English, Spanish, and French.

Special Features. Music video performed by Garbage (the band). The Making of The World Is Not Enough. Audio Commentaries. The Secrets of 007-alternate video options. Theatrical Theater.

Well, that's about everything this DVD includes. Hope the review was helpful.

Bigger and Better!
Here's a Bond film that deserves to be ranked among the best in the series. Along with the usual Bond formula of high tech gadgets, one-liners, and of course, the Bond girl(s), this latest installment also provides a story with a different twist. Throw in a combination of mind games, an unusual villain, exotic locales, and amazing stunts and you get an explosive, testosterone driven, eye-candy, action-packed thriller with a dash of high quality performances. One sequence in particular is the high adrenaline boat chase along the Thames River that takes place very early in the movie. Cool stuff!

The story delves much deeper into the psyche of James Bond than previous 007 flicks. Pierce Brosnan plays a much darker and vulnerable 007 in his third run as the British super agent spy James Bond. The World Is Not Enough also showcases the acting talents of Dame Judi Dench (who plays M) and Sophie Marceau as well as many others. John Cleese, of Monty Python fame, also plays a role in the movie as the heir apparent to Q. Every character played a larger role in this movie, in which, there were times when I felt James Bond was a supporting character rather than a leading one. There is definitely no shortage of star power in this movie.

A few things I didn't like about this movie (just my personal opinion mind you) were the opening Bond song, the paraglider-ski sequence, and the miniature scaled models. Yuck! Still though, this latest 007 thriller gives a good ride! Humor, international intrigue, and plenty of action. This is a James Bond of the 21st Century and I hope Pierce Brosnan sticks around to do many more like this one!

Bond is the best of this time......Dry,humorous,and elegant,
Mr.Bond is ranking itself as the highest of his quality,and is back once more,but this time dry as a glass of martini,and elegant as far as he could ever get,making his job as right as Beethoven while composing his 9th.
James bond,her majesty's loyal star,is back in a very different style and story;He is involved in a complex of a villian trying to take over the world with his lover's own oil pipe line. The thing is,you see,he feels no pain.Nothing.Amazing,as it is surprising for the first time to hear it. Elektra,the new bond girl,is to my own taste one of the best bond girls ever in the series,simply because she has many sides to be related with,and sophie marseau,the actress,bringing an excellent performance in the role of Elektea.The other bond girl,christmas,portrayed by denise richards,has a small relation to a bond girl,but still interesting,though.
As well as the deep and dark plot which develops suprisingly,we also discover a more darker side inside the familiar characters,like M,for example,Which makes this movie special and wonderful.
Also,We are introduced to the the next Q(The great,humorous,and giant John Cleese,from the mighty "Fawlty towers" and "Monty Python's flying circus"),Which is,and believe in my own words,the best there is to portray the charcacter of Q.He is doing it very,very well.
You are going to see a different bond,a new bond,a complex and dark story,the best british humor ever brought to a bond film, and,of course,James Bond himself,Pierce Brosnan,is worth all of the bond touches and twists.
You think you can give me the whole world?
Well,the world is not enough,maybe,but the movie,believe me,does.

"I never miss"
This is the best film to date in the series, hands-down. It may not have the classic charm of Goldfinger, but a couple of viewings (something most people aren't willing to credit a Bond film with) reveal a film which is incredibly substantial, in an unprecedented - and unnecesary - way. It could get by on the charm of the locations, one-liners etc., but it still tries to put together a credible and interesting plot, and it succeeds.

The most obvious credit to the writers is Carlyle's brooding, existentialist villain, which reminded me of The Misfit in O'Connor's 'A Good Man is Hard to Find.' Carlyle, in surprising contrast to his turn as the psychotic Begbie in Trainspotting, plays the role with just enough subtley and understatement, making the character's evil much more believable than the cackling megalomania of earlier specimens. What I also like about the screenplay, though, and what isn't immediatley apparent, is that it casts some doubt on the role of Bond in the world. In other movies, he seems to have an absolute moral imperative, able to gun down scores of people without any consequence, simply because his enemies are abosolutley evil. In this film, though, among the ruins of the USSR (a theme already explored in Goldeneye), there's more gray than black and white, and the circumstances don't allow him to get off so blamelessly; ultimately he has to do something which he might might regret. It's far from making him human - if that were to happen, it would undermine the whole promise of the series - but it's an interesting take. Then there's the way the plot works in minor characters, like Judi Dench's M and the Russian gangster Zukovsky, both of whom provide a usually self-reliant Bond with indispensable help, while Zukovsky experiences the closest thing to character _development_ which anyone has probably ever experienced in a Bond film. As for Richards, I don't know what she's doing there, either, and probably it would have been a stronger movie without her, but at least she's hot.

What's The Point of Living If You Can't Feel Alive?
THE WORLD IS NOT ENOUGH (known to Bond fans as TWINE) may be Pierce Brosnan's finest outing as Bond to date. A more complex and nuanced story than most recent Bond films, TWINE recaptures a good part of the exotica and international intrigue of the Bond series as first conceived.

The precredits sequence sets up the story nicely: Sir Robert King, oil magnate and friend of "M" (Judi Dench) is killed by booby trapped money delivered to him by Bond. All roads lead to Rome, the roads being clues, and Rome in this case being represented by Electra King (Sophie Marceau), Sir Robert's beautiful daughter, who was the victim of a recent kidnap plot hatched by the mysterious Renard, a terrorist rendered unable to experience pain by a bullet lodged in his skull. "M" dispatches Bond to protect Electra, who has taken over her father's petroleum empire in central Asia.

From the moment he arrives in Azerbaijan, Bond is a hunted man. Although first enamored of Electra, Bond soon realizes that there is something amiss.

In TWINE, Brosnan resurrects the dark Bond of FROM RUSSIA WITH LOVE. His dual nemeses, Electra and Renard, are ably played by Marceau and Robert Carlyle, who both bring some surprising depth to their characters. Electra is particularly sympathetic, being both the brainwashed victim and willing accomplice of Renard. She is by turns sexual and ingenuous, vulnerable and implacable. Marceau is breathtakingly beautiful.

Carlyle's Renard, trapped in a body that can't feel, exudes both pathos and hatred as he plots the destruction of the democracies.

Dench's "M" plays a central role in the film, far larger than any "M" before her. The film is notable for being the last appearance as Desmond Llwellyn as "Q". Llewellyn, who played "Q" in almost every Bond film after 1964, died in a car wreck just days before the theatrical release of the picture, and John Cleese was cleverly edited into the film as his replacement, "R".

Denise Richards has the weakest major role, playing Dr. Christmas Jones, a nuclear physicist. Richards could have been left on the cutting room floor in her entirety. More's the pity, because Richards is a strikingly beautiful woman who is entirely upstaged by the exotic, erotic Marceau. Besides being a rather miscast improbable genius in cargo shorts and a tank top, Richards' character has even more of an "afterthought" feel than "R" does, as if the producers just couldn't tolerate the idea of the film ending with an unredeemed Electra King and no virtuous love interest for Bond.

Two hours and some of intelligent action-adventure, THE WORLD IS NOT ENOUGH fulfills all expectations. ... Read more

Reviews (38)

A rousing adventure tale! Highly recommended!
I was pleasantly surprised to find this version of JASON AND THE ARGONAUTS as a worthy successor to the original film starring Todd Armstrong.

I admit I was expecting some cheesy, low budget, badly-acted made-for-tv series but was pleased to find an entertaining film that stays faithful to the original myth. Add to that a strong cast, good production values and impressive special effects and you have a film that you will want to watch again and again.

The story centers on Jason (Jason London), who returns to reclaim his kingdom from his uncle, Pelias (Dennis Hopper). In order to regain the throne and save his mother's life, Jason agrees to sail to Colchis and obtain the golden fleece. With a crew that includes Orpheus, Atalanta, the mighty Hercules and the shipbuilder Argos, Jason faces many dangers on his quest for the fleece. The argonauts encounter the bronze giant Talos, the women of Lemnos (led by their queen Hypsypile - Natasha Henstridge), blind Phineas (Derek Jacobi) and the frightening harpies, the clashing rocks and more. When Jason arrives in Colchis, he falls in love with the lovely Medea (Jolene Blalock) but must face more challenges (including its ruler, King Aertes - Frank Langella) before he can leave the island with the fleece.

This version is more faithful to the myth than the 1963 film. For instance, Orpheus, Atalanta, Castor and Pollux make their appearance here. Also, this version shows what happens when the argonauts return home and has a better, more tightly woven ending than the original. The special effects are impressive and I enjoyed the behind-the-scenes bickering between Zeus (Angus MacFadyen) and Hera (the lovely Olivia Williams). I also thought that this version's Hercules (Brian Thompson) was a lot more convincing than Nigel Green from the original. This film also does a great job of portraying the role of the gods in Jason's quest.

However, there are also a few weaknesses. For one, I certainly miss the Talos of the original. Watching Talos first come to life on the 1963 film still gives me goosebumps up to this day. That Talos was definitely one of Ray Harryhausen's greatest creations. I also preferred the many-headed hydra to this version's giant lizard-like creature. Jason London is a passable lead but I believe the filmmakers could've picked a stronger actor. He certainly is nice to look at and the supporting actors more than make up for his shortcomings.

All in all, I enjoyed this film and would recommend it to those who enjoy mythological, fantasy or action/adventure films. For those who enjoy Greek mythology, I suggest you also check out the 1963 version of JASON OF THE ARGONAUTS if only to see the fantastic Talos and the army of skeleton soldiers as well as CLASH OF THE TITANS (starring Harry Hamlin) and upcoming film TROY (starring Brad Pitt). Edith Hamilton's book MYTHOLOGY: TIMELESS TALES OF GODS AND HEROES is also a great introduction to the wonderful world of Greek and Roman myths and legends.

Despite weak lead, this "Jason.." still entertains.
This recent NBC mini-series covers the classic Greek myth of young Jason, who sought the Golden Fleece in his quest to be king. Unlike the classic Ray Harryhausen film of the 60's, this version is a little more grim and dark than usual for this type of film, but it entertains nevertheless. Brian Thompson (the alien bounty hunter from THE X-FILES TV show) is a hearty and jovial Hercules, while the kings of Frank Langella and Dennis Hopper and Natasha Henstridge's queen provide ample opposition for our hero. As the musician Orpheus, Adrian Lester delivers a thoughtful and solid performance. Robert McFadden is good as a petulant, yet puckish, Zeus. Unfortunately, where this movie falters is in the performance of Jason London as our hero. While he has the "angry young man" aspect right, he lacks the heroic passion and fire (that Todd Armstrong displayed in the 60's version) needed to be a credible leader of his Argonaut crew. Fortunately, there is so much action and special effects in this film that it can be overlooked to some degree. While not the classic that Harryhausen created, this is still an intelligent and solid film version of a favorite myth.

One of the Best Movies Ever Made
This movie is based on the classic Greek myth. As it begins, Iocles is being invaded by King Pelias(Dennis Hopper) and his soldiers. He defeats the defending army and marches into the palace, where he tricks his brother and murders him. He tries to kill the king's son, Jason, but a soldier of the king rushes in and saves him just in time.

Some years later, Jason(Jason London) awoke from a dream. It was a dream that he had many times before. It was the memory of the day Pelias invaded. He asks the centaur Chiron, who had been raising him ever since the day his father was murdered, what the dreams meant. Chiron told him that they were a memory, that the man who was murdered was his father, and that the man who murdered him was his uncle, and that the woman present was his mother, the queen, whom Pelias had taken as his wife. So with this information in minds, he goes to the capital of Iocles to meet his mother. Along the way, he loses one of his sandals.

The court seer sees Jason, and informs Pelias that a dangerous threat to his throne has arrived at Iocles, but that all he knew about him was that he only had one sandal. So, Pelias orders Jason to be brought to him. He speaks with Jason, and is about to have him killed, and asks Jason for one good reason not to, and Jason says that he will find the Golden Fleece, which Pelias wanted above all other things. Now, the Golden Fleece was said to be the Gods greatest gift to man, for it brought it's wearer his hearts desire. And Pelias's desire is to live forever, so that he may rule Iocles forever.

Pelias has ordered a ship to be built for Jason by the famous shipbuilder Argos. The ship is named the Argo, in homage of it's builder, especially as seen as Pelias had ordered Argos to travel with Jason under pain of death. Jason goes off to look for a crew. First, Jason recruits a former soldier named Mopsus, whom Jason recognizes as the man in his dream who saved his life. Then, they hire two blacksmiths named Castor and Pollux. Then, Jason hires a shepherd named Laertes, who happens to know how to bulljump. Jason also goes to the mapmaker's house, where he gets a map that will take him to the Golden Fleece. The unusual thing about the map is that it is not an ordinary map, but a map of the stars. Jason also recruits the musician Orpheus.

Jason finds the rest of his crew, but as he heads for the Argo, a thief steals the map. Jason chases him, but the thief is caught by the famous Greek hero Hercules,(Brian Thompson) who requests to be let a crewmember. Jason readily agrees.

Just as the Argo is about to set sell, four unexpected things happen. Jason finds his half-brother Acostes stowing away. Acostes wants to travel with Jason, for their mother's very life is at stake. The thief who stole Jason's map requests to be let a crewmember, claiming he has reformed his ways(the thief's name was never mentioned), the mapmaker's son Zetes hopes aboard offering his assistance, which is invaluable(he has eyesight tens times greater than an eagle; a gift from the gods, of course), and the great huntress Atlanta also requests to be let onboard. Jason agrees to all of the requests. At last they set sail for Colchis Along the way, Zeus, King of the Gods(Angus MacFaydon), and his wife Hera(Olivia Williams, help and hinder Jason and his crew as they sail across the seas in their fantastic search for the Golden Fleece...

Also starring Jolene Blalock, Frank Lagella, Natasha Henstridge, and Derek Jacobi. As an adaptation of the classic myth, this story is incredibly. The real myth was hokey and boring-definitely a myth-but this movie is fantastic. The special effects are great, the acting is great, the storytelling is great, and the movie in and of itself is great. It's one of the best movies I have ever seen, and an excellent version of a classic myth.

Recommended age: 10 and up. PG-13. 2000.

More fidelity to the classical myth but no sense of epic
As someone who teaches Classical Greek & Roman Mythology it is impossible for me to sit through something like the 2000 mini-series "Jason and the Argonauts" without constantly thinking about its fidelity to the myths of antiquity. Certainly this new version works in more members of the Argos crew than the 1963 film version with its Ray Harryhausen stop motion animation that is one of the beloved films of our youth. This time around there we have not only the mighty Hercules (Brian Thompson) aboard, but also Orpheus (Adrian Lester), Atalanta (Olga Sosnovska), Castor (Omid Djalili) and Pollux (John Sharian). We also have Jason (Jason London) and the Argo visiting the land of the Amazons and other details from the epic poem written by the third-century poet Apollonius of Rhodes, as well as the relationship between Jason and Pelias (Dennis Hopper) taken from Pindar. There is also a hint of the Medea (Jolene Blalock) that Jason will get to meet in the tragedy by Euripides. The only complaint is that unless you know the background on most of these characters you have no way of appreciating who is sailing with Jason. A prime example is when Orpheus mentions losing Eurydice but does not tell of how he almost won her back from Hades. Meanwhile, Atalanta seems to be interested in Jason (what would Artemis say?).

But while Matthew Faulk and Mark Skeet get credit for working the ancient sources into this telling of the tale, the problem is that the end result misses the magic of the Harryhausen version. The problem is twofold. First, the tenor of the story has contradictory impulses. On the one hand we have the active participation of the gods, with Hera (Olivia Williams) and Zeus (Angus MacFadyen) aiding and hindering Jason in his quest as they work out one of their frequent marital spats. But on the other hand there is an effort to make the story more realistic, in terms of the politics and relationships, which works against the idea of being the playthings of the gods. None of the actors strike heroic poses or speak in grand phrases and even Dennis Hopper is remarkable restrained in his performance. 'Jason and the Argonauts' tries to reconcile these two by having the gods work behind the scenes for the most part, but then Poseidon stands up and that idea is quickly dispatched.

Second, Jason London as the title character looks too young. I know the actor was 28 when he made this mini-series but he seems like a youth. One of the problems with the story was while the greatest heroes in Greece would come to sail with Jason, a callow youth, which Apollonius solved by having Hera make them all want to go. Instead Faulk and Skeet have Jason make up have the crew with undesirables, some of whom provide comic relief, helped because of the aid of the guard who saved him from death as a youth. In other words, Jason leads the Argonauts because that is what was written in the script. Granted, this is consistent with the tone of the mini-series, but you cannot help but think that when Jason meets Medea that she is going to eat him alive (of course, she does much worse, but that is another tragedy). The end result is a production of 'Jason and the Argonauts' that lacks the sense of heroic adventure that the tale personifies in classical mythology. It was okay and it should have been fantastic.

Jason and the Nonactornauts
True to the story, good cinematography, and nifty transitions however the acting by Jason and Pelias was downright painful to watch. King Pelias couldn't even pronounce Queen Hera's name correctly. Other actors were good. ... Read more

Reviews (3)

Everything a mini-series should be
When I heard the words "british TV miniseries", I was admittedly not expecting much. I was very pleasantly surprised.

This miniseries had everything a quality production should have: good cinematography, an excellent script, fully-drawn three-dimensional characters, and a fine slate of actors. Pay particular attention to Jason Isaacs as Michael "Mickey" Ryan. Mr. Isaacs, and the movie, were outstanding.

An unusually rewarding miniseries
While never quite overcoming its origins as a British television miniseries, this movie is nevertheless an absorbing, satisfying crime drama featuring unusually strong performances, especially from leads Susan Lynch and the always mesmerizing Jason Isaacs.
Both convey their reluctance to yield completely to the life of crime that seems to have chosen them; it costs Maura her one true love, and Mickey any chance of self-determinism at all. Mickey commences his career as the youthful lover of an older boss, whom he regards with contempt and disgust.
While never excusing or romanticizing their actions, the story presents the Ryans as unusually fully realized individuals, and even at their most sociopathic, they are never entirely repellent.
As British productions in general seem to do, this one also projects extreme realism in the gritty environment and tacky costumes. The accents may prove somewhat challenging to Americans for the first few minutes, since those seem completely authentic as well.

Enjoyable British mini-series
Enjoyable British mini-series relates the story of 20-year-old Maura Ryan, who, after discovering her family's criminal past, teams with her brother to take control of their illegal interests. Together, the pair rule London's underworld...until an unexpected challenge threatens to destroy everything they've built. ... Read more

Reviews (4)

One you missed at the theatre.
Saw this little gem when it originally was released theatrically. Needless to say, I was impressed.

Starring a terrific Gabriel Byrne (does this guy ever age?), it is a very tight story of a newspaper reporter (Byrne) who comes across a story of a Member of Parliament having an affair with a prostitute, who is also seeing a KGB agent.

But things are much more complex than they initially appear, and it becomes a much thicker paranoia thiller (one of my favourite themes). If you liked "The Parallax View" (1974) - or favour conspiracy theories - then you'll like this very British effort.

Watch for the gaggle of reporters camped on the Minister's doorstep. Durning the scene, a car backs into one of the reports, knocking him down. It is never explained...

The DVD transfer is exceptional, though in typical MGM fashion, there are no extras except for the original trailer.

A thinking person's movie
Fast moving all too credible movie showing dealing with the issue of press freedom versus what should be considered secrets of the state.
Great casting. This is a gem that is surprisingly little known.

Defense of the Realm
Overlooked. Something of a quiet sensation when it came out in the mid 1980's. Starring Gabriel Byrne(in his first lead role), Greta Scacchi, and Denholm Elliot. The script could have been written by John Le Carre. A complex, claustrophobic, dark, fast-paced film which requires alertness on the part of the audience. Not available on DVD in the U.S.

An absolute cracker
The showbiz adage of 'never work with children or animals' was, within the British film industry, extended to 'never work with children, animals or Denholm Elliot'. He was, rightly, labelled a 'scene stealer' and with his passing, one of the 'true stars' were lost.

Gabrielle Byrne and Greta Scacchi star in this 1984 UK film, but the film, despite featuring a young Robbie Coltrane ( Cracker ), is forever Elliot's. Massively underrated, this film is a powerful indictment of the true 'powers that be'. Governments come and governments go, but the engine room remains in place, along with the stokers.

Is this a political thriller, a journalistic thriller, a shadowy thriller even - scary too, maybe ?. Probably all and more besides. It's very taut, very fast, very complex and, perhaps, very true to life ( the scary bit ). Underhand and double dealing are rife and little mercy is shown to the designated stooges. Elliot, as Vernon Bayliss, suffers no fools here and realising the enormity of the truth and confiding in nobody, pays a heavy price for his refusal to be swept along with the tide of seemingly incontrovertible proofs. Perhaps Fox Mulder saw this film and coined 'trust no-one' from Elliots' performance.

What is sure, though, is that a field day awaits conspiracy theorists who watch this. There is no sex, no violence and no profanity and I defy anyone to watch this film only once. ... Read more

Reviews (7)

One of the top twenty best pictures in 2001
This film turns around the study of the several sociological human reactions under edge knife conditions. The play of Lehar in the middle of the desert is just one more device to explore the inner soul of every human being in that hopeless place.
An extraordinary performance of Jeniffer Jason Leigh.
In this argumental line there's a film of Buñuel titled El angel exterminador , that is very closed related to this one.

One of the best twenty top films in 2001
This film is deeply disturbing anguishly. A superb sociological of the human being through a catharsis process. The playing of Lear in the middle acts as an efficient device for exploring the multiple facets that the people adopts when is under an edge knife situation like this one.
Stunning performances and high realism.
A must in your collection.

The Dead Zone
This "experimental" movie about 11 people who get lost in the desert, managing to survive in a difficult and unusual situation, is a missed attempt at trying to examine the human condition. Shakespeare`s play "King Lear" is a central element here, as the filmmaker tries to use it as a starting point to study its characters ideas, dramas, reactions and motivations, however this doesn`t quite work as well as it should and ends up being a pretentious, long and lifeless movie. There`s a promising dramatic tension in the beginning and some actors try to achieve something, but it ultimately fails and goes nowhere. The directing is weak as it should since this is a "Dogma" movie, one that doesn`t use artificial resources to enhance the lightning, scenery, direction or wardrobe, but here it just seems poor, uninteresting and unfinished. The characters are dull and despicable (I understand that`s the idea but they didn`t grab my attention) and the plot moves at a snail`s pace, becoming empty and dry just like the desert landscape where the movie was made. The King is dead.

Powerful film, **not** a "Lear" remake!
"A group of people stranded in the desert decide to stage King Lear" does not begin to summarize this powerful and challenging film, which shows how extremity reveals both flaws and strengths of our characters. One of the stranded characters, who has unresolved issues with his own daughter, attempts to convince the other characters to stage "Lear," or as much of it as he can remember and write down. This attempt proceeds haltingly against crisis incidents between the various characters and against fragmented revelations of character that have the allusive quality of Japanese haiku. Finally, the cast does not so much stage "Lear" as become "Lear."

The story's resolution resonates deeply with the "Lear" theme while avoiding allegory or simplistic, one-to-one correspondences. There are disturbing, even shocking moments, and characters do not go unscathed, but there are also small moments of redemption. At the conclusion, I was left with that sense of surprise and inevitability that marks the most excellent drama. The Dogme 95 emphasis on actor improvisation worked well for me in this depiction of a situation which, in real life, would require improvisation for survival. And even with the Dogme 95 technical restrictions (available light, natural sound), this film captures the beauty and immensity of the African desert and light. One is left with a heightened awareness that our own human dramas are played out against forces, both external and internal, that are only partially under our control.

Be prepared to concentrate, perhaps even view the movie more than once, to understand fully what's happening. This is **NOT** a "Hollywood rip-roarer" or love story. It **IS** one of the most thoughtful and thought-provoking films I have seen in a long time.

Reach Exceeds Grasp
"The King is Alive," is problematic in a very good way. It's a Dogme film, which means it was made under a set of rules that holds the film maker to natural light, ambient sound, actual locations, and possibly a few more restrictions. Working within that format the director, Kristian Levring, has made something quite remarkable. His location is the Namibian desert, and he has captured the splendor of the light, color, and landscape quite well. The intrusion of a soundtrack is blissfully missing, and the only music in the film leaks from a set of headphones for a disc player, lasts about 5 seconds, and works with great effect. Mr. Levring also made good casting choices, and the cast does a good job except for a few moments that are miserably improvised. The big problems are with the script. There's one plot hole that you could drive the broken down bus through, and a conclusion that's not conclusive - it's as if the production just ran out of film, or tape. Otherwise, it's entirely believable that a group of people disintegrating in a survival situation would choose to take their minds off their impossible situation by enacting a drama, especially because their situation is one of waiting rather than action; and it's conceivable that "King Lear" would be the drama, but it seems to me that if that's the set up then the play within the play should have some relevance to the play itself, and though Lear contains madness and betrayal, the connections are tenuous at best. Anytime you let Shakespeare into the picture you raise the audience's expectations for a work that will illuminate the master's vision, or vice versa. Unfortunately, neither occurs. The study of survivors in extrema is not enhanced by the use of "King Lear," and "King Lear" is not enhanced by the situation - or the film. Too bad, because it was an interesting concept. Given that, the film is worth seeing. It's certainly better than most of what Hollywood has to offer, and is a great example of how less can be more. ... Read more

Description

J.C., a bisexual hustler with a mama fixation, sells himself to anyone who'll pay his price: "I said, ten bucks or I'll break your hand!" Turning tricks in the balcony of a movie theater, cruising a bathhouse, or hanging out along The Meat Rack, J.C.'s only interested in cheap sex and quick cash. But when he sees an old coot attacking a Jersey-girl named Jean, J.C. rescues her -- and is immediately forced into making a porno by two knife-wielding transvestites! Plus: Peter and Buddy are throwing a 4th of July Fire Island Party and you're all invited! Leather-Queen George will be there, bragging about his rubber bed sheets. So will The Lavender Guru, a loquacious flower child incessantly babbling hippiespeak, and Bobby, who's "new to this whole thing," will be having a panic attack. Two very different but equally nostalgic time capsules of the 1970 Gay Scene, full of love, lust, and naked butts. ... Read more

Reviews (1)

Seriously good stuff
Don't let the campy description fool you. Both of these films are minor classics and major groundbreakers of gay cinema. Meatrack is a strange morality tale that features some excellent cinematography and Sticks and Stones is a fly-on-the-wall account of the dissolution a relationship against the backdrop of a party on Fire Island. Both were made in 1969, before The Boys in the Band and all of the other great Hollywood films came out. The shorts included are also a cool indication of the kind of things guys were watching in the dark of their own dens or at peep shows in the 1960s. ... Read more

Reviews (2)

A TRUE WORK OF ART
A HIT MAN HAS A MIDLIFE CRISIS. HE THINKS OF LEAVING THE MOB AND LEADING A NORMAL LIFE. HAS PLENTY OF GOOD PLOT AND PLENTY OF GOOD ACTING TO SPARE, BUT THIS FILM COULD'VE USED SOME BETTER PACING. BUT, WHEN YOU PAY ATTENTION TO THE FILM'S CHARCTERS AND THE SINCERITY OF THE PERFORMANCES DISPLAYED IN THIS MOVIE, YOU'LL FORGET ALL ABOUT THIS FILM'S FLAWS. MOB MOVIE FANS SHOULD THOROUGHLY ENJOY THIS.

English mobsters turn sadism into performance art
Jon is a brutal gangster whose conscience is like an amputated limb--it's gone, but sometimes he thinks it is still there. As he maims and murders we learn little about Jon other than he lives in London, that he has a first name, and that he is a legbreaker, assassin, and apprentice sadist. Despite the thin biography, at the close of Killing Kind we know Jon.

He ain't pretty.

Director Paul Sorossy gives a taut, grim, and gritty glimpse into the lives of mobsters who transform violence into performance art. As a sadistic crime boss boasts, these men embrace their brutality.  Jon, played brilliantly by Andrew Howard, finds this difficult after he reconnects with childhood friends who are a reminder of a more innocent time. We don't get a lot of details about Jon's past, but the indications are it didn't involve torture. The story focuses on the present and the conflict Jon experiences as he is torn between his old comrades and his current terror mentors.

Set in the underworld of working class Britain, Killing Kind avoids the maudlin affectations Hollywood attributes to hitmen with mid-life crises. Forget any Road To Perdition-type father and son relationships: this is a tale of the devil and his particularly worthy disciple Jon. Director Sorossy manages to cram mayhem into almost every other scene yet it never comes across as gratuitous or cartoonish. Sorossy, who borrows heavily from director Michael Mann in a few of the more memorable and graphically violent scenes, makes certain the audience never forgets how repulsive Jon can be. Any sympathy Jon has generated evaporates with an ending that is both intelligent and disgusting.

As for that ol' debbil Satan, he appears in the form of Jon's mob boss, a sixtyish, heavily tattooed sociopath given to Goethe-like pronouncements that could have been barked from the neighbor's dog to Son of Sam. The Tattooed Man, portrayed by David Calder, steals the show as he instructs Jon on the finer points of torture, contract killing, and the meaning of life. Calder's character is one of the more menacing since Brian Cox nailed Hannibal Lecter in the aforementioned Mann's masterwork, Manhunter. The Tattooed Man's dialogue crackles as he proves to be the Philosopher King of sadism. Geraldine O'Rawe also stands out as Jon's love interest. Her role as a feminine savior, though, is overshadowed by Calder's portrayal of the devil in the form of an English mobster. 

Great atmosphere and brilliant cinematography set the stage for the topnotch acting that transforms what could have been an ordinary gangster flick into a powerful exploration of the nature of evil. As Sorossy reminds us, Satan still has the upper hand in this world. ... Read more

Reviews (3)

The Silence of the Exile
Jeremy Irons plays a man in a state of exile, a Pole living in England. He has not altogether left his country, he's only come to England to work as a go-between who hires cheap Polish laborers to do jobs for frugal English clients. Irons has a wife back home in Poland but makes more money in England than he ever could at home so he stays and grows ever more isolated from his homeland. When a new batch of workers arrive he greets them at the airport and escorts them to their living quarters and tends to their every need. This is the status quo he lives in. And one suspects he prefers stable old England to the instability of his homeland. His life is secure if at times lonely. We see his wife only as a picture that he has pinned to the wall above his bed. One day he notices that events in Poland have taken a turn for the worse. He knows if he tells the men this news they will want to return immediately so he hides the newspaper deciding to hide the news from the men as long as it takes to finish the job. This dishonesty is nothing less than a betrayal. And he knows it. We know this act is despicable and yet we also know what motivates it. Irons wants to preserve the only order he knows. He is not necessarily close to any of the men nor does he share any sense of community with them nor does he express any sort of sentiment about Poland, he is a loner and yet to preserve his sense of order he is forced into this treachery. And once he begins lying to the men his treachery knows no bounds--he does whatever is necessary to preserve the illusion to his men(and himself) that things are just fine. It is only a matter of time til the inevitable confrontation will come when his men find out that he has lied to them. And the confrontation like everything else in this film is subtle and memorable and poignant. Along the way we hear Irons thoughts about what he is doing and it is facinating to see this man do what he does all the while knowing full well what the consequences will be. Powerful acting performance by Irons as this man whose loyalties are no longer certain.

Superb Independent British Film
Despite the people who think this film has anything to do with the TV show, I believe that this film will be remembered as Jeremy Irons best work to date. It is an understated and fascinating film about 4 Polish workers who come to London to renovate (illegally) their boss' condo. This was made in 1982 after the Soviet crackdown on Solidarity. If the first 10 minutes of the film (masterfully directed) don't hook you then you'll be missing one of the best films made in the 1980's. Read ANY film critic's review.

Let the show begin. Moonlighting from the start!!
Being an addict of this long forgotten television show, I found the initial debut movie a treat and a great preview as to some of the wild antics we were to see in the upcoming epsiodes of Moonlighting. David Addison, a wise cracking, funny, complex guy meets supermodel turned poor woman Maddie Hayes. The chemistry is evident from the start as David tells Maddie, "you're lucky the package is so attractive, because no one would guess what a cold bitch you are." David is determined not to let Maddie close the detective agency he runs (she owns) and go into business together with him. A case is looming in the background and it is predictable that the two partner up to create a fabulous duo of detectives with attitude, style, wise cracks and ultimatelty love. ... Read more