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Ray Peterson (Tom Hanks) would like nothing better than to spend a quiet week's vacation in his suburban home, drinking beer and watching TV. But, spurred on by his two friends' spinning of boyish paranoid fantasies about their reclusive neighbors, the Klopeks, the usually down-to-earth Ray begins to suspect his idyllic neighborhood has been invaded by an evil force, to the point where he and his friends become psychotically nosey. You see where this is going, and you see it from a mile off.Only the general surface-thin plot is somewhat offset by director Joe Dante's fine sense of the absurd, and a host of engagingly played neighbor-types, namely Rick Ducommun as Ray's best friend who's always proposing bad ideas, and Bruce Dern as a sometimes wild-eyed ex-vet who'd love some action.Dante and crew seem to have a knack for keeping these broad characterizations light enough that you don't mind their superficiality. But the best jokes in this unprepossessing film come from composer Jerry Goldsmith's score; Bruce Dern's presence, for instance, is announced by the theme from Patton, and the boys' first approach to the Klopeks' for a meet-and-greet is buttressed by classic strains from Sergio Leone spaghetti Westerns.Kudos to the Klopeks, for their evil ways are ably embodied by Henry Gibson, Courtney Gains, and Brother Theodore.In particular, any suburb that finds it's inhabited by the likes of Brother Theodore is in dire need of new zoning laws.But Carrie Fisher's role as Ray's amiably long-suffering wife is thankless, and she deserves better. --Jim Gay ... Read more

Reviews (109)

"People In Cul - De Sac's Are Strange...."
This 1989 black comedy starring Tom Hanks, and directed by Joe Dante(Gremlins, Matinee, Gremlins 2, Small Soldiers), might not be to everyone's taste. I think it's a silly, fun, entertaining little movie. Hanks stars as an everyday, all American type of guy, who is on vacation from work. He, and the rest of his friends in the cul- de sac they live in, are suspicious of their weird new neighbors. They hear and see weird things going on there. Since he's off work, and has a lot of time on his hands, Hanks gets roped into finding out the mystery of these interesting new additions to the street. Comedian Rick Duccommun plays Hanks' best friend Art. Bruce Dern is their marine-like neighbor across the street. Carrie Fisher plays Hanks' wife. The weirdo family is headed by Henry Gibson. The movie has a number of goofy and funny scenes. One wishes the movie was even darker and went a bit further with some of the stuff, but oh well. The climax is a big, all out there surprise. Okay, maybe not really big, but fun. Corey Feldman co-stars. This isn't great art people, but it's fun escapism.

Repeat value
The 'Burbs isn't one of those movies you'd see being drooled over by film critics or even audiences, but it is one of those movies that if you saw it on TV every couple of months, you'd watch it.

Joe Dante's weird sense of humor shines on this movie even more than the Gremlins movies. It also offers a cast of characters that are as much relatable as they are crazy. Everyone has weird neighbors, right?

Tom Hanks is in top comedic form in this one offering classic lines like "I've never seen anyone drive their garbage to the street and bang the hell out of it with a stick." Then you have the hilarious neighbor Rick Ducommunn who I feel should have had a better career after this film. Corey Feldman (always a treat) plays the irresponsible teen and Bruce Dern is brilliant as the crazy military reject.

All these characters mixed up in a bizzare murder mystery is pure magic. But what makes this movie have replay value is the little things that you don't necessarily catch while watching for the first time. For example, when Rick Ducommunn comes over to visit Tom Hanks and eats nearly everything in his refrigerator while the audience is engrossed with his tales of terror. Or just the body movement of Hanks when he observes the weirdness of his neighborhood throughout the film. Hilarious.

I may be looked upon as weird for giving this movie 5 stars, but it is one I can always rely on for a good laugh and good quotes.

"NO!" "About a 9 on the tension scale, Rube."
"I want to kill everyone. Satan is good. Satan is our pal."
"Red rover red rover let Ray go over."
"I've been blown up! Take me to the hospital, I'm sick."

Watch this movie and you too will quote these lines forever.

Sub-'Burbs
While I found the humor of 'The 'Burbs' kinda cute and occasionally giggle-inducing, it wasn't really all that funny to me. Ya got Tom Hanks in the usual 'reluctant-hero-caught-in-the-middle-of-it-all' role he usually played back in the mid-to-late 80s, with his trademark expression of outraged incredulity poppin' up when he's been pushed just a bit too far by his odd neighbors. Throw in the quasi-psychotic weirdness of Bruce Dern's character, and the cool-dudeness of then-teen-heartthrob Corey Feldman, and you've got a little something that's fun to watch, but ends up well short of being a bona fide laugh riot. Which was pretty much par for the course for most of Hanks' 80s comedies following 'Bachelor Party'.

Ah well, there's always 'Forrest Gump' if I ever feel the need to watch a truly funny Tom Hanks flick...

'Late

Watch Out In Your Neighborhood For The Reclusive Families!
As Art Weingartner says "I'm telling you these people are Satanists. As I sit here, they are Satanists. Look... look, the world is full of these kind of things; black masses, mutilations. Mutilations! The incubus, the succubus - I'm tellin' you, Walter was a human sacrifice."

Such is the hysterical dialog between Art (Rick Ducommun) and Ray Peterson (Tom Hanks) when they discover, along with some other people in their suburban subdivision, their elderly neighbor, Walter Seznick (Gale Gordon) is missing in action.

Other neighbor buddy, Vietnam Vet, Mark Rumsfeld (Bruce Dern) decides to help Ray and Art to find out what happened to Walter. They all three are SURE that the weirdo reclusive new neighbors, The Klopek family, comprised of Dr. Werner Klopek (Henry Gibson), Uncle Reuben Klopek (Brother Theodore) and shy Hans Klopek (Courtney Gains)have something to do with the old man's disappearance.

So...complete with night vision goggles, credit cards to slide in the Klopek's doorlocks to break in and various other spy equipment furnished by Mr. Rumsfeld, they start their little spying games.

Men and their wives even plan a little friendly "welcome wagon" visit to the Klopeks (one of the funniest scenes in the movie!)

Corey Feldman as young neighbor teen Ricky Butler, Carrie Fisher as Carol Peterson, & Wendy Schaal as Bonnie Rumsfeld ALL turn in great performances.

Even Nicky Katt from Boston Public plays Ricky's young friend Steve Kuntz!

What happened to Walter? Did the Klopek's have anything to do with the disappearance? WATCH THIS VERY ENTERTAINING MOVIE and find out for yourself!

Happy Watching!

RAY YOU'RE NEIGHBORS ARE MURDERING PEOPLE!!!
This is the greatest comedy of all time,second is Clue. It has a whole bunch of great lines and an outstanding score by Jerry Goldsmith (Patton). Even though Tom Hanks is really, really funny, the best character in this is Art, played outstandingly by Rick Duccomon. You have to add this to your comedy collection. The movie itself is about three men (Tom Hanks, Bruce Dern, and Rick Duccomon) who get obssesed with what is going on in Tom Hanks' neighbors house. Art thinks that the neighbors are killing the other people who used to live there. But he can't be right. Can He? This is a must have for people who love comedy and mysteries. The lesson: Don't judge a person by his cover....... but don't be too careful. ... Read more

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This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

Description

In THE UNTOUCHABLES, federal agent Elliot Ness leads a group of mob fighters with the intent of taking out the infamous Al Capone in 1930's Prohibition-era Chicago.Realizing that practical methods will not work in securing Capone's capture, Ness and his men resort to using even more force in order to take down the Chicago mob boss once and for all. ... Read more

Reviews (131)

Good versus Evil in a deadly dance of operatic proportions.
Sometimes dubbed "the Master of the Macabre," director Brian De Palma is best known for his enactments of the supernatural ("Carrie"), mania ("Dressed to Kill") - and his mob stories. The latter part of his reputation is primarily grounded on four of his movies from the ten-year period between 1983 and 1993: "Scarface" (1983, starring Al Pacino), "Wise Guys" (1986, starring Danny De Vito, Joe Piscopo and Harvey Keitel), "Carlito's Way" (1993, again starring Pacino) ... and "The Untouchables" (1987), featuring an all-star cast including Robert De Niro, Kevin Costner, Sean Connery, Andy Garcia and Charles Martin Smith. Among these, "The Untouchables" stands out as the only movie not primarily told from the gangster's but from the lawmen's perspective - but what it does share with all of De Palma's works is an almost voyeuristic appeal to its audience's visual senses; going far beyond the lavish display of film blood it is most often cited for.

Less fact-based than cinematic grand opera par excellence, the movie takes as its premise the end of the career of Chicago's ganglord of ganglords, Al "Scarface" Capone, who (after a few half-hearted attempts to prosecute him for murder had failed due to the unavailability of witnesses) pled guilty, in 1931, to evading federal income tax, and was sentenced to an 11-year prison term and a $50,000 fine. Capone's downfall was brought about by a group of initially 50 but later only nine Treasury Agents, formed in 1929 (not in 1930, as suggested here) with the express purpose of breaking up his operations, and headed by Eliot Ness, whose 1957 book "The Untouchables" posthumously gave new rise to his fame - Ness died of a heart attack without ever having witnessed the full extent of his book's success - and inspired, inter alia, the like-named 1959 television series starring Robert Stack and Brian De Palma's 1987 movie.

Scripted by Pulitzer Prize winner and Chicago native David Mamet ("Glengarry Glen Ross"), "The Untouchables" is not so much a study in character development as based on a western's classic "good versus evil" setup; although that doesn't mean that its protagonists are two-dimensional in any way. On the contrary: Robert De Niro imbues his Capone with a ruthlessness and glib charm very likely matching those of the real "Scarface," who was known for his little hesitation to commit murder and other acts of violence as much as he cultivated a reputation as a savvy businessman and benefactor of the poor, for example by running several soup kitchens. (And yes, all of De Niro's mannerisms are on full display, too; but rarely have they fitted a role as well as here.) Kevin Costner's Eliot Ness may be a little too assertive - Robert Stack once commented, after several conversations with Ness's nearest and dearest, that the real-life Treasury Agent had been described to him as "rather soft-spoken, but very effective and brave" - but mildness is certainly not the principle trait written into the larger-than-life role of the man who "got" Al Capone, and Costner *is* an effective lead; although he is matched (not entirely sidelined, but darn near outplayed) by Sean Connery, who deservedly won an Oscar, a Golden Globe and a National Board of Review Award as the crotchety old-timer Malone who has seen it all, somehow managed to stay both clean and alive, and now lets Ness talk him into becoming his tutor in all things Chicago Gangland. Andy Garcia, in his break-through role, is instantly likable as George Stone, the smart, fast kid from the South Side who doesn't take kindly to put-downs of his origin but can nail a human target with one hand while lying down and holding a baby stroller with the other hand. Charles Martin Smith finally brings humanity and subtle humor to the character probably closest to the real-life "Untouchables," accountant Oscar Wallace, who first has the idea to charge Capone for income tax evasion. Strong performances by Billy Drago as Capone's right-hand man Frank Nitti (who of course was not really thrown off a rooftop by Ness), Richard Bradford as Police Chief Mike Dorsett, Patricia Clarkson as Ness's wife, Jack Kehoe as Capone's bookkeeper Walter Payne and others round out an altogether impressive cast.

Unmistakeably scored by Ennio Morricone (whose style often, and certainly here, doesn't even take a full bar to recognize; and who with an ASCAP Award, a Grammy and a BAFTA Award was the movie's other major winner besides Connery), "The Untouchables" lives off its splendid cinematography, production design - costumes courtesy of Giorgio Armani - and the exquisite timing of its sharp-edged dialogue and editing: Not only is screenwriter Mamet known to have his actors practice their lines according to a metronome; the editing of some of the movie's most memorable scenes has the distinct feeling of a carefully choreographed, veritable ballet. This is particularly true for Malone's death, pointedly set against the aria "Vesti la Giubba" from Ruggero Leoncavallo's opera "I Pagliacci" ("The Clowns"), which is based on a real-life murder and which Capone attends while his lieutenants waylay Malone in his own apartment; and the famous shoot-out in Chicago's Union Station, which turns into a deadly dance of bullets, blood and a baby stroller, shot almost entirely in slow motion.

Paradoxically, the one plot element this movie is most often criticized for - the jury switch at Capone's trial - is one of the few facts that actually did take place (although Capone's attorney would have had to be given the right to conduct a new voir dire). But ultimately, it doesn't even really matter how much of the plot is fact-based and how much fiction: Even if "The Untouchables" doesn't quite reach the mythical status of the "Godfather" trilogy - particularly its Parts 1 and 2 - as the mob movie to end all mob movies, it is one of only a handful other films that at least come close to the proportions of Francis Ford Coppola's epic masterpiece.

"What are you prepared to do?"
Brian DePalma's 1930s gangster film is none-the-less ingenius. Sean Connery deservedly won an Oscar for his moving performace, and the screenplay is fantastic.
Kevin Costner is Eliot Ness, an idealistic crime-fighter who moves to Chicago with his family to fight the infamous gangster Al Capone, brilliantly played by Robert De Niro. Ness enlists the help of Jimmy Malone (Sean Connery), an aging cop who knows how to defeat Capone. also helping Ness are George Stone (Andy Garcia), a young, streetwise cop, and FBI accountant Oscar Wallace (Charles Martin Smith), whose knowledge may help crack open the violent war that has broken out. Chicago gangsters are battling a hapless police force in the Prohabition.
the coolect scene has to be when the "four riders" take on a shipment of alchohol on the U.S.-Canandian border. after their triumphant victory, however, Capone retaliates violently, which leaves our friends - and the audience - in shock and for-lasts the film in tragety.
truly one of the greatest detective/action movies ever made, "The Untouchables" is a modern masterpiece. rent it and then buy the DVD!

Touchable...
This film marks several remarkable firsts: The first true representation of a David Mamet film script (although "The Verdict" in 1980 came first), the leading-man status of Kevin Costner (deservedly so, since despite disasters like "The Postman" and "3000 Miles to Graceland", he's a very good actor with a very impressive resume and an Oscar to boot), Sean Connery's first Oscar win, also very much deserved, and most importantly, the first good film from Brian De Palma. People call films like "Body Double", "Carrie", "Blow Out" and "Dressed to Kill" classics... why they do, I have nary a clue. Those are some of the worst rip-off films in history. His "Hitchcockian" feeling is, to me, straight-up plagarism. He rips off plots and shots that are embarassing mish-moshes of Hitch's best (and worst) stuff. And did you see "Mission to Mars"? I didn't think so. And the only people that I can imagine that liked "Femme Fatale" were fans of the bathroom sequence (If you saw it, you know what I'm talking about). The only other film of his that was worth watching was "Mission: Impossible". But "The Untouchables" is a real work of art. I won't go into plot points, but I'll comment on the film's great points: 1) The dialogue is sparkling. Mamet makes these people real as opposed to just making them standard action caricatures (the young idealist, the grizzled old wise-man, the cocky rookie, and the dorky fifth-wheel). 2) The performances are top-notch. Costner, Connery, Martin Smith, Garcia, De Niro, and an underrated performance from Richard Bradford as Chief Dorsett really help to pull this film off. They give it all they got. They make the tragedy and drama and excitement and horror and triumpth of this film work. 3) The visuals are stunning. Stephen Burum really makes that camera work, especially with those beautiful shots of LaSalle Street. This film is a great revisionist telling of the Eliot Ness vs. Al Capone brawl. The film obviously takess a lot of liberties with history, but they really work, especially with the dispatching of one particularly bad man which in my opinion makes for the MOST satisfying film death EVER. It really makes you happy to watch this guy bite it ("Did he sound anything like THAT?!?"). This is a great film and I could not recommend it more highly. But go ahead and skip the rest of De Palma's 'classics'.

i love the movie and it's series
hello,my name's aaron johnson
the reason i'm writting this review for the untouchables film
is because i've seen it so many times that i enjoy how malone says his famous line to elliot , the one about getting capone
anyway, the whole entire plot is excellent
especially when the federal agents try to stop capone's men in time

the other reason i'm writting in this review , is because i've seen the untouchables tv series
and i'm wondering this very question ;
"when will the untouchables tv series from 1993
be out on dvd"

because i think that people would enjoy the entire [whatever how many seasons it ran for [if it was one or two] of the series

i'm sure a lot of other customers would appreciate the untouchables tv series on dvd

Great gangster cartoon!
The Untouchables tells the story of four policemen who fight Al Capone during the prohibition of the 30's. Don't expect anything like The Godfather though: this movie merely aims at -sometimes cartoonish- entertainment. Don't be surprised with the stereotypical characters and story and the all too colourful 30's setting. It's just how this movie works. Robert de Niro's Al Capone is excellent as the funny bad guy, Kevin Costner and Sean Connery both fit excellently in their roles as two persistent police officers with a mission. Yes, several happenings in the story may be somewhat cliché, but it is nothing less an exciting movie to watch. Executions, shoot-outs, trials and much more: it's all here. It's still better to pinch something well than to invent something badly! ... Read more

Amazon.com

Some called it a snooze-fest, while others tearfully clutched their Kleenex. In any case, Clint Eastwood was an unusual and (as it turned out) perceptive choice to direct and costar in this lush adaptation of Robert James Waller's phenomenally bestselling novel. Meryl Streep costars as Francesca, the lonely Iowa farmer's wife who is instantly attracted to Robert (Eastwood), the photographer from National Geographic who is in the area to photograph the bridges along Iowa's rural roadways. The two fall in love while Francesca's husband and children are away at a county fair, but the story's passion and lasting appeal derive from their decision to part forever after just a few brief days of intimate connection. Superbly acted with an emphasis on quiet, graceful moments of tender revelation, the film builds to a crescendo of powerful and conflicting emotions. Like David Lean's Brief Encounter (to which it bears marked similarities), The Bridges of Madison County is destined to become one of the classic movie love stories. --Jeff Shannon ... Read more

Reviews (122)

Drown under the Bridges of Madison County
Here we find Clint Eastwood playing Robert Kincaid, a National Geographic photographer who is taking pictures of covered bridges in Iowa. He meets Franchesca, a housewife who is bored out of her mind while her family is away at the county fair. The two have a 4-day affair that is supposed have you pull out your hankerchiefs and sob your eyes out. I was trying to keep my eyes open!

I never was a fan of love stories, and this movie also tries to send a message that true love only happens once in a lifetime, and it doesn't involve marriage. I don't like the fact that this movie portrays an affair as being more sacred then marriage. I can understand that Franchesca was bored and needed a change, but don't you think she went a little too far?

The movie drags, REALLY drags! The opening sequence with her children going through her personal files is so slow that you keep forgetting why you are watching this movie. Most of the scenes are long and very tiring. The rest of the movie yields much of the same, and only the change between scenes keeps you from dosing off. I have been to Iowa, and I agree that the scenery is nice and peaceful, but maybe too peaceful.

Clint Eastwood does fill in a good role as Kincaid, and I can understand if he was trying to open up to a new audience, that being women. This movie does show us the Romeo side of Dirty Harry I guess. There is nothing wrong with trying something new, but I hope Eastwood never does anything like this again.

IT'S ALL ABOUT MERYL
One can only continue to marvel at the incredible range Meryl Streep has shown over her many years; she's going to receive a Lifetime Achievement Award from the American Film Institute later this month, and what a deserved honor that is.
This love story doesn't really offer anything new in the lines of romance, but it does offer us mature adults facing a heartbreaking decision...a choice. Meryl's hand on the door of her husband's truck while trying to decide whether to run off with Clint Eastwood is one of those moments that only an actress like Streep could pull off so convincingly.
Streep and Eastwood pair well, and they have some powerful scenes, some without dialogue. The addition of the modern day segment featuring Streep's grown children could have been left out, but Annie Corley did a nice job; Victor Slezak was so-so. Jim Haynie in his brief role as Meryl's husband is a sharp contrast to the outgoing, masculine Clint. As he has shown in such powerful movies as MYSTIC RIVER and UNFORGIVEN, Clint has become a director of incredible vision and sensibility. His direction and Meryl's performance elevate this standard fare to classic heights.

The best love story of all time
Anyone who calls this a snooze fest is scared to death of themselves. This is a true love story. Its about a romance that keep people alive whether they dream of it or in this case actually get to live it. I hope someday to meet Mr Eastwood and Ms. Streep and thank them for doing this movie.
Watch the movie, read the book and dont be ashamed to cry and to dream and cry some more. It's ok. It's a beautiful story of something so special that few us ever get to feel. I am a deep romatic and love to write love songs and play them on my guitar.
I have been married to my wife for 25 yrs. I admit I am too scared myself to go out and find someone who really cares about me and appreciates me and doesnt take me for granted. I have spent my marriage trying with all my heart to get my dear wife to believe that romance is beautiful. Too many bad things happened to her as a child. Some people are threatened by those who can openly share there dreams and secrets. They are ahsamed of being. I dream of true love and romance. Maybe someday. Maybe someday I'll find someone to slow dance with again under the stars to the music of each others hearts. Someone to hold hands with, and feel so damn happy you pray to God it will never end. Thats what this movie and story does for me. Cheers.

Movie: ***** DVD presentation: *
"The Bridges of Madison County" is a stellar 1995 adaptation of a truly terrible book. Director/star Clint Eastwood and screenwriter Richard LaGravanese are miracle workers in transforming Robert James Waller's treacly and laughable romantic potboiler into a classic romantic tearjerker about mature people falling in love over a four-day period and making some tough decisions that cost themselves happiness in order to make life better for those around them.

"Bridges" stars the glorious Meryl Streep as Francesca Johnson, an Italian war bride turned unhappy '60's Iowa farm wife, who falls deeply into romantic love with National Geographic photographer Robert Kincaid (Eastwood) while her husband and teenage children are away for four days at an out-of-state fair. She must then decide whether or not to abandon her family in order to spend the rest of her days with the love of her life. The story is really as simple as that, as the true joy of this film is not in surprising and witty plot machinations but in watching two mature and interesting people TALK and RELATE to each other in a realistic manner, something you just don't see in American films any more.
Add to the main plot a much-maligned framing device, set in the present-day with Annie Corley and Victor Slezak as Francesca's grown children. (They're going through their recently-deceased mother's papers and find her diary which contains their mother's story of the affair.) It adds an extra dimension as the pair are forced to confront the problems in their own marriages by reflecting on their mother's infidelity and sacrifice. While some viewers evidently find the present-day story to be an unnecessary conceit, I feel it works just fine and leads to a final shot which is hauntingly memorable.

Actually, everything in this film is hauntingly memorable, from the amazing Streep's Oscar-nominated performance and Eastwood's nuanced and vanity-free work as Kincaid (Witness the nasty, ageist, and unnecessary comments about Eastwood's nude scenes in some of the previous comments and you'll know what I mean about "vanity-free"), to Corley's wonderful work as the daughter and Jim Haynie's nearly silent, though equally memorable turn as Francesca's dull, taciturn but unfailingly decent lump of a husband. Only Slezak overplays his hand as Francesca's son, making him overbearing, unlikeable and unsympathetic.

The film is beautifully shot and stunningly edited by Eastwood regulars Jack N. Green and Joel Cox, making the Iowa landscape and the title bridges vital characters in the film. In fact, Eastwood and company create an indelible sense of time and place; after viewing this film you may actually feel you've been transported to 1960's Winterset, Iowa. Even Lennie Niehaus' obligatory jazz score works incredibly well, even though I would bet jazz wasn't exactly a radio stalwart in the midwest at that particular time. In fact, it's a testament to how good the film is that an interlude at a black jazz nightclub doesn't come across as implausible until later, when you may wonder where exactly in Iowa such a place would exist.

My only disappointment with "The Bridges of Madison County" was that it faired so poorly during awards season. Eastwood, LaGravanese, Green and the film all deserved Oscar nominations, but when the nominations came, only Streep received one. This in spite of the fact that 1995 was a weak year for Hollywood films, with two authentic classics ("Apollo 13" and "Babe") duking in out with three incredibly overrated pictures (Mel Gibson's eventual Oscar winner "Braveheart," "Sense and Sensibility" and the already forgotten Italian treacle "Il Postino"). LaGravanese in particular was shamelessly snubbed for Adapted Screenplay, since his adaption was a substantial improvement over the source material while eventual winner Emma Thompson's "Sense..." script added little to Jane Austen's masterpiece. My guess is Waller's original novel was so horrible that the Academy didn't want to be associated with it in spite of the masterful work that went into this adaptation. Oh, well--

So, considering this glowing review, you may wonder why it only ranks a *** rating? Simple. I'm rating the DVD, and it is a true disappointment: the only Eastwood directorial effort not available in a widescreen transfer, which is puzzling considering Warner Home Video has released all other titles in its Eastwood catalog exclusively in widescreen. My guess is they're waiting for next year's tenth anniversary to release a special edition with making-of features, interviews and widescreen presentation. One can only hope. Until then, this print will have to do. So enjoy, and grab a hanky. You'll need it.

Mature romance with a beautiful performance by Meryl Streep
"The Bridges of Madison County" is an extraordinarily mature film dealing with the complexity and dilemma of the crossroads we sometimes come to in our lives: do we pursue what we truly desire in our hearts or do we do what society would consider to be the right thing - that is, to continue to meet our responsibilities, whether parental or familial. Such is the dilemma facing Francesca Johnson, played magnificently by the gifted and brilliant Meryl Streep. Clint Eastwood, although at times rather stiff in his role as Francesca's romantic interest, Robert Kincaid, gives his character an unusual masculinity and sympathy. Critic Roger Ebert notes that a younger couple would simply have ran away together, abandoning everything behind. BUT...Francesca already has a decent, hard-working husband as well as two children. With Francesca being 45 and Robert being 52, these are two adults who are mature enough to realize not only the intensity of the romantic passion they share but that to continue such passion would come at a price too high to pay for Francesca. In that sense, this film is not so much about simply an affair, but rather it is a mature depiction of inner struggles with unexpected romance and the realization of the importance of putting responsibility before desire. A+. ... Read more

Reviews (31)

The Nightmare Divorce: A Dark Comedy
The 1989 film "War Of The Roses" was the product of Danny Devito who conceived the idea. He directed the film and it stars Kathleen Turner and Michael Douglas. Their relationship in the film is nothing like their earlier partnership in Romancing The Stone. Here, the Roses are at war, in a modern parody of the historic British War Of The Roses, Tudors and Stuarts whose emblems were white and red roses. They are fabulously rich, they met traveling foreign lands and buying antiques. She's an experienced gymnist and he's a wealthy executive. Eventually, their love life and marriage falls apart and a divorce, long-lived and bitter, ensues.

The entire film is about that terrible divorce. It's a bit of a downer for happily married couples but it's still an enjoyable film as far as social satire and dark comedy. It's not really possible for any couple to conduct their divorce in the spiteful, nasty way these two go at it. Michael Douglas ruins his wife's dinner party, runs over her cat, and later Douglas eats his own dog which she had made into dinner. Their fighting becomes an all-out war, enacted inside their million dollar estate. At one point, they are hanging for dear life on a chandelier. Danny DeVito plays the lawyer and he is delivering absolute comedy. Remember, DaVito was a great choice for comic roles. Does anyone remember his partnership with Arnold Schwartznegger in the movie Twins ??

Terrific black comedy!
It`s a delight to see Michael Douglas,Kathleen Turner and Danny DeVito for the third time (all 3 started before in ROMANCING THE STONE and THE JEWEL OF THE NILE) in this winning black comedy about a marriage that disintergrates at high speed.To elaborate,the plot consists of Oliver and Barbara Rose(Michael Douglas and Kathleen Turner)a couple determined to make the best out of life.They marry,have kids and buy a nice home.After some time,little arguments begin to turn into BIG trouble.They both agree on a divorce.But there`s just a little problem.BOTH of them want their luxurious house!The fights are farfetched and Oliver and Barbara are very stubborn and will stop at nothing to win the house.Grabs your attention from start to finish.surprising .Danny DeVito is perfect as the lawyer who defends Oliver during the battle.As a director,DeVito is simply terrific.He did an amazing job with THE WAR OF THE ROSES.Michael Douglas and Kathleen Turner deliver excellent performances as well.Good job!Simply a winner!

Good DVD of an under-appreciated film
While critics (and audiences) were somewhat lukewarm in their response to this film when it was first released, I enjoyed it. Although it's a "black comedy", it never veers too far into total comedy or total darkness. DeVito's narration helps to hold the film together and keeps it from degenerating into a series of mind-numbing retaliations. The film is visually appealing, with interesting camera angles and a solid sense of composition that is often lacking in comedies. The movie has held up well and does not appear as dated as many films from the same time.

Douglas plays his role of a rather self-important and arrogant know-it-all quite well, and Turner is equally convincing as she exhibits growing distaste for him.

The DVD has a very good video transfer. The sound is surprisingly good for a 2-channel source, with reasonably good directionality in the front speakers.

There's a montage of deleted scenes that are arranged in chronological order so that it's easy for the viewer to mentally insert them in their proper place in the film. Unlike some deleted scenes, these have the same video and audio quality as the film itself.

Overall, this is a nicely done DVD of an under-appreciated film.

4.5 stars, really. I love black comedies!
I won't rehash the plot. It's simply a wonderfully observed crumbling of a marriage probably never built on the healthiest of foundations in the first place. One could say that the movie is perhaps an indictment of materialism, where we see Kathleen Turner's character finally turning bitter when she's done all the decorating she can, and Michael Douglas is too busy earning money to care that his wife is feeling empty now. Whose fault is it that the marriage is a shambles? Did Douglas continue to quest for more and more money to make himself feel good about himself and to keep his wife happy...and did she encourage it but continuing to spend, spend, spend? And when the ruins are revealed, it isn't emotional territory, as such, that they fight over, but the material goods that have come to represent emotional attachment for them.

All that may be, but what is so great about the movie is its unrelenting viciousness once the barbs start flying. When Turner tells Douglas she had to pull off to the side of the road when she thought he might be dieing from a heart attack because "she was happy" he might pass away...wow, if that ain't a slap in the face??

It's interesting that Turner is really the hard case in this. Douglas keeps saying that he's still in love with her. He keeps softening towards Turner, and she rebuffs him with her jaw set more and more firmly. Yet, is he really in love with her, or just feels he can "get her back" to put back on his trophy case. He probably doesn't know either...combination of the two, I'd say.

The movie is keenly observed, and the lead performances are flawless,really. Our sympathies bounce back and forth, back and forth all the time. And because we're watching a glossy Hollywood movie, in the back of our minds, we're expecting it all to turn out OKAY. Sure, they say things and do things no human can be forgiven for, but what the heck...it's a movie. I congratulate all involved for having the courage of their convictions. This is a BLACK comedy in all the best ways. The final action Turner takes with Douglas, as they lay side by side, is PERFECT!! I hadn't seen the movie in years until the other day, but many of her comments and actions were burned in my memory. These two actors had such great chemistry. A reteaming, even after all these years, might be fun.

Anyway, my one gripe about the movie is the role of "narrator" that DeVito plays. He's an attorney (and partner of Douglas'), who, in his scenes WITH Douglas, is quite amusing. But he also interjects little comments from time to time as he is retelling the story of the Roses to a prospective client. The tone of these scenes is unconvincing, DeVito does a terrible job of smoking (don't ask), and they add nothing to our appreciation of the "message." Maybe the movie wasn't long enough without these scenes...but I could sure do without them.

By the way,the DVD has a montage of deleted scenes, "hosted" by DeVito. It's worth watching, right through to the end, because DeVito (and his wife, Rhea Pearlman) have a very brief but delightful "scene" at the conclusion.

This is a great movie, and a lost treasure, in many ways, because so few people gave it a try when it came out. It still holds quite true today, I think, and despite the slightly outdated fashions in the film, remains timeless.

Entertainingly Tragic Comedy of the Eighties
Excellent and entertaining comedy, packed in a good DVD (including over half-an-hour of cut-out material), but the end is rather tragic.

The movie abounds with implicit (but subtle) cliches such as :

- Women are usually more downright materialistic than men are, and also have a way of getting their fair advantage out of it.
- Husbands are often rude to their wives in public, without even taking the slightest notice of it.
- Sex is typically an object of pure consumption for males, whereas for women sex is more than often just one of many different ways to an end.
- Husbands often end-up as being dominant dog-people, whereas women ususally tend to become emancipated cat-people.
- Outbound marital faithfulness are typical male attributes, whereas down-to-earth conjugal opportunism and emotional realism are more feminine qualities.
- Love, pride and ego are things that cannot be parted in a husband's often confused and puzzled mind, whereas for a woman, a husband's love ususally remains a very abstract concept.
- Husbands are totally irrealistic about the emotional situation and level of personal satisfaction of their wives, like they were living or floating in a world of their own, in an abstract historic reality as to the present state of their marriage.
- For most if not all males, love implies appropriation and possession, and a married wife is most often like a personal investment, an item which cannot be lost under any circumstances, whereas for women, engaging in marriage most often just seems to be just the most attractive option amongst many others, that is at least at the time they want to, a.k.a. aggree to or consent to getting married.
- Whereas the sexual drive is usually sufficient to channel enough of the man's attention and concern to his wife in the early stages of marriage, this drive is usually quickly enough superseded by other things like a carreer, a hobby, which usually end up getting the best of a man's attention and energy. To this trend of things, the wife consents and even tries to collaborate, untill she realizes that she has absolutely no place in them, finds herself as being just another part of the home furniture, which tends to further exacerbate her materialism, and so forth, in a circle which you might call either vicious or virtuous...

Although these cliches make the movie likeable to a very wide (presumably male) audience, the movie is also an intelligent and realistic presentation of the different evolutionary stages of a married couple, i.e. meeting, getting married, having children, building up a carreer, buying a house, undergoing mid-life crisis, etc.

Marriage and divorce statistics amply prove that married couples seldom have the ressources to overcome the latter evolutionary stages of their marriages (grown up children, crippled libido, etc.), so this movie is another rather caustic, abstract and hyperbolic way of showing how far things can go wrong, when they go wrong, as they usually do, one way or another... De Vito's explicit commentaries are here very welcome, as they provide some kind of a flash-back through a third-party, allowing for a more distanced observation by avoiding a first-degree identification to participants and scenes which are often rather dark, and at times quite brutal. So keep in mind: ONCE IN A LIFETIME COMES A MOTION PICTURE THAT MAKES YOU FEEL LIKE FALLING IN LOVE AGAIN. THIS IS NOT THAT MOVIE. The eighties was the decade of sweeping demystifications. This movie is part of it. ... Read more

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We regret that this DVD is under certain restrictions that prohibit sales to customers who live outside the North American continent. If you do not live in the United States or Canada, we will not be able to ship you this DVD. Thank you for understanding. ... Read more

Reviews (746)

THE FUTURE IS DISMAL - SO IS THE TRANSFER!
Ridley Scott's "Blade Runner" is an apocalyptic postmodernist vision of the future. The story involves a bounty hunter, Rick Deckard (Harrison Ford) who is assigned to kill three replicants - android style robots that look identical to humans, but who have come to earth to seek revenge on their creator - Eldon Tyrell (Joe Turkel). Sean Young costars as Rachel, the latest model of replicant who is so incredibly life like that not even she knows that she's not human. Also in the cast are Rutgar Hauer as Roy Batty - the ultimate killing machine, Edward Olmos as a drugged out police detective, Gaff, and Darryl Hannah, as the psychotic replicant, Pris. Flawed in its narrative, but visually stunning, "Blade Runner" has developed a cult following - and it is easy to see why. The production is layered with multi-references to the steady moral and social demise of our own society that stir the mind into rethinking this movie as much more than a sci-fi adventure. This version of the film is the re-edited director's cut that audiences were never shown in 1982. The subtle tweaking of story and plot elements really doesn't enhance one's viewing experience so much as it just alters the story in a different direction.
But what a shame about the transfer! Though the general color balancing and attention to fine details, even in the darkest scenes, is adequate, there is simply NO EXCUSE for leaving the chips, scratches and in some cases, tears in this DVD transfer. Pixelization crops up now and them, but the most disturbing part of the transfer is that it fails to pay attention to the dirt and (in some cases) hair, stuck to the film negative. The result is a dirty looking picture that, while perhaps in keeping with Ridley Scott's vision of a dank, hard universe of the future, is most definitely not what the director had in mind. Saving grace: the transfer is anamorphically enhanced for widescreen televisions. The sonic characteristic of the 5.1 audio is rich, though dated. Strong bass and reasonably well balanced dialogue and effects, though there are a few perceived occasions where dubbing in of dialogue sounds possible. And one final insult from Warner Brothers, this disc has NO extras - not even a theatrical trailer!

Stunning - The Best Sci-Fi Film Ever Made
Directed by Ridley Scott, possibly the best director in Hollywood, Blade Runner: The Director's cut is an outstanding medley of action, noir, sci-fi, and suspense. Robots have been taken to a new level - Nexus 6 Generation Robots called "replicants", which outmatch humans in strength and ability and equal in intelligence, but lack one human quality - emotions. They were used for "slave labor" to work in places too hazardous for humans. However, replicants after a few years begin to develop their own emotions, which causes them to rebel against their masters. Special cops, called blade runners, were assigned to exterminate criminal replicants. Eventually replicants were declared illegal on earth, and were banished to a shuttle in space. LA, 2017. Rick Deckard, (Harrison Ford) a retired blade runner, is forced to "retire" five replicants that have escaped from the shuttle, but winds up falling for one, Rachael. (Sean Young) Roy Batty (Rutger Hauer) leads the other three replicants to find their creator, Eldon Tyrell, to expand their short four-year life span. Incredible action scenes, dark, brooding noir, creeping suspense, and excellent sci-fi, Blade Runner: The Director's Cut will please fans of any of these genres. The Director's Cut offers production notes, subtitles, added character developement, the original ending, a unicorn dream sequence, and the deletion of unnecessary scenes and the annoying voice-overs. Plus, it is digitally restored to excellent picture and sound quality. Some "sensitive" viewers might find the plot and noir atmosphere cold, but action, noir, sci-fi, and suspense fans will enjoy it very much. With stunning special effects, incredible cinematography, compelling plot, and rich, incredible characterizations (esp. Rutger Hauer), I strongly recommend Blade Runner: The Director's Cut to action/sci-fi fans.

Not quite the Blade Runner I remember
After purchasing and viewing the DVD director's cut release, all I can think is "where can I find the original theater release version". I sat my family down to watch it two nights ago and they lost interest very quickly. While it is still visually stunning to watch, it is not enough overcome the seeming lack of narrative/plot. In fact, one of the key things removed from the director's cut version is the voiceover narrative by Harrison Ford's character Deckard. For those that know the original version, it can even be a challenge to remember the significance of each scene. For new viewers of BR, they're left wondering, scene after scene, "OK what just happened and what relevance does it have to anything?". Bring back the voiceover!

The Director's Cut is AWFUL.
Compared to the original version the Director's Cut is awful. Background narration has been removed; the ending has been changed. Don't waste your money.

this is still a good DVD
but not as good as the original release. I preferred the narration and for that reason, I probably don't watch this movie as much as i did when I had it on VHS. I really don't understand why they don't make both versions available. ... Read more

Amazon.com

One of the most invigorating period adventures to hit the big screen in decades, this lavish, brilliantly directed film drew critical and audience raves when it was released in 1995. Inspired by historical fact and larger-than-life legend, the intelligently scripted story takes place in Scotland in 1713, when Highland farmer and clan leader Rob Roy MacGregor (Liam Neeson) is forced to borrow money from the duplicitous aristocrat Marquis of Montrose (John Hurt) to help his clan survive a harsh winter.When Montrose's vile henchman (Tim Roth) schemes to dishonor MacGregor and his wife (Jessica Lange) and take the money for himself, the rugged Highlander must take courageous action to preserve his integrity. What follows--along with some of the finest sword-fighting ever filmed--is a tale of courage and valor destined to become an enduring movie classic. Tim Roth received a well-deserved Oscar nomination (for Best Supporting Actor) for his indelible performance as the foppish but deadly villain Cunningham, and both Neeson and Lange bring an earthy, sensual quality to their passionate roles. Boasting a wealth of breathtaking scenery and high-intensity action, Rob Roy is further blessed by a splendid supporting cast (including Brian Cox and Eric Stoltz), and the lush soundtrack by Carter Burwell strikes a perfect balance of romanticism and vigorous dramatic energy. --Jeff Shannon ... Read more

Reviews (66)

Scottish Western.
Directed by Michael Caton-Jones, written by the superb screenwriter Alan Sharp. Compared to other Hollywood productions, especially adventure pictures, the I.Q. of *Rob Roy* seems very high. And compared to Mel Gibson's *Braveheart*, to which this movie will be eternally and unfairly linked (both being treatments of legendary Scottish heroes that were each released in 1995), the dialogue in *Rob Roy* sounds like poetry: not merely intelligent, but downright metaphoric, even when vulgar (listen for Tim Roth's little speech about love being like a dunghill). But the intelligent writing and meticulous realism should come as no surprise to those conversant with 1972's *Ulzana Raid*, which was also scripted by Scotsman Alan Sharp, based on his novel. That was one of the greatest and most rigorously realistic Westerns ever made . . . and so is *Rob Roy*, despite its setting in early 1700's Scotland. All the traditional elements of the classic Western are here: good vs. evil, rich vs. poor, one man pitted heroically against the world, played against a backdrop of majestic beauty that puts it all in context. Those expecting an adaptation of Sir Walter Scott's beloved novel about Rob Roy MacGregor will be disappointed on that score. Instead, the movie is an imaginative prequel of sorts that takes place before the serious Jacobite uprisings depicted in the novel. It shows the impetus for the hero's later actions. And boy, does he get some impetus! Pitted against a triumvirate of scoundrels -- John Hurt as the Earl of Montrose, Brian Cox as Montrose's henchman Killearn, and most notably Tim Roth as the vile fop Archibald Cunningham, who's Montrose's deadly bodyguard -- Liam Neeson's Rob Roy doesn't stand a chance of remaining unscathed while treading the moral high ground. The worst of the depredations that come home to him is the perfunctory, brutal rape of his wife (Jessica Lange, sans make-up) by Cunningham. Those who are more than commonly sensitive to such scenes are well advised to look the other way -- this is one of the worst rape scenes in all of cinema. Ugly, but viscerally effecive. Other great scenes include the hero's last-second, desperate escape from Montrose's hangmen, followed by his hiding from them in the bloated carcass of a cow. The mandatory climactic sword-duel between Roth and Neeson is justly famous, and not to be missed. Perhaps the only thing lacking in *Rob Roy* is a great action sequence, a la *Braveheart* (which has at least one too many!). Somehow, the duel at the end, great as it is, doesn't seem quite hearty enough to whet the appetite for action that the movie inspires. While this is a genuine failing, it doesn't mar the movie's many virtues.

A good movie ' but it's just a story, not history
Rob Roy McGregor actually lived, an eighteenth-century Scottish clan chief who followed the traditional life of such men - leading his people, raising cattle, rustling other clans' cattle, engaging in feuds, killing his enemies, and so on. Historical novelisation has romanticised him and his activities, and this film continues the process.
It's a good movie: strong and noble-spirited leads, goodies struggling against the odds and the system, evil baddies, fights, sex, a climactic duel, and ultimate victory for the goodies, all against gorgeous Scottish scenery, what more could one want? But it's not a history lesson. And this is where so many reviewers have gone wrong. The film's makers missed the chance to show the background political context that makes sense of so much of what went on at the time.
And as a Scotsman I would add that while Liam Neeson and Jessica Lange turned in good performances, their 'Scottish' accents were only slightly less cringe-making than that of Engineer Scott from 'Star Trek'.

Nice scenery, story is lacking
Based on what we've seen in the film, Rob Roy's honor is the most important thing to him. But does that mean that cunnying, intelligence, leverage, and knowledge is to be discarded? Rob Roy does everything wrong in this film from the moment he allows one man to act has his financial agent to the fact that he doesn't use his allies against those that are trying to kill him and who end up raping his wife, he acts in typical Hollywood fashion as an idiot.

The film would have been quite short if he would have done the right thing from the very beginning. But, alas, we would have no film so hence the stupidity from which we are tortured.

The film has some great scenery and the acting is enjoyable except for the brutal rape scene of Roy's wife. Other than the scenery and acting, there's not much to see let alone giving cause to buying the DVD.

What's not to like?
A wonderful film overshadowed by "the other" kilt movie that came out that same year, Rob Roy is stuffed with action and romance and political intrigue. Brilliant performances by Liam, Jessica, and especially Tim Roth and a then unknown Brian McCardie. Brian gives a stunning debut performance as Rob's younger brother Alistair (who, though he didn't exist in real life, sure made for great cinema!). A great story that will have you weeping and pining for the highlands!

sexual violence a turnoff
I missed this movie in the theatres and was eager to see it. The acting, scenery, snd musical score were all superb. What turned me off was the ( as also stated by another reviewer) protracted rape scene. It was about as brutal as it gets and went on far too long. I think this was really unnecessary since ( when Tim Roth forced Jessica Lange accross the table) we all knew what was going on.Having been a victim of sexual violence, I was completely turned off by the prolonging of this scene. Totally unnecessary to do this. ... Read more

Amazon.com

A box-office hit when released in 1994, this sprawling, frequently overwrought familial melodrama may get sillier as its plot progresses, but it's the kind of lusty, character-based epic that Hollywood should attempt more often. It's also an unabashedly flattering star vehicle for Brad Pitt as Tristan--the rebellious middle son of a fiercely independent Montana rancher and military veteran (Anthony Hopkins)--who is routinely at odds with his more responsible older brother, Alfred (Aidan Quinn), and younger brother, Samuel (Henry Thomas). From the battlefields of World War I to his adventures as an oceangoing sailor, Tristan's life is full of personal torment, especially when he returns to Montana and finds himself competing with Alfred over Samuel's beautiful widow (Julia Ormond), whose passion for Tristan disrupts the already turbulent Ludlow clan. Under the wide-open canopy of Big Sky country, this operatic tale unfolds with all the bloodlust, tragedy, and scenery-chewing performances you'd expect to find in a hokey bestselling novel (in fact, it's based on the acclaimed novella by Jim Harrison), but it's a potent mix that's highly entertaining. Not surprisingly, John Toll won an Academy Award for his breathtaking outdoor cinematography. --Jeff Shannon ... Read more

Reviews (122)

Legend of the Fall
Family values, brotherly love, Legend of the Fall is an epic which depicts every side of both.
Watching this film, it is easy to believe that Brad Pitt, Aidan Quinn and Henry Thomas are brothers and the sons of Anthony Hopkins. The love-hate relationship between Tristan, Alfred and Samuel is almost too realistic. The iron hand of a domineering father who only knows the army way leads to desparate struggles for independence and identity.
Tristin (Brad Pitt) is the middle son, favored by the father (Anthony Hopkins) because of, as well as inspite of, his wild nature. Alfred(Aidan Quinn) is the eldest son. He feels he should be most privilaged, and since he can't get honor and respect from his father, he struggles his entire life to acheive success and out do his brother. Samuel is the youngest son who is looked after by all the family. It is Samuel who brings the woman into the picture.
The struggles of life and death, love and hate weave their way in and out of the story.
Edward Zwick did an excellent job of blending the story with the talents of the actors.
Legend of the Fall is an emotional dramatic ride. The scenery of the remote wildernes is the perfect back drop to support the legend as it unfolds.
I would recommend this film to anyone who wants a good emotional drama with all the twists and turns of real life.

A Movie That Almost Lives Up to Its Grand Title
This is one of the most moving films I have seen in a long time. Believe me, unless you have a heart of stone, you will cry long and loud over the anguish of the two main characters, played beautifully by Brad Pitt and Aidan Quinn. Family values are at the root of this anguish, and there are many powerful and engaging scenes. I wanted to give this movie five stars, but it didn't quite live up to the implications of its grand title. The ending was a bit of a letdown as well, although it's an appropriate one for Pitt's character.

Legendary
This movie seriously kicks ass. It's been my favorite movie for years and it makes me cry everytime.

Love It
I love this movie its a wonderful love story, you can watch with your boyfriend, and he'll actually like it!It has just enough action in it and plenty of romance. If you can get it in the Target store its a few dollars cheaper BUY IT ITS GREAT

Melodrama at its finest
When people ask me about my favorite movies I give them a quick run down of my top ten: 1. The Godfather and The Godfather part II (tie), 3. The Shawshank Redemption, 4. One Flew Over the Cukoo's Nest, 5. Schindler's List, 6. The Silence of the Lambs, 7. Amadeus, 8. The Princess Bride, 9. Legends of the Fall, 10. Goodfellas. I am always surprised when they laugh at the 9th movie on my list. I can't understand why people think this movie is a joke. Yes, it's melodramatic but it works beautifully. Let me also say that I am not the biggest fan of Brad Pitt. His acting pales in comparison to some of the other fine actors of his generation (ie. Ralph Fiennes, Gary Oldman, Sean Penn). That said, he is perfectly cast in this movie. His ruggedness and wildman image were established in 1992's A River Runs Through It and his role as Tristan in LOTF seems almost like an extension of his role in River. I've heard that Johnny Depp, an actor whose talents I find superior to Pitt's, was originally offered the role of Tristan. I'm glad he turned it down for no one other than Brad Pitt could have BEEN Tristan.

I've always appreciated great acting. To me, there is nothing more entertaining than watching a De Niro, Pacino or Nicholson work his magic. There is only one truly great actor in Legends of the Fall - Sir Anthony Hopkins. In my opinion, he should have won an Oscar for this supporting role. A lot of reviewers criticized the second half of his performance (after the stroke) as being a bit excessive. I thought it was necessary in this type of film.

It was because of Legends of the Fall that I took an interest in acting. Not because of Anthony Hopkins...i know I could never be half as good as he. LOTF taught me that it doesn't take great actors to make a great movie. I thought Aidan Quinn, a talented but by no means gifted actor, was brilliant in the film as the tortured victim of unrequited love. It's my opnion that Quinn delivered a top-notch performance in the film, second only to Hopkins. The scene in which Alfred (Quinn) redeems himself in his father's eyes is particularly endearing. Also, the casting of Julia Ormond as Susannah was a stroke of genius. She has such classic beauty and is wonderful at conveying emotions without speaking a word. I often wonder where the hell she disappeared to.

Finally, I cannot say enough about James Horner's breathtaking score. I first became a fan of Horner's when I saw this movie and I believe him to be the top composer in the film-scoring business (yes, even better than the great John Williams).

Don't listen to the critics. This movie is amazing. They just don't make 'em like this anymore. ... Read more

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As revisionist history, Michael Mann's intelligent docudrama The Insider is a simmering brew of altered facts and dramatic license. In a broader perspective, however, the film (cowritten with Forrest Gump Oscar-winner Eric Roth) is effectively accurate as an engrossing study of ethics in the corruptible industries of tobacco and broadcast journalism. On one side, there is Jeffrey Wigand (Russell Crowe), the former tobacco scientist who violated contractual agreements to expose Brown & Williamson's inclusion of addictive ingredients in cigarettes, casting himself into a vortex of moral dilemma. On the other side is60 Minutes producer Lowell Bergman (Al Pacino), whose struggle to report Wigand's story puts him at odds with veteran correspondent Mike Wallace (Christopher Plummer) and senior executives at CBS News.

As the urgency of the story increases, so does the film's palpable sense of paranoia, inviting favorable comparison to All the President's Men. While Pacino downplays the theatrical excess that plagued him in previous roles, Crow is superb as a man who retains his tortured integrity at great personal cost. The Insider is two movies--a cover-up thriller and a drama about journalistic ethics--that combine to embrace the noble values personified by Wigand and Bergman. Even if the details aren't always precise (as Mike Wallace and others protested prior to the film's release), the film adheres to a higher truth that was so blatantly violated by tobacco executives seen in an oft-repeated video clip, lying under oath in the service of greed. --Jeff Shannon ... Read more

Reviews (233)

Exceeding my expectation
I didn't go to the cinema to watch this movie because I thought it's 3 hours length would have put me to deep sleep. Then, I reasoned the imposssibility of a director to dwell on an issue for 3 hours when we already knew beforehand that smoking is bad for you. Well, I will have to put my hands up in air & admitted defeat as this movie is compelling to watch. It could be the tightness of the script, the intensities of the main characters; played so well by Al Pacino, Russell Crowe (with his new found American accent), Christopher Plummer (a far cry from his Sound of Music day); brilliant directions by Mann; or semi documentary format of the movie. I had watched his previous offerings such as The Last of the Mohicans, Heat but The Insider would have to be my all-time favourite. I admired Wigand's bravery for standing up against the big giant corporation amid losing everything that he's owned, the loyalty of the Producer of 60 minutes for not hanging out Wigand to dry. Whilst it's true that in real life, that might not be the whole truth but the ideal is definitely worth reminding. One thing that niggled me would be Mann's usage of same actor & actress in his other movie such as Al Pacino (who could fault him?) & also the lady who played his wife in Heat, who played Wigand's wife in this movie. Highly recommended. Wide screen format is an extra bonus.

Of Smoke, Mirrors...and Truth
I enjoy a well acted and well written movie, especially if it's a true story, and most especially if the story is based upon a newsworthy event. For me, "The Insider" delivers on all accounts! I found myself completely captivated by this film from start to finish. It combines a compelling true story, sparkling performances by an all-star ensemble cast, an outstanding screenplay filled with sharp, crackling dialog, a beautifully haunting musical score, and cinematography which is darkly brooding. All add up to a taut and suspenseful real-life thriller.

This is the riveting tale of how the lives of two men - Jeffrey Wigand, the famous tobacco industry "whistleblower," and Lowell Bergman, a producer for CBS News' "60 Minutes" - become suddenly entwined in the maelstrom of one of the most controversial political and social issues of the mid-1990s: the conspiracy by American tobacco companies to enhance the addictive properties of cigarettes, and then cover up that conspiracy. It is the story of how one lone "whistleblower" publicly exposed the secret actions of the tobacco industry, and endured his enemies' public vilification for his efforts. It's also the story of how one of America's greatest and most respected news organizations, when confronted by the truth of that "whistleblower's" information, betrayed its own journalistic principles in the face of a threatened lawsuit by the tobacco industry.

This film abounds with superlative acting. Al Pacino delivers yet again a stunning performance as Lowell Bergman, the self-assured, still idealistic-after-all-these-years CBS News producer. Russell Crowe, nominated for an Academy Award for his portrayal of Jeffrey Wigand, richly texturizes his character - in part a tormented soul, in part an easy to dislike cynical tough guy, and in part a dreamy idealist. Christopher Plummer brings a perfect blend of shirty arrogance and pomposity to the character of Mike Wallace. Other performances of note include Diane Venora as Liane Wigand; Philip Baker Hall as CBS News boss Don Hewitt; and Michael Gambon as Brown and Williamson CEO Thomas Sandefur.

If you enjoy an intelligent, fact-based movie, one that is unafraid to confront real and controversial issues, and one delivers a powerful message, you will most definitely enjoy "The Insider." It is a movie that I will view and savor...over and over again!

Saved My Life
Dear reader, I was a 5 packs a day man when the insider moved my insides and thus forced a desion from within my soul barren to quit this awful fart inhalation. Well I didn't quit but I changed from a Brown and Williamson product to a Philip Morris product and I now smoke the great Marlboro Reds(recommend by me).

But in our hazen discovery of the truth lest us not neglect our shakeperian duty to rise and fall like an empire of sand, liquid sand. dissolving me and you and the constipation and lts us have our deeply desired laxative, yes dear reader, a laxative is what THE INSIDER reminded me of and it is the best laxative of 1999. But crowe has acne, but I dug venora you know.

A superb thriller!
"The Insider" starts out slowly, but with arresting gravity, and snakes its way into a riveting, superb thriller. The acting is magnificent, the direction superb, the pacing precise, and the dialog riveting. It's a long movie, but you can't stop watching it. Everyone involved should be congratulated, for this is the telling of a complex story on film that captures multiple layers, human pathos, and modern paranoia, all equally effectively. A MUST SEE!

Doesn't really go inside
Quick camera movements and hushed dialog heighten the claustrophobia and paranoia faced by Russel Crowe, the putative hero of "The Insider". A former scientist for a cigarette manufacturer. Crowe's Jeff Wigand is already an outsider in the first few frames, and on the verge of losing a severance package negotiated to keep him silent about the workings of his ex-employer's marketing tactics. Al Pacino, a producer for 60 Minutes proves, at about the same time, that he's not afraid to put his personal saftey on the line for the story. Christopher Plummer is a surpisingly effective Mike Wallace. Unfortunately, this account of the dirty tricks the cigarette makers will stoop to to hide business practices that ensure continued addiction to smoking is undone by its own murky paranoia - just how do these menacing guys manage to hold onto their political power the way nicotine holds onto smokers? Least convincing is speed with which the editorial staff at "60 Minutes" caves into corporate pressure to dump the story. It's never really explained how guys who regularly face-off against government bureaucrats, corporate honchos and the leaders of terrorist factions in the darkest corners of the new century crumble like a house of cards before big tobacco. The film, by never explaining the stranglehold of the cigarette industry implicitly supports them - that the "big" in big-tobacco is a myth created by the self-righteous of the media and government to explain their own inability to deal with America's nicotine problems.

For all its murkiness, the film remains evocative, a collection of great scenes, like Crowe's epiphany in a hotel room, and Pacino's giving a hotel attendant long-distance instruction in the art of talking like Al Pacino. Remember this as the movie in which TV action fixture Wings Hauser played a lawyer for the tobacco industry. ... Read more

Reviews (64)

A wickedly funny film!
Meryl Streep and Goldie Hawn make a perfect comedic pair in this great comedy/fantasy from director Robert Zemeckis.

Streep plays Madeline Ashton, a has-been actress, who tries to re-invent herself as a musical star. The hilarious opening sees Streep in a musical version of "Sweet Bird Of Youth" that has been titled 'Songbird'. It is at the first (and last) performance of the show that Madeline's old friend (and enemy) Helen Sharp (Hawn) and her fiancee Ernest Menville (Bruce Willis) become re-acquaninted. Madeline then proceeds to seduce Ernest and marries him herself. Ernest is a plastic-surgeon and the idea of free face-work is irresistable to the shallow Madeline.

Ten years later, a new svelte Helen is having a book-signing party for the novel she has just published. By this time Madeline has turned into the 4th Gabor, and is completely paranoid about her complexion and her age. Madeline is completely unaware that the reason why Helen looks so God-damn fabulous is because she has a potion that will let her stay young forever.

A lovely 'young' enchantress Listl von Ruman (Isabella Rossellini) is the woman behind the potion, and Madeline will do anything to get it.......

This film is a delight, and features a great performance by Streep, who has mostly stuck to dramatic roles, and it is very refreshing to see her letting her hair down here.

Hawn is as wonderful as always, although the restrained performance of Willis is at times very annoying.

a strange, quirky, and entertaining movie
A film by Robert Zemeckis

I think that it is fair to say that this is a strange movie. Helen (Goldie Hawn) is engaged to be married to Dr Ernest Menville (Bruce Willis), a famous plastic surgeon. They watch a rather awful show at the theatre and go backstage to meet the star, Madeline Ashton (Meryl Streep). Madeline and Helen knew each other in high school, and Helen believes that Madeline intentionally steals every boyfriend Helen has. This is the final test before the wedding. Naturally, Madeline, who is vain about her appearance and worried about aging, does steel Ernest away and ends up marrying him herself. This drives Helen crazy, literally. We flash forward seven years to get an update on the characters, then another seven years to bring us to the main section of our story. Madeline is aging and she hates it. She meets up with Helen again, and Helen looks fantastic, as if she hasn't aged a day in the past 14 years. Helen is all glammed up and looks like a star. Madeline is starting to look frumpy. It is all starting to come full circle and Madeline's jealousy is driving her to do something rash.

Rather than do something predictable (in the movies, anyway) like start killing people, Madeline goes to a strange woman named Lisle (Isabella Rossellini) and gets a potion that halts the aging process and returns the body to its youthful, more perfect image. It also bestows immortality. Now Madeline can compete with Helen again! This rivalry and this fight will continue on through life and even into death.

"Death Becomes Her" is a comedy. It is a very strange comedy, and has something of a dark humor, but it is without question an original movie. It is one of the more overlooked movies in Robert Zemeckis's filmography. He is better known for "Back to the Future", "Forrest Gump" and "Cast Away". This isn't a perfect movie, but it is entertaining, creative, and interesting. One important thing that I can say is that I did not find this movie predictable at all. I had no idea where Zemeckis was going with "Death Becomes Her" until the end.

-Joe Sherry

Siempre Viva!
The passage of time weighs upon us all: the loss of youth's energy, agility, beauty. But let us say there is a potion, an elixir, "a touch of magic in a world obsessed with science." Drink it and you will be forever young. Do not drink it and watch yourself rot away with old age. Just such a potion falls into the hands of two women who are not only consumed with vanity but fierce rivals, determined to best each other no matter the cost. Siempre Viva: Live Forever! Whether y