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Penny Marshall's popular 1992 comedy sheds light on a little-known chapter of American sports history with its story of a struggling team in the All-American Girls Professional Baseball League. The league was formed when the recruiting of soldiers during World War II resulted in a shortage of men's baseball teams. The AAGPBL continued after the war (until 1954), and Marshall's movie depicts the league in full swing, beginning when a savvy baseball scout (Jon Lovitz) finds a pair of promising new players in small-town Oregonian sisters (Geena Davis, Lori Petty). The sisters are signed to play for the Rockford Peaches near Chicago, whose new manager (Tom Hanks) is a former home-run king who wrecked his career with alcoholism. They're all a bunch of underdogs, and Marshall (with a witty script by Lowell Ganz and Babaloo Mandel) does a fine job of establishing a colorful team of supporting players including Madonna and (in her movie debut) Rosie O'Donnell. It's a conventional Hollywood sports story (Marshall's never been one to take dramatic risks), but the stellar cast is delightful, and the movie's filled with memorable moments, witty dialogue, and agreeable sentiment. And just remember: there's no crying in baseball! --Jeff Shannon ... Read more

Reviews (114)

A League Of Their Own (1992)
What an amazing movie! This has to be my favorite Madonna movie, other than Body Of Evidence. It features an all star cast: Tom Hanks, Geena Davis, Madonna, Lori Petty, Rosie O'Donnell, Jon Lovitz, Garry Marshall, and Bill Pullman.

Geena Davis stars as Dottie Hinson and Lori Petty stars as Kit Keller, two adult sisters who play baseball on a minor team in Oregon of 1943. Dottie is a married woman, whose husband, Bob Hinson (played by Bill Pullman) is overseas fighting in the war that was going on at the time. Dottie is an excellent ball player. Kit is a bitter person who is always being treated like crap. After a game, the two are in their barn milking cows, where a scout by the name of Ernie Capadino (played by Jon Lovitz) walks in and offers them a to try out for the All American Girls Professional Baseball League (A.A.G.P.B.L.). Dottie wants nothing to do with it, but Kit knows that this could be big chance for the both of them, so Kit talks Dottie into going. While on the way to Chicago for the try outs, they pick up Marla Hooch, who is an excellent batter. The three finally make it to Chicago. While getting ready to try out, they meet gal pals Doris Murphy (played by Rosie O'Donnell) and Mae Mordabito (played by Madonna). They all are chose to a team: The Rockford Peaches.

Tom Hanks is in the role of Jimmy Dugan, who is a washed up ball player, who is called by Walter Harvey (played by Garry Marshall) to coach the Rockford Peaches.

The Peaches become a smash, winning every game there ever is, all because of their most popular play, Dottie. Kit is angered at this and is traded to another team: The Racine Belles.

The Peaches finally make to the last game of the season. Their opponents: The Racine Belles. Dottie and Kit are up against each other for one final time. Who will win the championship? The Peaches? Or The Belles? Watch this amazing movie, based on the actual events of the A.A.G.P.B.L. This is a movie that is guaranteed to make you watch it over and over again.

My Absolute Favorite
This has alway been my all time favorite movie! I remember my mom and I were in Blockbuster Video store when I was nine, and she and I couldn't find anything. Then, she saw "A League of Their Own," she told me that I would love this movie. And boy was she right. I have seen this movie over 50 times, I know the entire dialogue, the songs, every moment, I can rehash line for line right now if I wanted to. I think this movie had the most well-rounded cast in over a decade. Geena Davis was amazing as Dottie Henson; a person who loved the game very much, although she tried to pull off that she didn't. Lorri Petty's best role to date, as Kit Keller, Dottie's younger sister, whom is always stuck in Dottie's shadow. The chemistry between Petty and Davis is amazing, they work so well together, they were extremely believable. Tom Hanks was fantastic as the alcoholic, ex-baseball star Jimmy Dugan, which of course, his classic urinating seen is a total laugh. Madonna and Rosie had made the laughs of the film, they were wise cracking and hilarious.

I can go on and on about this film, and the problem is, I can't quite articulate how much I love this film, and why I love it so much. I've cried many times, especially the scene with Betty "Spighetti" and at the end of the World Series. I love this film, Penny Marshall is a Goddess. She chose the perfect actors, and the perfect score, especially Madonna's "Playground" which still makes me cry at the ending sequences. This movie observes a part of history that is ignored. Many to this day, have no idea about the professional baseball league, grant it, this movie "idealized" what really happened, but it made you proud. I think this is still a must-see of a movie, it is still my all-time favorite movie, and it has been for 11 years.

Brilliant film!!
This is one of my favourite films, it made me want to watch it again and again. With an all star cast including Geena Davis, Lotti perri and Tom Hanks, who give brilliant and funny performances. This film is funny,tear jerking and an all round good film. The storyline is brilliant and what more can i say....its definately worth buying!

Good movie but......
Who in the world in Tom Hanks supposed to be. I know he wasnt a real baseball player b/c he said he hit 487 homeruns for Mr Harvys ball team, i have never heard of the guy. Was his name chaged or something? Oh yeah and Harvy Field????? Can u say Wrigley Field. But besides the little things that only people who love baseball would find it is over all a good movie.

I think this is a great movie!
Well I'm biased because my cusin is in this movie. He dances with madonna in the bar sceen.. But I still think that it's a good movie. ... Read more

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Too old for Hamlet and too young for Lear--what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart (as Louis Cyphre--get it?). In The Devil's Advocate Al Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money. Think of the story as a twist on John Grisham's The Firm, with the corporate evil made even more explicit. Reeves is wooden, and therefore doesn't seem to have much of a soul to lose, but he's really just our excuse to meet the devil. Pacino's the main attraction, gleefully showing off his--and the Antichrist's--chops at perpetrating menace and mayhem. The film was directed by Taylor Hackford (Against All Odds, Dolores Claiborne), who provides alternate-track commentary for the movie itself, plus a dozen deleted scenes. Also note: due to a settlement with artist Frederick Hart over the movie's use of a sculpture resembling his Ex Nihilo in Washington's National Cathedral, future releases of the film will be altered. --Jim Emerson ... Read more

Reviews (174)

Is it just me?
The plain and simple truth is that Keanu Reeves can't act. Never could, but somehow this inability was disguised until "Devil's advocate". But Reeves' characterization of a southerner lawyer turn into a hotshot in one of the most preeminent firms in New York (was it NY? Don't remember) is, to say the least, pitiable. There's one scene in special that embarrassed me, and I kept thinking that this guy is in fact being paid millions to do that. Well, the blame should be divided with the director, the person responsible for the casting and with millions of spectators that still think he's an actor.

Aside from that, "Devil's advocate has many other flaws. Al Pacino as John Milton/The Evil One is laughable. And I like Pacino. If Satan was half as idiotic as Pacino portraits it, the world would be an eternal rainbow-sunshine scene. The plot of this movie is so thin I already forgot it. All other characters (with the exception of the two women) are just ridiculous sidekicks in the unfinishable story of the battle of Good against evil. I can't remember one single actor in this movie other than Reeves, Pacino, Theron and Nielsen. The final confrontation scene and the whole situation it involves is so grotesquely scripted that the movie looses even the aura of "fable", something that could save parts of the story.

I give "Devil's advocate" two stars because of Charlize Theron and Connie Nielsen. The south african is extremely beautiful, and a competent actress that draws attention whenever she's on screen. The dane , though barely opening her mouth, has an unforgettable facial expression, and is also very beautiful.

Watch this only if it runs on TV on Wednesday night and you have absolutely nothing else to do.

Sensational!
I loved this movie. Outstanding in practically every way. Al Pacino's portrayal of Lucifer is exactly how I have always perceived the dark angel to be. The devil does not have horns or a tail, he has the face of man himself. I am always amazed at how the religious zealots seem to conveniently forget that Lucifer was the highest angel, an archangel, thrown out of heaven because of his arrogance and rebelliousness, not because he was a mad demon.

Pacino plays this character beautifully - he is sly, charismatic, chilling, and seductive all at once. One of my favorite scenes was the elevator scene where Milton bates Kevin's mother by calling her "Mrs. Lomax" and asking her slyly that "surely this wasn't her first trip to New York". Absolutely wicked! Then, as Milton casually wisks Kevin off to a night on the town at the Flamingo club and the boxing match (naturally Don King would have an alliance with Satan), I was mezmerized watching Milton weave his spell and reel Kevin smoothly into his web. Pacino's climaxtic argument is brilliant as he exclaims that he's a fan of man and why. As I watched Kevin's descent from Maryann,(Charlize Theron and Keanu had wonderful chemistry as a married couple),I was reminded of how we all make certain decisions then try to justify our actions later, usually with the precursor that, "It wasn't MY fault, it was the work of Satan... then, like Kevin, we make the same decisions over and over.

I thought Keanu Reeves was perfect as the cool, arrogant, hotshot attorney who knows that he is so...good. I am completely baffled by all the haters panning Keanu's acting, he did a great job. I thought the casting of all the actors were on point in this movie, everyone connected with each other and with their characters.

My only complaint is that the deleted scenes cannot not be viewed without the director's commentary. The sub-titles can't even be displayed. While this DVD has one of the best director's commentary's, it would be nice to have the option of watching the deleted scenes on their own since these scenes contribute to the continuity of the story and clear up questions a viewer may have. Overall, this movie is just outstanding!

A Guilty Pleasure
The story a lawyer who works for the devil, not as dumb as it sounds, in fact a surprisingly great movie. Both Keanu Reeves and Al Pacino in great roles.

It makes your stomach churn in two different ways.
"The Devil's Advocate" is one of those movies that you can't stop thinking about after it's finished. Scenes keep replaying through your head. It's a movie that makes you think, despite it's strange, fantasy-like plot-line. Al Pacino, without a doubt, delivers one of the best and most potent performances of his career. Keanu Reeves isn't up to his usual standard of acting, but he plays wooden characters very well. Once again, in "The Devil's Advocate", Keanu is wooden. That's alright though, it really doesn't take anything away from the story line. It doesn't matter who the director intended to be the movies main character; Pacino steals the show, but don't get me wrong. He has his competition.

Charlize Theron delivers a performance the caliber of which I didn't think she was capable. She portrays the stages of madness through which her character stumbles through very accurately, cryptically, and passionately. Her character (Keanu Reeves' wife) is slowly isolated and cut off from her husband through the doing Pacino, who uses the seven deadly sins to manipulate Keanu and keep him as far away from his wife as possible while at the same time manipulating her with a various assortment of devilish tricks.

The dialogue in this movie is incredible. The conversations in this movie alone are worth watching. Pacino generally has the most thought-provoking lines in the film, though Keanu's mother and Theron have their moments. I can't think of a single flaw in the character chemistry and interactions within this movie. It's perfect. Half the movie you feel your stomach writhing and twisting as you find yourself thinking and re-evaluating issues and aspects of your life you'd either forgotten about or taken for granted. These aren't the only time in which you'll feel your stomach doing helixes in your bowels, however.

For the other half of the movie, your insides will squirm with discomfort. This movie is one of the most R rated movies I've ever seen. Chalked full with graphic images including nudity, horror, blood/guts, violence and dialogue that includes some seriously disturbing topics, this movie becomes increasingly difficult to sit through as you go on. The director makes it very clear he's not sparing the viewer for anything. The camera rarely ever cuts or zooms in during the appropriate moments. Instead, he captures everything in startling detail. For instance, a suicide scene in which a character slits their throat is very, very graphic and terrifyingly realistic. Another scene of sequence of violence goes back and forth between Pacino talking about humans greed and a character in the movie being beaten to death by two demons (supposedly sent by Al Pacino). Other examples of disturbing images would be a series of scenes that feature Charlize Theron, one in which you see her completely nude with large gashes and slashes across her body, and another scene which could easily be classified as horror and is too difficult to really describe. It suffices to say that it involves Charlize Theron and a baby child within a conjured halucination of Pacino's; yet another way of driving Theron's character mad.

When these two elements combine, it makes for a compelling and thought provoking film pot-holed with graphic imagery and disturbing themes. Even the climax of the movie includes an impressive amount of nudity, sexual content and violence. Despite all of this though, "The Devil's Advocate" is a very worth-while and ultimately poweful film, if not completely comfortable to watch all the way through. I don't recommend this movie for family viewing or young children. It's a movie that you need to mentally prepare for, and perhaps have an "antidote" movie lined up, perhaps a good-hearted comedy. There is one more good thing I can say for this movie; it has a satisfying ending. It's a film where the ending could make or break the entire feel of the movie. If you're going to sit through a movie that feels twice as long as it is with the constant assaults on your senses and comfort with controversy, adult themes and disturbing images, you're holding out for a good ending. Well, without a doubt, "The Devil's Advocate" delivers. In short, this movie is worth seeing simply for it's thought-provoking dialogue and plot-line.

Will You Play The Expression?
Kevin Lomax (Keanu Reeves) is a success in the courtroom and out of it. He's a young Florida defense attorney who has never lost a case. No matter how repugnant the crime, no matter how guilty the defendant, Kevin Lomax has the power to mesmerize the jury into accepting his arguments, buying into his logic, being convinced by his charisma; and freeing his clients. Soon after he has successfully won the case, where he defended an obviously guilty child molester, Lomax is invited to New York, where a powerful law firm has become aware of the Florida hotshot's acquittal record. Here he meets John Milton (Al Pacino), the founder and head of "Milton, Chadewick, Waters", a mysterious and powerful law firm with contacts and clients all over the world. It is this charismatic and charming man that opens the door to a completely different world; a world of luxury and pleasure, wealth and power; a world of endless possibilities. This is heaven on earth. But as Lomax tastes the power of being a wealthy New York attorney, something in him changes. Winning is no longer just a goal; it becomes an obsession. Soon he starts to realize that things are not what they seem to be; and all the things he once had and cared about -a happy marriage with Mary Ann (Charlize Theron), his relationship with his mother, all his happiness - everything disappear amidst the sparkling illusion of paradise. He suddenly realizes that Heaven and Hell can co-exist at the same place and at the same time.

I do not intend to reveal anything else, since all of the interesting surprises will be presented in the intense and inspiring climax. This is probably Reeves' best performance. He manages to create a believable character - a kind of example, a role model for the American way of life. Kevin's wife, Mary Ann, is most likely the hardest character to play, since she goes through a complex and difficult emotional evolution. From being strong, devoted and ambitious (a female copy of her husband) to vulnerable, hurt and on the verge of madness. Charlize Theron gracefully floats into this character. The most interesting of performances and characters is John Milton - the essence of Kevin Lomax's temptation. Al Pacino is nothing less than astonishing, an award worthy performance that is as good as anything seen this year.

An inspiring thriller, visually stunning as well as thought provoking, 'The Devil's Advocate' should be viewed with an open mind. ... Read more

Reviews (55)

Very funny remake, It cracked me up
A remake of a 1955 Alec Guinness film, The Ladykillers transfers the action from London to America's rural South. Tom Hanks takes over Guinness' role. And directing duties land in the laps of O Brother Where Art Thou? masterminds Joel and Ethan Coen.

When good Southern church-going widow Marva Munson first lays eyes on Professor Goldthwaite Higginson Dorr III, Ph.D., she's not too sure what she's lookin' at. Besides, she's pretty distracted by the fact that her seemingly dapper-if not a bit dopey-gentleman caller just let her beloved kitty escape through the half-open door. Once the feline is safely back inside (with Dorr's generous assistance), she learns that Dorr wishes to rent a room. She agrees. He gallantly informs her that he plays ancient Renaissance music with a group of colleagues, and requests to use her root cellar for practices. She can't see any harm in that-as long as they're not playing any of that nasty "hippity-hop" music-so the deal is struck.

What follows is part black comedy, part madcap caper and part morality tale. And it's spiced up by exceedingly vibrant characters. Dorr is an eccentric professor-type obsessed with dead languages and the writings of Edgar Allan Poe. He's the mastermind of the heist. Assisting him are Gawain MacSam (a trash-talking ne'er-do-well with a short fuse), Garth Pancake (a bumbling munitions enthusiast), The General (a grimly lethal excavations expert) and Lump (a decidedly dim-witted muscle-man).
"We really like the original movie," says Ethan Coen. "It's a strong story premise. It just has good bones. We ripped out the spine of it, kept that and threw out everything else."

Back in the '40s and '50s, when the Hays Movie Production Code was in place-and the original Ladykillers movie was produced-films were allowed to show criminal behavior only if it was done in such a way as not to make viewers sympathize. Consequences were big back then, as evil men generally reaped what they sowed. The Coen brothers' remake sticks to that ideal, and despite the film's cynically comedic underpinnings, moviegoers leave the theater thinking about what exactly the wages of sin are.

The Hays Code also barred the use of scores of profane and crude words. It's in this realm that the new incarnation of The Ladykillers goes out of control. Had it been released a half-century ago, throngs of outraged moviegoers would have literally ripped its prints from their reels to stop the ruckus. But forget decades-old social standards. Even applying modern artistic sensibilities, I'm left feeling that what I heard while I watched this otherwise masterful movie utterly destroyed its credibility, tore up every layer of its delicate nuance and scribbled haphazardly all over its colorful characterizations.

A disappointing, often unfunny entry from the Coen Bros...
I'll raise my right hand and swear that I'm a huge fan of the Coen bros. I savor every quirky moment of The Big Lebowski, I believe Fargo is one of the best movies ever made, and I think that Barton Fink and Miller's Crossing are classics waiting to be discovered. So why did I dislike The Ladykillers so much? I honestly don't think it was a case of being let down; even a lesser Coen entry (Blood Simple) has its interesting, entrancing qualities. So why is this movie so lame? It sure as hell starts off promising: Tom Hanks, as Professor Goldthwait Higginson Dorr, spews off Coen-esque words with innate skill and Irma P. Hall is hilarious as Mrs. Munson, the old lady who lets Dorr board in her home. They have a curious little chemistry, Dorr and Munson, and their scenes of dialogue elevate the movie. And then the real plot sets in, with supporting character after supporting character. And to boot, some of them don't even fit into the movie at all - Marlon Wayans is especially ill-fitting as a foul-mouthed casino-boat worker who seems to have no other purpose but give the movie an R-rating. But wait! Let's throw in some jokes about Irritable Bowel Syndrome, more cultural stereotypes, and a third act that drags on and on and on and what comes out is simply the worst Coen film I've seen. This movie could have been so much better, and in fact, it's not horrible. There's geniune comedy in it, but too often it's shrouded by the overly-confident directors urging us that we should be laughing our asses off at things that aren't that funny (black churches are hilarious! dumping multiple people into the river is funny even after the 5th time!). If only they'd deployed the subtlety and atmosphere that makes nearly all of their movies great. I wanted so much to like this movie, but when you're done with it after an hour, it's impossible. GRADE: C

So disappointing
I expected this movie to display the same sense of humor as "O Brother, Where Art Thou?", but I was sorely disappointed. There are some funny moments, but Marlon Wayans' unnecessary profranity is so jarring, it disrupts the comedy before it can get started. The best scenes are the dialog-free establishing shots where you'll enjoy the excellent cinematography characteristic of the Coen brothers movies. Second best is Irma P Hall's performance. She's wonderful, especially in her solo scenes or those talking to the sheriff. You really wish the Coen's had thrown away the script, fired all of the "ladykillers" and just rewritten the movie around Irma and the Mississippi setting.

Great movie - if without the swearing
The Coen Bros have offered another hilarious flick. Tom Hanks does a great job in the role as well. The premis of the movie is simple and a good entertainment value. I would consider purchasing this on dvd - if I could show it to my family. However I give it only 3 stars because of the unnecessary profanity which all but ruined the film for me or the family. IF it was release minus the bad language, I would be the first in line to own it.

Southern Comfort
The plot is meaningless : a band of amateur burglars are emptying the underground « money reserve » of an offland casino in Mississippi with a tunnel, explosives, etc. They start from an old black very christian lady's cellar, pretending to be a group of Renaissance or baroque musicians rehearsing there. Banal. The ending is just as surprising as all the different moments of this plot and it is not the main interest of the film. The film is interesting in two elements. First Tom Hanks plays the role of a cultivated scholar specializing in Greek and Latin literature and Edgar Poe's poetry. He is an ephete, sophisticated snob that has a very strong charm on the black ladies of this neighborhood. His acting is just perfect. Second it is humorous but in what I will call a « southern comfort » style. It is slow, calculated, yet inspired and impulsive, responsive too, and never in any way exagerated, always underplayed, more humorous innuendo than hilarious fun. This creates an atmosphere that does represent what Mississippi might be for some people : a contained and always understated and underestimated play on words, circumstances and situations. He who knows or has lived in the South for a while will recognize this slow flow of words and events, as if the climate was making life and the world crawl along, but in style and correct appearances. As for me, I think it is a little too slow at times. The best character is the cat, and this cat is no Fritz the Cat, and yet, maybe it is in a way.

Dr Jacques COULARDEAU ... Read more

Reviews (35)

The 9-Ball Rims The Pocket....Yet Doesn't Quite Fall
I love pool. I love to shoot it, to watch and study it.

I liked this movie, and to be truthful, this movie is what started my interest and desire to play pool. Of course I've seen The Hustler and it is a far superior movie, it just re-enforced my desire to play even more.

The Color Of Money is 20+yrs on from The Hustler. Fast Eddie is now a liquor salesman, and even though he's very good at it, the desire to play and return to shooting is still as strong in his blood as it was at end of The Hustler after whipping Minnesota Fats. Felson comes upon Vincent ( played by a young Tom Cruise ) and decides to take him under his wing to show him the ropes and the "hustles" that make the money in the pool halls.

Cruise is actually good as the "green" young apprentice and Newman is fabulous as the seasoned Felson. Newman does bring the same intensity to Fast Eddie which makes the clash of styles between him and Cruise extremely interesting in the first half of the movie.

I don't really care for the way the film pans out, with Newman getting hustled by a great Forrest Whittaker character, and especially the anti-climatic ending. Scorsese sets the film up for a big show down and ends it with nothing. What was the problem? Surely the studio could have afforded another 5 minutes of celluloid to see Fast Eddie beat Cruise... however this movie is enjoyable....but no matter how many times you watch it.... the 9 ball doesn't fall off the break.

my favorite movie of all time
This is my favorite movie ever (chased closely by Apocalypse Now). I have watched it dozens of times, and i never seem to get sick of it. I am an avid pool player, but you don't have to be one yourself to appreciate this masterpiece, which IMO rivals anything else Scorsese has done in his long distinguished career. The whole movie exudes style from start to finish, and Paul Newman is quite simply the epitome of cool. His performance is intense and laid-back at the same time, and he never over-acts (the most widespread chronic disease in Hollywood). Cruise is great as the young cocky upstart, Mastrantonio does an admirable job as his tough girlfriend, and the movie is sprinkled with a whole host of really great supporting performances, including one by Forrest Whitaker as the hustler who out-hustles the master, and a great (quick) one by Iggy Pop of all people in a barroom scene. The movie flows and is filled with energy, the cinematography is spectacular (in particular in a scene where the camera follows closely behind the pool balls as they scatter all over the table). Newman is as classy as he's ever been, and was wholly deserving of the Oscar for this performance. The plot is riveting, and takes us from ex-legend Fast Eddie Felson's discovery of a new prodigy (Cruise's character Vincent) through Vincent's initiation into the Art of Hustling and a whirlwind tour of east coast bars and poolhalls, all the way through to the stirring conclusion as the Master battles the Student in a winner-take-all final game of 9 ball. Perhaps my favorite scene is when, in the midst of an ongoing moral dilemma, Eddie looks down to take his shot and sees his reflection in the 8-ball. He pauses, then straightens up, unscrews his cue and forfeits the match, unable to face himself. The movie is funny, highly dramatic and inspiring all at the same time, and Martin Scorsese gives it his usual tough, no-frills, occasionally violent personal stamp to make it one of the most watchable pieces of cinema you will see in a long time. Maybe I'm biased since I grew up in New Jersey (near NYC), but I don't think so. The movie is a lot of fun, has a whole slew of fabulous performances, and is a must-see...

Money, Luck and Our Lady of the Cue Balls.
In this movie's opening voiceover, director Martin Scorsese explains that nine-ball pool, as you've probably guessed, comes down to one basic rule: You don't win without pocketing the 9. Partially this depends on the balls' spread in the break; i.e. on luck. But, Scorsese concludes with the credo of all high-stakes hustlers from poker to pool and beyond: "For some players, luck itself is an art."

Once, Fast Eddie Felson (Paul Newman) mastered this art; a whiz kid out to beat champion Minnesota Fats, he had to learn some painful lessons instead. But that was 25 years ago - in 1961's "Hustler," to which "The Color of Money" is a belated sequel - and now it's "dead and buried." Now Eddie is a liquor salesman; even if he's still got the hustle down cold: just listen to him philosophizing about a bourbon's color, age and acidic content and I'll lay you any bet you'll be buying a case from him in no time at all.

Yet, Eddie keeps hanging around pool halls, and one day the inevitable happens: He runs into Vincent (Tom Cruise), almost a reincarnation of his younger self; a guy with a sledgehammer break and an "incredible flake," as Eddie opines less than charitably, cocky beyond belief but apparently unaware of his potential, preferring to perfect his video game reflexes on the theory that this might get him into West Point, instead of focusing on his greatest and, more importantly, only financially viable area of expertise: pool. Now, if Eddie has learned one thing it's that whatever your field, it *all* comes down to money; and the guy who's got the most of it is the best. But to get there, you have to be more than just excellent at what you do: You have to be a student of psychology, learn to take advantage of others, understand when to lose is actually to win; and if you're a "natural character" like Vincent, you have to learn to "flake on and flake off" - to be yourself, but on purpose. In short, it takes the right proportion of both brains and b*lls to win big at pool. All this, Eddie is determined to teach Vince, even if it takes some support from his girlfriend Carmen (Mary Elizabeth Mastrantonio) to get him going. But eventually they do set out on the road, for a six-week high-intensity training in hustles and cons, with their eyes set on a high-stakes nine-ball tournament in Atlantic City at the end. And Eddie, once exploited by a ruthless promoter himself, dispenses tough love; all to drive home one crucial lesson: "Nice guys finish last;" and mercy towards *any* opponent is downright unprofessional.

Vincent, Carmen and Eddie make an unequal trio; they collide as often and as hard as cue balls, and it's a sheer joy to see these outstanding actors go up against each other: Cruise as the cocky kid who refuses to drop his ego trips, Mastrantonio as his tough-talking girlfriend, and Newman as the seasoned pro who suddenly gets goose-bumpy again when entering a pool room (even if to his shame he finds the place now used for furniture storage), rediscovers that money won is "twice as sweet" as money earned, and at last gets hungry enough to get back into the game himself, albeit at the price of first being hustled by a kid with a dumb-fat-underdog routine (brilliantly played by Forest Whitaker). For Tom Cruise, who left a lasting impression with 1983's "Risky Business" but otherwise only had a few middling movies under his belt at this point, this was a great opportunity to show his chops opposite one of the business's all-time greats, and he was more than up to the task. (Although he shot to superstardom the same year with "Top Gun," even here virtually all of his trademark mannerisms and voice inflections - particularly when playing cocky - are already fully present.) Mary Elizabeth Mastrantonio earned Oscar- and Golden-Globe-nominations for her portrayal of Carmen, who clues into Eddie's "pool is business" lessons quicker than Vince and, after a first-hand education on the use of "that thing," finds ways through Vincent's cockiness where Eddie doesn't have access. Paul Newman finally netted his long-overdue Academy Award; thus belatedly making up for the undeserved pass for "The Hustler," after the Academy had summarily sugarcoated a total of seven unfulfilled nominations - and numerous award-worthy appearances that didn't even earn that kind of nod - with a lifetime achievement award the year before. (Newman accepted, but wasn't present at either ceremony.)

What makes this movie stand out, however, is not merely its tremendous cast, from the central trio to Helen Shaver (Eddie's girlfriend Janelle), John Turturro (Julian, the "stake horse" Vincent replaces in Eddie's favor), Scorsese's dog Zoe (credited as "dog walkby"!), Iggy Pop, and several top pool players, e.g. Steve "The Miz" Mizerak, Jimmy "Pretty Boy Floyd" Mataya (together with wife Eva also technical advisor) and Keith McCready (Vincent's nemesis Grady Seasons). Moreover, nobody could have captured the pool halls' dingy allure, a trick shot's swift precision and the balls' movement over the table quite like Michael Ballhaus - there's a reason they call him "Hollywood's Eye." And then there's the score, by the "Band's" ringleader Robbie Robertson; featuring contributions from a virtual who-is-who of rock and blues's all time greatest, including Muddy Waters, Bo Diddley, B.B. King, Eric Clapton, Mark Knopfler, Don Henley, Warren Zevon, Phil Collins, Robert Palmer and Percy Sledge; pointedly framing all key scenes and doubling the edge of the cue balls' and characters' collisions alike.

The movie's ending may appear anticlimactic, as the story seems to build up to a showdown which we never get to see. But for Eddie, it's ultimately about going up against Vince's best game - and the only thing that matters is that he's back, and there to stay for the duration this time. And no question: back he certainly is.

A Complex Classic
After having seen this movie many times, I came to realize it has more than one "level." It is a "good" movie as pure light entertainment. However, when you really study the movie during several viewings, you realize Scorsese is telling us, through lots of metaphors, what motivates people as they travel through life. At this level, this movie is an outstanding classic.

Some other reviewers don't like the ending; I think it is perfect. However, there is a critical scene that, if missed or misunderstood, gives the film a different meaning. That scene is near the end where Vince (Cruise) says Felson (Newman) has used Vince and his girlfriend. Felson admits this is true. This is a critical explanation of the plot. Fast Eddie Felson was forced to stay out of pool rooms for many years (see the ending of The Hustler). After more than 25 years, he is searching for a pool player that might be good enough to beat Fast Eddie Felson (Minnesota Fats is no longer around). Fast Eddie Felson develops and trains Vince so Fast Eddie will have someone play against. After 25+ years, Fast Eddie is still trying to be the best, but he needs a worthy opponent. At the same time, Fast Eddie has to train and regain his own skills. At the end of the movie, even if he loses to Vince, he will keep trying to get better until he can eventually win. But, at least he has a worthy opponent. Until he discovered Vince, he knew there was probably no one he could not eventually beat.

One other suggestion: Some reviewers complained about the sound. Try listening to the movie using a very good pair of headphones. You will be amazed at what you hear. Also, for those who might not know, the musical score was by Robbie Robertson, the leader of The Band.

In summary, this movie is on my list of the top 5 ever made.

He's Back!
Paul Newman's back as Fast Eddie Felson, crackshot pool hustler. This is the sequel to the 1961 classic "The Hustler" (a film I still have to see.) Fast Eddie is back 25 years later; wiser, sharper, and better-looking than ever... This time, he's mentor to a naive, yet obnoxious, Tom Cruise. He finds out from Eddie he still has a lot to learn. The two make a cool pair. No wonder Newman won the Oscar for this one, although he should've won years earlier. One of his best performances. ... Read more

Reviews (92)

Realistic, Gritty Crime Tale
In one of his best performances ever, Al Pacino is the engine that keeps "Carlito's Way" moving from beginning to end. Recently-released from prison, Carlos Brigante (played marvelously by Pacino) is a former Puerto Rican drug lord who ruled New York City's drug world during the 1960's and 1970's. Assisted by his lawyer (Sean Penn) Pacino is determined to stay out of the trade that landed him in prison in the first place. However, as usual trouble always lurks in every corner.

Deciding to buy and operate a Latin nightclub from an owner who is seriously in debt (played by the famous Argentine comedian Jorge Porcel, who had a cult following throughout Latin America due to his sexually-charged comedy skit show "A La Cama Con Porcel; he is know as the Latin-version of "Benny Hill"). Yet as old faces reemerge onto the scene, newer faces have also started to take a foothold in Brigante's former empire, especially Benny Blanco (played by the ever-wonderful John Leguizamo).

Directed by Brian de Palma ("Carrie"), this is one of the most realistic, and historic accurate pictures of life in New York City's urban jungle during the late 1970's/early 1980's. Penelope Ann Miller ("Adventures in Babysitting" is great as Brigante's love interest, and Luis Guzman always is a scene-stealer playing Pacino's right-hand man.

The DVD version contains production notes, cast biographies, and the original theatrical trailer and the sound and picture quality are excellent. Pacino (a Bronx native) masters a perfect Puerto Rican accent in the same way he mastered his Cuban-emigre accent in "Scarface". "Carlito's Way" is guaranteed to keep you entertained due to thrilling performances by the entire cast, amazing cinematography, great directing, and most importantly, incredible realism. Destined to become a modern urban classic.

scarface with a twist
When the guys that brought you Scarface team up again what bad
things can happen.Brian De Palma and Al Pacino two of the biggest
stars on their film duties in Hollywood today.This movie really
has the 80's,disco feel scarface as but as the De Palma plot turn
and twists seen in Snake Eyes,Body Double,and Raising Cain so it'
s all very entertaining.Along with another De Palma regular Sean
Penn(Casualties Of War) plays the coke addicted wacko lawyer to
absolute perfection.This film not as violent as Scarface as more
plot twists which makes it almost more entertaining with a great
cast including John Leguizamo and Penelope Ann Miller Carlito's
Way is one of Pacino's,Penn's,and De Palma's best films ever so
if you like a mixture of The Usual Suspects and Scarface give
Carlito's Way a watch it's great.

What is so Wonderful about this movie?
This is not that great of a movie. I dont know why people are making such a big deal out of this movie. I saw it, I tryed to understand it, I just thought it wasnt one of Pacino's best....sorry

Pacino and Penn give great performances
almost a sequal to scarface..Carlito Brigante is Tony Montana after doing 15 yrs and having a change of heart...I cant beleive there wasnt some thinking on those lines from the actor and director of both movies...Sean Penn nearly steals this movie as David Kleinfeld Carlitos lawyer is more crooked than the crooks he defends..and Luis Guzmán as Pachanga shows why hes one of the best character actors working today...

The best film of Brian de Palma
The facts derivated from the story put us before a man who wants to get away his destiny , but (in a mgnificent shakesperian mood), nobody can escape from his past.
There's no doubt that this film has multiple virtues. Sean Penn grew up like actor al least two thousands steps. His role is so well made like the sinister lawyer without a drop of scruples, and this is the fate's arm that literally takes to Tony Montana and throws to hell.
In my personal view, I think Sean Penn deserved an Academy award by this role.
It's a sinister view about the redemption given by Montana since he leaves the jail.
Pacino gives one of his more relevant roles all along his career.
He gives us that crude sensation of walking in the edge of the knife through all the film. Will it be necessary to say that in this film like in others, Pacino is much more than an actor, he is a nature's force and elevates the standard performance of every one of his partners?.
Watch for instance one of my favorite beauties of the cinema: Penelope Ann Miller. Her role is so well made that this film literally gave to David Lynch the final decission for including her in Mulholland's drive.
There are several unforgettable sequences in the film. The first of these belongs to that claustrophobic situation in which we find Carlitos, when he decides to rescue the money of his beloved friend. In his honor code, Carlitos can not give a "no" like answer. And that's the road to his perdition.
The other anthology scene is that made in the hospital when he visits to the lawyer by last time. The slow camera describes all the movements of the false police who revenges to his father and we can see how the bullets are released by Carlitos just before.
The final shots camera in the chase when Carlitos has planned everything and runs with the clock dictating its final minutes. The angles of camera and the tension produced in the train station for me is above his tribute to Potemkin in "The untouchables".
Carlitos way is a cult movie. But also you can consider like the shakespeare spirit made present in what I would design together with Road to Perdition , the most original "film noir" movies in the last fifteen years. ... Read more

Amazon.com

Hoo-hah! After seven Oscar nominations for his outstanding work in films such as The Godfather, Serpico, and Dog Day Afternoon, it's ironic that Al Pacino finally won the Oscar for his grandstanding lead performance in this 1992 crowd pleaser. As the blind, blunt, and ultimately benevolent retired Lieutenant Colonel Frank Slade, Pacino is both hammy and compelling, simultaneously subtle and grandly over-the-top when defending his new assistant and prep school student Charlie (Chris O'Donnell) at a disciplinary hearing. While the subplot involving Charlie's prep-school crisis plays like a sequel to Dead Poets Society, Pacino's adventurous escapades in New York City provide comic relief, rich character development, and a memorable supporting role for Gabrielle Anwar as the young woman who accepts the colonel's invitation to dance the tango. Scent of a Woman is a remake of the 1972 Italian film Profumo di donna. In addition to Pacino's award, the picture garnered Oscar nominations for director Martin Brest and for screenwriter Bo Goldman. --Jeff Shannon ... Read more

Reviews (73)

By far my favorite movie
When I first heard of this movie, I had no clue what it was about. My friend and I saw a teaser poster with Al Pacino and Gabrielle Anwar dancing the tango labeled "Scent of a Woman". Putting two and two together, we went into the theater thinking we were watching a love story until the movie started. Whoops. Despite my misgivings in the beginning, I was pleasantly surprised. What I found was a riveting story of mentor-mentee relationship. I love movies that involve the master taking young grasshopper under his wing. Except master is not Mr. Perfect himself. Both the student and the teacher learn from each other's weaknesses. And despite Lt Col Slade's struggle with his misfortunate blinding accident, his Army core values were still in tact. Hard-working and willing to give up a Thanksgiving weekend to look after an embittered retiree, Slade sees an underlying goodness in Chris O'Donnell's fragile, fence-sitting character, Charlie. Like most young men his age, he was susceptible to peer pressure and could easily choose the wrong path as his friends had. Slade is blind but easily sees the temptation to compromise the boy's integrity and future. "This old bat has sharper radar than the Nautilus" Slade tells his young league. He lays all the cards out for Charlie to see, but knew instinctively it was up to the boy to make his own decision. Charlie eventually shows his true colors in the face of adversity. Like a good soldier, he never leaves his commander's side even when the danger is self-inflicting. Character like that is a rarity in anyone and must be preserved! This prompts Slade to reciprocate his support for Charlie who is enrolled in a prestigious school reknowned for producing some of the most important figure heads in America. "Be careful what type of leaders you're making," he warns the school staff. Charlie learns lessons in life that no school could teach him.

Underneath the tough exterior, there was a softer side to Slade. He definitely had a thing for the ladies. Instead of playing up a macho cassanova, "Mac-Daddy" persona predominate in a lot of films today, Slade is quite the charmer and gentlemen. He's cultured, sophisticated, genteel and surprisingly knowledgeable about women's perfume. Hence the film's title. I find that warrior-poet quality incredibly sexy and appealing. You can't resist a man who makes the tango look so easy and doesn't mind getting "all tangled up" with you. A beautiful role played by Pacino earning him a well-deserved oscar which probably was most credited for by his empowering monologue in the end. This is by far his best role in a movie.

Lovely film. Sweet, sad, romantic yet uplifting. This is truly a classic for the ages.

One of This Decade's Best Films
I have probably watched "Scent of A Woman" thirty times. I find it one of those movies that becomes hypnotic a few minutes into it. Al Pacino is absolutely outstanding in the role of Lieutenant Colonel Frank Slade, retired from the U.S. Army. Slade, blinded by a drinking/grenade game he was playing with one of his drinking buddies, is now living as an embittered alcoholic with an adult niece, her husband and two little children. He is an arrogant, angry man used to issuing orders and not displaying very much gratitude or affection.

Charlie Simms, played well by Chris O'Donnell, is a scholarship at a nearby prep school in the same town in New Hampshire where Slade lives. Charlie's trying to earn some money over the Thanksgiving weekend so that he can travel home to his parents in Oregon at the Christmas break.He discovers an ad placed by Slade's niece to care for her blind uncle over the Thanksgiving break so that she can travel with her husband and kids to Albany, New York for Thanksgiving with her in-laws.Charlie answers the ad and the adventure quickly develops.

Slade has his own plans for Thanksgiving. A last big blowout in New York City before killing himself.

He is abusive to Charlie at first and acts as if he is one of his military aides. He doesn't let him in on his plans until it's practically time to leave for New York -- while Charlie had been told by Slade's niece that the weekend would be at her home looking after her uncle.

A beautiful bonding begins as Slade and Simms interact and except for his anger and bitterness, it is obvious that Slade is not particularly handicapped by his blindness as he has developed an extra few "senses" which make him seem remarkable.

The journey to New York is a roller coaster of emotion from comic to touching to almost tragic. When Slade finally decides to kill himself, Charlie manages to save the day -- although it's pretty touch and go keeping you on the edge of your seat throughout.

Charlie has problems of his own. He's not particularly self confident and Slade is tremendously intimidating. Charlie's other problems center around an incident at school which places him at a crossroads -- whether he should rat on some kids at school at the headmaster's own brand of intimidation, or face expulsion.

The movie concludes with an impassioned speech by Colonel Slade on Charlie' behalf before a school-wide assembly being held for a disciplinary committee hearing on the incident Charlie has knowledge of.

Simms remains true to himself and proves himself to show new confidence and an outstanding sense of personal integrity.

Slade has also benefited by his own plans gone awry and his opening a window of care for Charlie as another human being. He emerges as a sign of hope to overcome his bitterness, anger and alcoholism.

An absolutely remarkable film!!!

My Two Scents
Actor Al Pacino has amassed quite a stellar career over the years, filled with strong performances, that make him one of the best at what he does. He skills, magnetism, and range put him at the top of my favorites lists. For 1992's Scent Of A Woman he hits another high point, winning an Oscar, and alowing a relative newcomer to earn his acting chops, working with a master.

Charlie Simms (Chris O'Donnell) is a young scholarship student at an exclusive prep school in New Hampshire who agrees to look after Lt. Col. Frank Slade (Al Pacino), a blind retired army officer, to earn extra money over the Thanksgiving break. Frank is an acid tongued and cynical bully who completely suprises Charlie with his plans for their weekend together. He has bought them tickets to New York, booked a suite at the Waldorf Astoria Hotel and rented a limousine, all to take the Big Apple by storm. Before Charlie realizes what he has gotten into, he is accompanying the colonel around Manhattan as they begin their wild and eye-opening adventures that include a fast-paced test drive in a Ferrari and a tango with a beautiful woman (Gabrielle Anwar). Frank's passion is women; he waxes lyrically on their bodies, scent, and sensuality, and gradually Charlie becomes aware of the sentimental romantic buried deep within the lonely man's heart.

Directed by Martin Brest, the film is nearly pitch perfect, with Pacino commanding the screen. Even though, I know Pacino isn't really blind--he plays the disability very well. By the end, I couldn't imagine another actor, playing it as "real" as he did. I thought O'Donnell was also quite impressive holding his own oppossite Pacino. The script from Bo Goldman has drama, humor and is very organic. The only minor problem I had was the film's very end. A bit predictable if you ask me...

The film deserves to have an upgrade to special edition status. The current DVD has little in the way of extras. I wanted more. There's only a few production notes and cast biographies on the disc. Not even the theatrical trailer made the extras. Until a special edition is a reality, the film is still a must see, even in its current form on DVD.

I'll Show you out of order!
I absolutely love this movie. The first advertisement I saw for this movie was a poster of Al Pacino and Gabriel Anwar doing the tango. My firend I went into the movie theaters eagerly awaiting to see a lovely romantic comedy. But when the first scene started with a boys school and just kept going, we were beginning to wonder if we walked into the right movie.

However, the movie was captivating as soon as Al Pacino came on screen, he obligates Chris O'Donnell to accompany him to the airport and head to New York. You keep wanting to see what happened next in the movie and before you know it, you've just fallen in love with a hopeless manic-depressive and a young kid whose promising future is about to go under because of a compromising situation that swing the wrong way.

Where does loyalty start and integrity ends? Both Pacino and O'Donnell have to come to grips with in some fashion or another. But there is no doubt the bond between the two of them is unbreakable.

Pacino Shines
Scent of a Woman, a 1993 Academy Award Nominee for Best Picture, is about a friendship that builds between two opposite people, the blind retired Lt. Colonel Frank Slade and the prep school student Charlie Simms, during a wild weekend in New York City. Both are coming to a crossroads in their lives. Charlie has to decide whether he will tell on who played a practical joke on the school's headmaster. But his future is lying in midst of it. And Lt. Colonel Frank Slade, once an aide to Former President Lyndon Johnson, now blind, is considering taking his own life. Their friendship grows, and although I don't want to give too much away, I'll say that I was satisfied with the ending.

Al Pacino's performance in this was stellar, and have many others have mentioned, won him his first Best Actor Oscar. Great film which will undoubtedly be enjoyed by many for years to come. ... Read more

Description

Michelle Pfeiffer and Sean Penn give career-defining performances in this humorous and heart-warming film about a mentally-challenged father who enlists the aid of a high-powered attorney to help him regain custody of his daughter. An all-star supporting cast and a spectacular soundtrack complete this unforgettable story of life, love and laughter. ... Read more

Reviews (193)

Talent In Top Form, Or Exploitation Of The Heart?
Films that depict the life struggles of persons with mental or physical disabilities almost automatically tug on the heartstrings of any sensitive viewer. I AM SAM does no less, and it does so with the masterful talents of Sean Penn and Michelle Pfieffer and an amazingly talented little girl named Dakota Fanning (she has deep, incandescent blue eyes that evoke a talent far beyond her years).

Sean Penn stars as Sam, a mentally-challenged Starbucks clerk who excitedly clings to the role of father when the homeless woman he gets pregnant skips out on him. Somehow (the movie never tells), he manages to display the skills to bring Lucy up to seven years old (when the narrative of the film swings into full play).

The incredibly lovely Michelle Pfieffer does an admirable job pouring life into a vastly underwritten role. As a jetset lawyer, she's torn between her job, her role as a wife, and her role as a mother ... all of which she, arguably, is failing at. However, Ms. Pfeiffer manages to give her character, Rita Harrison, a sense of reality and a sense of history that lifts an otherwise secondary role into a more interesting person, one that the viewer wants to get to know. Sadly, the scenes of development with her husband and her son were either never written, never filmed, or left on the cutting room floor.

Dakota Fanning, as Lucy, is simply marvelous. A true talent in the making, she manages to steal every scene she's in without a touch of mirth to her performance.

Laura Dern pops up in the obligatory cameo-sized role, and, when her mother-wannabe sentiments forces her to face the bittersweet reality of choosing between breaks, the viewer feels her pain.

All in all, I AM SAM is not a great picture, as it feels more like a big budget Lifetime or perhaps HBO-cable movie, but it's passable entertainment with some acting heavyweights showing their stuff.

You will either go with your heart or your head on this film
How you end up feeling about "I Am Sam" is going to come down to which wins out, your heart or your head, because those two parts are not going to agree. In this 2001 film from director Jessie Nelson a mentally retarded man, Sam Dawson (Sean Penn) has to fight for custody of his bright 7-year-old daughter, Lucy Diamond Dawson (Dakota Fanning), with help from a cold-hearted lawyer, Rita Harrison (Michelle Pfeiffer). The state of California, represented by Richard Schiff as Turner, is concerned because Lucy is now smarter than her father and needs smarter parents (this seems a dangerous precedent to me, but you know what California law is like).

This film knows how to manipulate the heartstrings big time, starting when young Lucy asks her daddy why he is different from the other daddies and refuses to read any book that her father cannot read. Then we get to the point where the System, in its infinite wisdom, takes the little girl away from her father. When that happens we do not hear her screams, just the music turned up load, which reminded me of the extreme pathos of that same scene in Chaplin's "The Kid," where not hearing Jackie Coogan scream for his dad did not matter. Meanwhile, there is the whole bit as Sam wears down super lawyer Rita and gets her to remember that family might be as important as work. In the beginning Rita is basically shamed into taking on Sam's case, but in the end she is emotionally involved in the case and the life of her client. All that matters is reuniting father and daughter.

But the brain keeps asking some key questions about what is happening here. First, why did the State wait until this point to question Sam's parenting? The concern here is never about Lucy's safety with her father, but her desire to keep learning now that she is smarter than Sam. Second, if Lucy had been of average intelligence and not a cute little blonde kid if the State would have found her a wonderful foster home with Randy (Laura Dern) and her husband? I am inclined to think probably not. Third, why are the Department of Children and Family Services lawyers portrayed as villains? Every thing Turner says is true and he repeatedly makes it clear that his intention is the welfare of the child. He is talking practical realities and not abstract ideals.

Twice in "I Am Sam" the film echoes the famous child custody film "Kramer vs. Kramer." The first time the moment sneaks up on the audience, as well as most of the characters, and it signals a reversal in Sam's fortunes. In fact, the next time I am reminded of the other film it again signals a reversal in Sam's fortunes, and that was the point at which the head shoved the heart aside and rendered its final verdict on this film. I was not all that impressed with the rabbit coming out of the hat the first time around, and even less so the second time.

As for Penn's performance, I can see why he was nominated for an Academy Award given the propensity to give the Oscar to actors portraying handicapped individuals (Cliff Robertson in "Charly," Hoffman in "Rain Man," Geoffrey Rush in "Shine"). But I have to admit that such mannered performances next strike me as being as finally nuanced as other great acting performance. Still, he is good, and the scenes between him and Fanning sparkle.

Half the film is scored to covers of Beatles songs by Sarah McLachlan, Eddie Vedder and others, which makes for an interesting soundtrack album. Ultimately, I decided to split the difference between the ranks given by the head and the heart on this one because I did enjoy it, even as I complained bitterly about all the problems I saw in "I Am Sam." I embrace my contradictions, even in print and for public consumption. You are lucky; I was about to launch into "Heart Five, Head Three" inspired by "A Chorus Line."

WHY NO OSCAR FOR PENN??!!
In my opinion, this is easily Sean Penn's best performance and he has had many great ones.I was just starting a nasty custody case when I saw this movie for the first time and I was moved in so many ways. I could watch this movie over and over again, the music (all Beatles covers) was done perfectly, and Penn's performance was done so well he had a certain innocence about him that was just heart wrenching at times because of how bad he was being treated by the system and he just kept doing what he thought was right and the one point in the movie when he was on the stand and sounded like he was making perfect sense and it ended up he was just quoting something he heard from someone else saying(other people's names included),it really makes you feel for him and you just wish that they would give him his daughter back. Eventually things turn out in his favor, which I wish would happen for me but unfortunatly, I live in the real world! GREAT MOVIE, GREAT PERFORMANCES,GREAT STORY, GREAT MUSIC, GREAT, GREAT, GREAT!!

"Slow" dad fights court order to give up his child
Sean Penn as a devoted father (Sam) who despite mental challenges, fights for the right to raise his child is convincing in a complete departure from his usual "bad guy" characters. Michelle Pfeiffer plays his reluctant "pro bono" elite lawyer, who eventually puts 110% into this case.
The love between Sam and his 7 year old daughter is evident in many sweet scenes (got Kleenex?), best described by a reclusive neighbor (wonderfully played by Dianne Wiest), who overcomes her hermit-like condition long enough to testify in Sam's behalf. Even the social workers who insisted on doing everything to "help the child" appear to be fighting emotions over this unusual case.

The "support system", which includes several equally challenged "buddies", a very supportive employer, and many other people in the community gives evidence of our changing society, fostering inclusion and tolerance. Eventually even the prospective adoptive parents of Sam's daughter can't go on fighting against this exemplary father.

The girl playing Sam's daughter appears to be "gifted", at age 7 reading middle school material. Perhaps the "difference" between father & daughter's intelligence did not have to be in such an obvious extreme. The implication of a romantic involvement between Sam and his lawyer could have been avoided as well. The former is stretching it, but the latter is going too far. One can suspend her/his disbelief only so much! Since there are no "perfect" movies, I still consider this one pretty darn close! Highly recommended!****

DIABETICALLY SWEET SCHMALTZ, BUT VERY WELL DONE
"I am Sam" is replete with a jerky handheld finish, self-conscious art direction, the angst of the specially challenged, lots of opportunities to laugh and cry, terrific acting, and a marvelous Beatles-Plus soundtrack. The love that the entire cast and crew put into the project radiates from the scene and generates enough goodwill to forgive the occasionally languid pacing.

Sean Penn's nomination was absolutely well-deserved, and Dakota Fleming does a great job of Sam's daughter. Some magnificent supporting turns by Laura Dern, Diane Wiest, Stanley DeSantis, and two actually mentally handicapped actors, help carry the somewhat airy/sappy script through some of its less credible moments.

If you're a heartless scrimp by nature and want action in your movies, you may want to skip it, but everyone else should have a decent feel-good time with this stirring drama. ... Read more

Reviews (66)

Another Directorial Accomplishment
Robert Redford won an Oscar for his direction of, "Ordinary People", in 1980. He has since directed films like, "Quiz Show", and this film, "A River Runs Through It", with consummate skill. He also founded The Sundance Film Festival which now routinely introduces new talent in all aspects of the making of movies on an annual basis.

His only direct presence is the narration he does at various times during this movie. It also does not take a great deal of imagination to see in the actor Brad Pitt, of 11 years ago, a man that bears a remarkable resemblance to Redford himself. This story of the zeal with which aficionados dedicate themselves to the art of fly fishing is a beautiful film to watch. Redford puts Montana on the screen in such a way as to make virtually anyone desirous of having a home amongst the mountains.

The story is much more than a feast for the eyes as the story of a minister's two sons, who are strictly raised, ultimately have such divergent lives, both in type and length. This is not a very happy story, although it has moments of pure joy that balance tragedy as well as tragedy can hope to be balanced. One of the best examples is when Brad Pitt as Paul does battle with a prize catch in one of their favorite rivers. To say he almost fights the fish in its world as opposed to his own is not much of a stretch, and it is wonderfully filmed.

Robert Redford has made his place amongst the legends of the film industry, and he has done this by not only appearing in front of the camera, but behind it as well.

Cinematic Poetry.
I don't think anybody who has ever visited the American West, particularly the north-western states of Montana and Wyoming, hasn't come away deeply impressed with the majestic beauty of their mountains, rivers, streams, endless skies, prairies and meadows. Many probably went home to find that the photos they took, trying to immortalize their impressions, just didn't seem to do justice to the real thing, and wishing they possessed the craft to adequately capture the region's beauty in images, whether literary or visual. Robert Redford has succeeded to combine words and pictures in this stunning adaptation of Norman Maclean's 1976 autobiographical novella "A River Runs Through It."

Set in early 20th century rural Montana, this is the coming-of-age story of the author and his brother Paul, sons of a Scottish Presbyterian minister who raised them with both love and sternness and instilled in them, more than anything else, an understanding for the divine beauty of their land, symbolized by and culminating in a fly fisherman's skill in casting his rod, and his ability to become one with the river in which he fishes. For, in Norman Maclean's words, in their family "there was no clear line between religion and fly fishing;" and growing up, the brothers came to believe quite naturally that Jesus's disciples themselves must have been fly fishermen, too; and that consequently every good fly fisherman is closer to the divine than any other human.

But while they were united by their love for their native land and its rivers and fish, the brothers couldn't have been any more different on a personal level. And thus, this is also a story of brotherly (and parental) love and loss, of the inability to communicate, and of dreams and aspirations nurtured and fatally disappointed. While disciplined, sensible Norman (Craig Sheffer) left Montana for a six-year college education at Dartmouth and ultimately - after having temporarily returned home and taken a bride - to assume a teaching position at the University of Chicago, rebellious Paul (Brad Pitt in a truly career-defining role) knew that he would never leave his home state and "the fish he had not yet caught;" and opted for a journalist's life instead. But ultimately he wasn't able to fight the demons that possessed him; and his parents and brother had to stand by and helplessly watch him embark on a path of self-destruction, reduced to comments on symbolic matters like Paul's decision to change the spelling of their last name by capitalizing the "L" ("Now everybody will think we are Lowland Scots," scorned their father), where to open topicalize their concerns would have destroyed the careful equilibrium of mutual respect, love, hope, caution and guardedness characterizing their relationship. And so, only after Paul's death could his father tell a hesitant Norman that he knew more about his brother than the fact that Paul had been a fine fisherman: "He was beautiful" - and mourn in a sermon, even later, that all too frequently, when looking at a loved one in need, "either we don't know what part of ourselves to give or, more often than not, the part we have to give is not wanted. And so it is those we live with and should know who elude us. But we can still love them. We can love completely, without complete understanding."

Craig Sheffer and Brad Pitt are perfectly cast as the earnest, reasonable Norman and his maverick brother Paul, who relies on his innate toughness in his fateful attempt to take life to its limits and still beat the devil, but who also turns the casting of a fishing line into an art form that makes a rainbow rise from the water, and who with his greatest-ever catch stands before his father and brother "suspended above the earth, free from all its laws, like a work of art." Moreover, this movie reunited Robert Redford with Tom Skerritt, with whom he had first shared the screen in the 1962 Korean war drama "War Hunt" (both actors' big-screen debut), and who gives a finely-tuned, sensitive performance as the Reverend Maclean. Notable are also the appearances of Brenda Blethyn as Mrs. Maclean and Emily Lloyd as Norman's bride-to-be Jessie. But the movie's true star is Montana itself, particularly its rivers and streams; every frame of Philippe Rousselot's Academy Award-winning cinematography and every sweep of the camera over Montana's magnificent landscape, and along the silver bands of its rivers with their gurgling cataracts and waves curling softly against their banks, powerful testimony to Robert Redford's genuine love and respect for the West and for nature in general; the causes closest to his heart and matched in importance only by his efforts to promote a movie scene outside of Hollywood. And Redford himself assumes the (uncredited) role of the narrator, thus bringing to the screen Norman Maclean's lyrical language and uniting words and pictures in an audiovisual sonnet, subtly accentuated by Mark Isham's gentle score.

Both movie and novella end with the lines that have given the story its title: "[I]n the half-light of the canyon, all existence fades to a being with my soul; and memories, and the sounds of the Big Blackfoot River, and a four-count rhythm, and the hope that a fish will rise. Eventually, all things merge into one; and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs" - those of Norman Maclean's now-lost loved ones; those he "loved and did not understand in [his] youth." As we have had to learn, it is not only human life that is terminal; even nature itself (including, incidentally, the Macleans' beloved Big Blackfoot River) is not immune to destruction by human carelessness. This movie is a powerful plea to all of us not to wait until it has become too late.

The ONLY Movie I Have Ever Cried To !
A River Runs Through It is a stunning accomplishment for Robert Redford. The story is captivating, and yet one of the saddest movies I've ever seen.

This movie will produce feelings that will linger with you long after the ending credits !

Transendentalism (sp.?)
Way back in English Lit, University of Oregon, 25 years ago, I remember one idea that that once something achieves perfection in anything, it self distructs, always. A near perfect chair exists, a near perfect painting, a near perfect poem, a near pefect fly fisherman. But none of these exist in a perfect form. There is only one perfection and to attempt to mimimic it assures distruction.

This movie portrays that notion, just fine.

Beautiful cinema
This movie has some amazing cinematography. I've only been to Montana as a kid for very little time, but I wish I could visit again. The movie is about two different brothers brought up in Montana their father plays an important role in the movie also. There are scenes of fly fishing in this movie that are worth the price of admission. Also this film is well narrated by Robert Redford, it never distracted me and that's hard to do with a star that has such a familar voice, but it fits in so well. A gem, that may not be for all action film fans but a drama that will please many. ... 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

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Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War--much like a masterless samurai, a.k.a. "ronin." With his services for sale, he joins a renegade, international team of fellow covert warriors with nothing but time on their hands. Their mission, as defined by the woman who hires them (Natascha McElhone), is to get hold of a particular suitcase that is equally coveted by the Russian mafia and Irish terrorists. As the scheme gets underway, De Niro's lone wolf strikes up a rare friendship with his French counterpart (Jean Reno), gets into a more-or-less romantic frame of mind with McElhone, and asserts his experience on the planning and execution of the job--going so far as to publicly humiliate one team member (Sean Bean) who is clearly out of his league. The story is largely unremarkable--there's an obligatory twist midway through that changes the nature of the team's business--but legendary filmmaker John Frankenheimer (Seconds, The Manchurian Candidate) leaps at the material, bringing to it an honest tension and seasoned, breathtaking skill with precision-action direction. The centerpiece of the movie is an honest-to-God car chase that is the real thing: not thehow-can-we-top-the-las