Description

In 1958, the members of Team Daedalus, a group of top Air Force test pilots, were ready to serve their country as the first Americans in space but were pushed aside. Now, as a Russian satellite fails and is about to crash into earth, Team Daedalus is back in action in a rescue mission. ... Read more

Reviews (138)

A pleasantly entertaining movie.
Originally, I had no burning desire to see this movie. However, after a couple of friends told me how good they thought it was, I decided I'd better go see it. I'm glad I did.

The byplay between Clint Eastwood and Tommy Lee Jones is reminiscent of that between Jack Lemmon and Walter Matthau in the ODD COUPLE movies. They just can't help but pick at each other. I think Donald Sutherland and James Garner could have had bigger roles in the movie (i.e., more lines), but they did a beautiful job with what they had.

The story in this movie was engaging. I found myself asking the same questions as the characters. The action and the comedy were both subtle and more effective for it. I think the strong point of this movie was its characters. They were all vivid and pretty well developed. Their motivations were easy to understand. The one shortcoming was that there was no emotional attachment to them and so one part of the climax didn't have the effect it should have.

All in all, this was a very enjoyable movie. If you're looking for a good laugh and a sense of wonder, this will definitely satisfy you. If you're looking for slap-bang action, go somewhere else.

Better with Age
Great story line, great gags, great characters, great visual effects. True. But a true gem to see 4 great actors of our time perform together quite possibly for the last time. Americans extend the hand of friendship to the Russians before the breakup of the USSR to repair the "only" communication satelite they have. But things dont go their way when truths begin to unfold some beginning on the ground but the most dramatic ones in orbit. Tommy Lee Jones and Donald Sutherland steal the movie with their trademark charismatic one liners. Enjoy it with a big bucket of buttered popcorn.

The Ripe Stuff
Maybe this would not have done as well if it had been called "The Ripe Stuff" but I think it would have been a great title for this one. It certainly brings back memories and shows what can be done when you take the best entertainment ideas and put them all together in a beautiful experience.

This movie makes for a fun evening. I would have loved for Hawk to have set up a tent and cooking fire on the moon but that would have spoiled it.

Not Bad.
'Space Cowboys' is a decent fiilm about aging astronauts traning to go back into space. The plot is a little silly, but one should treat it more like a science fiction film than a serious drama. The high point of the movie are the 4 veteran actors. The bring delight to the screen.

Not bad for a bunch of old guys!
This film was one of the few that I saw on the recommendation of my parents, who saw the movie in the theater. I then went to see it a week or so later. My dad told me the truth, as he always does- when it comes to his ratings on movies. I later bought this film on dvd. I've been told that older actors are having a hard time finding work these days. Well, in my opinion, it takes a movie like this one to prove that the old guys still can make a great movie. Hat's off to Clint Eastwood for making a killer movie! ... Read more

Amazon.com

Not enough people went to see True Crime in theaters.Wasn't ClintEastwood too old to be playing a guy whom a variety of glorious women, from the middle-aged Diane Venora and Laila Robins to the young Mary McCormack andLucy Liu, find attractive?Could the onetime Man with No Name credibly playa brilliant crime reporter, Steve Everett, with an ironic turn of phraseand an incurable habit of screwing up both his personal and professionallives?The respective answers to those questions are: hell no and hell yes. True Crime features one of Eastwood's best and most entertainingperformances--and his work as director is utterly assured.

The story (from Andrew Klavan's bestsellingnovel) gives Everett thelast-minute assignment of interviewing a condemned man (Isaiah Washington) onthe eve of his execution.The prisoner, a born-again Christian and exemplaryfamily man, has everything the reporter lacks except a shot at seeing thenext sunrise.Everett sets out to get him that, yet far from making abeeline to the exculpatory evidence that will save the life of his "client," thisvery tarnished hero has to spend a lot of the next 24 hours contending with the baggage he's accumulated through drinking, wenching, and familialneglect.(A Pirandellian note: Everett's daughter is played by Eastwood'sown daughter, Francesca Fisher-Eastwood, and her mother, Frances Fisher,returns for a feisty cameo as a prosecutor.)

This is a good one that got away.Don't let it happen again. -- Richard T. Jameson ... Read more

Reviews (43)

Eastwood returns to directing
Eastwood's directorial debut was "The Unforgiven", a stylistic return to the glory days of the western. This time he has entered a new one, films about the death penalty. Eastwood plays a barely-sober hack newspaper reporter. His character is very enigmatic, although I think that was much more to do with Clint than with the story. He is walking a fine line between being a brilliant asset to the paper and being fired. You see, he has a tendancy to go on crusades, and he is about to embark on a fresh one with his current writing assignment. His job is to write a "human interest sidebar" about the execution of an accused murderer. The problem is, Clint thinks he's innocent. Is Clint stupid for going off half cocked? Is he just being reckless with his career, or is he brave in standing up for what he beleives is right? These are the questions the film asks us to contemplate as Eastwood gets clues and revelations about the case. I like to see Eastwood in this type of role, which is quite similar to that burgler one a few years ago. A low key guy struggling with his role in life. Quiet and subdued, he constantly wonders about what is the right thing to do. I was never a fan of "Dirty Harry", or those Sergio Leone films. We see a rare raw side of Clint Eastwood the man here, instead of Clint Eastwood the cardboard cutout. The title says it all, this is realistic, not superhero fantasy.

Worth seeing for stellar supporting cast performances
This is a decent, if not stellar, movie rental for those who like mystery/morality plays. I rented the video and then bought a previously-viewed copy to keep because of the fine support performances by Isaiah Washington and Lisa Gay Hamilton; these 2 tug your heartstrings with their portrayal of a loving couple facing the ultimate separation of an enforced death penalty. If you have the patience to sit through all the side stories (and there are way too many) told to illustrate that Clint's character is an aging hack without a personal life or moral conviction to speak of, then you'll see some great acting by Washington and Hamilton, as well as James Woods as Clint's editor. Other stupid side stuff: the inclusion of Clint's ex partner, their daughter, and his current wife in cameo roles and some haggling-for-money-sexual harrassment scenes by a homeless man intended to be humorous but which were just annoying and dragged the movie out still further. In conclusion, this film needed a much tighter editor/story but the supporting cast still makes it worth viewing.

Clint Is Still Number One
Clint Eastwood's 1999 release, True Crime, was based on an Andrew Klavan novel and filmed in a style that reminds me of movies made in the late 70's or 80's. As I watched the first few minutes, my first thought was that poor Clint was to old to portray the part of Steve Everett and this movie had been a waste of money. At first, it actually kind of "creeped me out" watching him come on to the beautiful young women in the movie, but you cannot always judge the movie by your first impressions. Steve Everett is a cheating husband, a horrible father, a recovering alcoholic, and a womanizer, but he is, first and foremost, a newspaper reporter with a "nose" for the truth. His boss, Bob Findley (Denis Leary), assigns him to cover an execution as a human-interest story. Bob has a hard time working with Steve, knowing that Steve has been sleeping with his wife, and struggles to maintain a professional office relationship. Steve has a hunch that Frank Beechum (Isaiah Washington), a black man convicted of the murder of a pregnant white girl, is innocent, but only has one day to come up with evidence before the execution takes place as scheduled. The plot to this movie is predictable and has been done in other movies many times, but Clint Eastwood's skill as a director turns this otherwise "dog" into a suspenseful thrill ride. The performances of Isaiah Washington and Lisa Gay Hamilton are precise and moving. James Woods is hilarious and Francesca Fisher Eastwood, Clint Eastwood's daughter in real life, is adorable. Michael Jeter, Michael McKean, Bernard Hill, and Diane Venora also give great performances and help make True Crime a very good movie that is definitely worth 127 minutes of your time. Oh, and about my first impressions, I was wrong, Clint is not too old for the part or the beautiful young women. Clint is still number one.

Eastwood Is The Man
Another great Eastwood directed film with terrific performances by everyone in the cast especially (i.e. Isaiah Washington, Lisa Gay Hamilton and James Woods). Eastwood is one of my favorite directors ever. If you are in any way familiar with an old radio show called "Nightbeat" this film is very similiar. This one has a very suspenseful ending.

A RACE TO THE FINISH
Okay, let's get two sore points out of the way: Yes, Clint is really a little too old for the leading role, especially in pairing him with such young ladies; and yes, James Woods goes way over top in his cartoonish role as Alan, the editor in chief. But, aside from that TRUE CRIME is an astounding work for the director Eastwood. The real stars of the picture, however, are Isaiah Washington and Lisa Gay Hamilton. As the doomed but innocent Frank Beecham, Washington controls his performance, making him both heartbreakingly real. No overacting here. He uses his face, his body, his voice to convey the hopelessness and fear of his impending execution for a crime he did commit. Hamilton as his wife, Bonnie, has a very demanding role, and her grip on this character is unbelievably subtle and intense. Some real tear-jerking scenes in this one. Hard to believe Washington and Hamilton were overlooked at Oscar time. Denis Leary is exceptionally good as Eastwood's boss who finds out his wife is sleeping with Eastwood. Leary could have taken this over the top, but he again controls the anguish, jealousy (both professionally and personally), and doesn't resort to familiar tactics. Bernard Hill as the warden, Michael Jeter as a key witness, and Michael McKean as a really scuzzy minister also do well.
Also, the lovely song voiced by Diana Krall, should have made it to the Oscar nominations too! Her voice reflects the hopelessness and despair of the film's script. The writers should also be commended for its faithfulness to Andrew Klavin's excellent novel.
A very good film and worth seeing.
IT MAKES YOU STOP AND THINK ABOUT THE DEATH PENALTY. ... Read more

Reviews (28)

No spaghetti, but lots of sauce in this Eastwood western!
Clint Eastwood gives a rare "arthouse" performance in this decidedly off-beat Civil War tale. Clint is the wily fox trapped in the proverbial henhouse as a wounded Union soldier discovered in the woods and nursed back to health by the members of a Southern girls' school. Director Don Siegel (who played Scorcese to Eastwood's DeNiro in a series of 70's collaborations) was not usually associated with making "art" movies, but this one came the closest. Mostly somber and Gothic in tone, with a dash of black comedy thrown in (especially in the scenes where Eastwood gleefully manipulates and seduces various teachers and students). Of course, the chauvinistic soldier eventually gets his due (Stephen King style), but it's an interesting ride along the way. Geraldine Page leads the excellent supporting cast in top form. The depiction of the girls' mass sexual panic amid a claustrophobic, fever dream atmosphere recalls films like "Picnic At Hanging Rock" or "Black Narcissus". Eastwood's boldest performance features a scene in the opening moments that very few "movie stars" would even touch...where he kisses a 12 year old girl in a somewhat lustful manner; repellent behavior, yes, but essential to establishing the character. In other words, don't expect another typical Eastwood shoot-'em up!

Deeper, Darker American Gothic
During the American civil war, wounded Yankee soldier, John McBurney is rescued on the verge of death by a teenage girl from a Confederate boarding school. She manages to get him back to the school, and at first the all-female staff and pupils are scared. As he starts to recover, one by one he seduces the sexually repressed women and the atmosphere becomes filled with jealousy, deceit and brutal revenge.

Eccentric, offbeat melodrama combining the conventions of both Western and Grand Guignol chiller, and directed as if it were an art movie, this is one of Eastwood and Siegel's strangest collaborations. Beautifully shot (especially the nightmarishly skewed first person camera perspective of that famous amputation scene, and chiaroscuro lighting effects [such deep, dark shadows]}, carefully paced, this is a haunting, elegant work that seems to have influenced the much later - and inferior - Misery.

No disc extras as such, but excellent production notes, and a crystal-clear transfer with well-preserved colour separation make this an essential DVD purchase.

Now pass the mushrooms...

Don delivers another caustic comedy with a few moral lessons
Interesting and unusual, if not unsettling, this is a fine comedy in a fine setting (the South) that shows that everything has a price and a finality. The hero-protagonist (a wounded, recovering Confederate soldier), finds himself as the only male in a purely female environment, and is almost compelled (by desire, by necessity?) to use his charm in order to survive in a (politically/sexually?) rather hostile/agressive environment (a house in the deep South inhabited solely by women, in the midst of the Secession War). By doing such, he somehow tries to use behaviour (seduction) and tactics (outright lies) that are usually the apanage and panacee of females, and gets thereby rather badly burned, as it finally turns out. For this kind of a game, it appears, the female is far better equipped than the male (no real king bees, just queen bees? well, maybe...)

Well, you are left pondering, what chance does a single good-looking female in a purely male environment have? Every single one, probably. And what does a single good-looking male in a purely female environment have? In the end result, not a single one, it appears. As it often turns out, at least in this vitriolic comedy of seduction, females tend to act and react in an almost concerted instinctive behaviour, bound by either common desires or common interests, in an almost lemming-like fashion. In the end, if not outright misogynistic, this movie makes you wonder whether males and females belong to the same biological specie. Mind tickling and interesting, I'd recommend this intelligent movie to anyone who likes Eastwood as an actor, but is not the kind of guy to feed exclusively on Spaghettis dished out with ample Tomato Sauce servings.

Bayou Brothel
THE BEGUILED is a Clint Eastwood film you seldom hear about, and it really isn't worth seeing. It involves Eastwood playing an injured Union soldier who is wounded in the south and taken up by an all-girls boaring school. Instead of turning him over to the Confedrates, they decide to nurse him to health, andf the result is all the women literally fightin over him.

Directed by the late, great Don Siegel, THE BEGUILED is a type of movie I have never seen before. It involves Eastwood being the victim and the antagonist at the same time. Having mutiple affairs in the boarding school eventually leads to intense conflicts which results in the women plotting to kill him. The sad ending coupled with the bizarre plot are the reasons why this is not of Eastwood's better films. He does give a good performance as John McBurney, and the agony he suffers after his leg is amputated will really shake Eastwood fans.

A Journey Into The Darkness of The Human Soul
The Beguiled is one of the most beautiful films I have ever seen,contributing to my early love of cinema,and sadly remaining underrated to this day.
While it is hard to pigeonhole the film into one specific genre, be it a thriller or a psychological drama,it is one of the very few films that without the use of blood and gore,manages to be very disturbing and violent.A raw and primitive violence that is directed more at the viewer's mind and psyche.
Don Siegel is one of the best American directors,who like Sam Peckinpah,understood the meaning of this violence and did not shy away from showing it without tantalizing the 'voyeur' in his audience.
His collaboration with Clint Eastwood is one of the most successful in cinema..(Dirty Harry, Coogan's Bluff, Escape from Alcatraz, Two Mules for Sister Sarah)..And with the Beguiled he managed to direct an original film that had the best performances his star had to date,(a transitional role in Eastwood's career, in between the westerns of Leone, and the toughness of Harry Calahan.)
The whole mood of the film has this creepy and sinsiter atmosphere that appears quite subtle on the surface,yet as your delve deeper,it slowly unleashes much darker and well hidden forces.
It is the story of a wounded Yanky soldier(Clint Eastwood)evading capture in the south during the civil war,finds refuge in an all girl boarding school.The headmistress (the geart Geraldine Page)takes him in and provides him with a sanctuary and care that befits her Christian duties and sensibilities.Yet this stranger awakens many feelings in the house: curiosity,jealousy,sexual fantasies, up to the will and determination to murder.
The increased confidence of the recuperating soldier in manipulating the sexual vulnerablity of these girls and their headmistress,goes hand in hand with the change that occur within them,from gentle and virtuous to cold and calculating.
I liked the fact that the contrast between the raging war outside and the serene and peaceful sanctuary inside turns to be only an illusion.
I liked too the fact that despite the rift that the soldier caused directly and indirectly among the girls,they at the end link their fates and bond together,like they carefully did in the face of war, even if this means getting rid of the 'disturbance' that turned their world upside down.
I also loved the fact that ultimately the message of the film is about what a person is capable of doing in certain circumstances, and how a ideal world can hide many deep hidden frustrations that,pushing the right buttons, can be as menacing and deadly as any war.
What is quite interesting too, is how a deeply religious environment and person, can also hide strong sexual desires and energy that are truly haunting.One particularily powerful scene, among many, is the sexual threesome dream that Page has,an unrestrained and perverse passion mixed with religious guilt: an explosive mixture.
The Beguiled reflects a time when directors had the artistic freedom and clout to make the film they wanted.The original script had a happy ending, but Siegel opted to change it to its darker conclusion, something very few studios would allow these days.
The Beguiled is a powerful movie that on no accounts should be missed.A journey into the darkest recesses of the human soul that you will not easily forget. ... Read more

Description

An underground betting pool contains the names of people recently murdered. As "Dirty Harry" Callahan investigates, he discovers his name is on the list. ... Read more

Description

Clint eastwood stars in and directs the colorful tale of a flamboyant filmmaker's flair for danger and adventure while on location in Africa, based on Peter Viertel's novel inspired by The African Queen. Year: 1990 Director: Clint Eastwood Starring: Clint Eastwood, Jeff Fahey, George Dzundza ... Read more

Reviews (5)

A Hidden Treasure
Clint Eatwoods in the 90's just got better and better as a director. This is wonderfull movie and I cant wait for it to be released on DVD

the African episode
Clint Eastwood captures the machismo and bravado and the wit of John Huston perfectly and he gets some of the elegance and the grace which he also had in abundance and which made him one of the most interesting of characters. A more complex actor may have given a more layered performance but its pretty hard not to admire what he does with the role. Eastwood is also a legend but of a different type and from a different era and his own legend status may have interfered with the filmgoing publics ability to accept him in this role playing not himself(as we always assumed he was doing)but a different legend. I think it works very well though. You can tell Eastwood is examining his own mythic stature as he examines Hustons.
The last scene of the movie has Eastwood/Huston sitting in his directors chair ready to shoot the first scene of African Queen. The movie documents Hustons conflicting desires to be both a man who lives life fully and to be an artist. The two urges come into conflict when Huston must cater to the studio executives who want to control what he does. His endless battles with studio representatives is great comedy. He enlists the young screenwriter "Pete" as an ally, or attempts to. (Pete is the one who eventually writes the book this movie is based on.) Huston wants Pete to be as fearless as he is and Pete is taken in by the charm of the great director but not all the way in. Pete is his own man, and Huston encourages that but also comes up against it when they disagree. Sometimes Hustons willfullness is heroic as when he acts out of principle. In one of the best scenes of the movie a blonde socialite makes some antisemitic remarks unaware that Pete is Jewish. Huston defends his screenwriter and friend but not immediately, rather using all his charm and guile (which is dropped only at the last minute) he tells the blonde socialite a long story about another blonde socialite and there is no way for this antisemitic blonde socialite not to know just who the story is about... you will never forget the tell off after you have seen it. Other times however the willfullness just seems like simple childishness and irresponsibity and is at least one of the contributing factors in an accidental death. Eastwood/Huston gets beaten up pretty good in one scene(which proves just how far he'll go) and he wears the scars like badges through several scenes. You can't help like him and admire him for going through life in such cavalier fashion but you are also kind of sickened at times that he is so egocentric and callous towards others. So it is an unusual movie with a lead character that you both do and don't like. Its not what people expect from Eastwood. Its deeper, more complex. It is a thinking mans biography- adventure movie. Hustons African escapade begins as an outward journey to conquer and therby prove his greatness as a man by killing an elephant and ends with him coming to his senses... finally. Only by going too far far too many times does he realize how destructive his megolomania really was. Great character study, and great looking film. My favorite Eastwood movie.

An excellent, unusual movie.
Clint Eastwood reaches his summit, both as an actor and a director in White Hunter, Black Heart. A penetrating, highly involved movie, based on facts. Eastwood playnig the lead is a self-centered, megalomaniac movie-director, who sacrifices everything and everybody around him during a trip in Africa, just to fulfill his own ambition to shoot an elephant. His obsessive behaviour leads to ultimate destruction, when at the last moment, he finds himselve unable to shoot, getting his African guide killed in the progress.Eastwood is excellent as the charming, but egoistical director. Jeff Fahey is surprisingly good as his writer friend and the supporting cast, portraying among others real life actors Katherine Hepburne and Humphry Bogard are so realistic it is difficult to believe that they are not really the people they pretend to be. A work of art in every meaning of the word.

african queen meets dirty harry
american director travels to africa to shoot movie, becomes obsessed with shooting elephants instead. his desire to bag his hunt alienates him from his cast and crew and the natives. great scenery, a good movie for guys to watch with their buddies and drink beer.

Eastwood's finest work as an artist.
It's fitting that in this film Eastwood plays a director who travels into the harsh conditions of Africa to shoot a film that satisfies his artistic expression but makes the studio-heads nervous because the movie is not "commercial" enough. This is certainly a reflection of what Eastwood, known for his bankability as a tough-talking action star, has done in "White Hunter, Black Heart". This was probably Eastwood's riskiest actor/director project since "Honkeytonk Man" in the early eighties. This makes Eastwood's leap-of-faith all the more admirable considering this is probably his best film as a director; even better than "Unforgiven". The film is also Eastwood's best work as an actor; anyone who still thinks that Eastwood is a one-note actor should see the way he re-invents himself in this film, playing a character unlikle anything you have ever seen before. The picture is based on the true-story of John Huston while he was shooting "The African Queen", but the film has more similarities to the works of Joseph Conrad - A man journeying into the heart of Africa to test his true manhood and to battle his personal demons. This is one of Eastwood's most unique and intelligent films. ... Read more

Description

Relentless rogue cop "Dirty Harry" Callahan finds himself chasing a ritualistic killer to a rural Northern California town. When Harry is spinning his wheels, it's his new partner Horace Kind that steers him in the right direction. Together, they race to catch the killer in a head-on collision of good vs. evil. ... Read more

Reviews (29)

THE BEST DIRTY HARRY IN THE SERIES!
After the disappointing Enforcer from 1977, Sudden Impact is without doubt the best episode in the five Dirty Harry films - excellent storyline, well played soundtrack, well-used locations and of course a strong cast. The climax of the film is truly well staged and blends the taut, seriousness of the film throughout. The story of a rape victim seeking revenge on those that carried out the attack certainly brings the best out of Sondra Locke.

Once the film was released, Clint Eastwood was universally acclaimed for bringing such a delecate subject to the cinema. It was a gamble that had hansomely paid off.

Clint himself is on top form and plays it vintage style, like the first Dirty Harry. The best line has to be the:- "Go Ahead - Make My Day". Harry's dog - Meathead brings some light moments to the script as does his scene with Bradford Dillman.

Great support too from Eastwood film veteran - Pat Hingle.

It is no suprise that Sudden Impact is to this date the highest grossing Dirty Harry episode.

Harry's worst adventure.
After Harry lands on a mafia hit list he is sent to the small town of San Paulo (actually Santa Cruz, CA) to investigate the background of a murder victim. What Harry uncovers is a serial killer settling a score.

Clint Eastwood doesn't like repeating himself, so it is no big surprise that the Dirty Harry movie he directed resembles the others in the series very little. It is largely set outside of San Francisco and his character has little to do with the actual plot for the first forty or so minutes. The action is nicely handled, but the story's pace is turgid - thanks in large part to Joseph Stinson's sloppy and underdeveloped screenplay. When Eastwood revealed that Sudden Impact was turned into a Dirty Harry movie late in the rewrite game, I was not surprised. The tape holding his character into the story in first few reels is quite evident. Harry fans will want to have this in their collection, but I just don't think it is as fun or exicting as the other movies in the long running series.

Trivia - Bradford Dillman makes his second Dirty Harry appearance in Sudden Impact. This time out his character is named Captain Briggs, although he played Captain McKay in the 1976 entry The Enforcer. Briggs was actually the name of the vigilante team leader in the 1973 sequel Magnum Force. Whether this is a knowing wink to that thriller or just sloppy continuity, I am not sure. But I'm edging towards sloppy continuity myself.

Nearing the End of the Callahan Trail
This is the fourth of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool, in 1988), Eastwood had aged and times had changed but Callahan's non-negotiable values and unorthodox methods had remained essentially the same. The title of this film really makes no sense: None of the actions has a sudden impact. On the contrary, directed by Eastwood, the plot gradually develops to the inevitable climax. After still another controversial incident, Callahan is required to take an extended leave-of-absence and finds himself in a small coastal town where he meets Jennifer Spencer (Sandra Locke), a serious painter with even more serious emotional problems. Years ago, she and her sister were the victims of an especially violent rape; the sister remains comatose in an institution. Spencer is determined to locate and kill the rapists. One of them is the son of the local sheriff (Pat Hingle) who, for obvious reasons, discourages any interest in the case. He especially resents Callahan, "a big shot city detective" who attempts to investigate one of the several local murders.

Of special interest to me are two evil characters, Ray (Audrie Neenan) and Mick (Paul Drake), with whom Callahan has his final confrontation. Both are despicable and thus deserving of Callahan's singular application of justice. In this and other films, Locke's acting skills are clunky, at times almost laughable, especially when juxtaposed with the performances by Neenan and Drake. Bruce Surtees' cinematography is outstanding. His previous work includes Dirty Harry and Play Misty for Me (both in 1971) and The Outlaw Josie Wales (1976). He teamed up with Eastwood later with Pale Rider (1985). Surtees' excellent work plus several memorable scenes explain my rating which would have been higher, had the plot made more sense and had another actress (other than Ali MacGraw) portrayed Spencer. To me at least, both Callahan and the series are by now getting a tad long in the tooth.

Good movie
I really liked this movie and found it to be very enjoyable.

Good Plot is What Makes It Different
There is only one Dirty Harry movie for me, and that is the first one, the Don Siegel's version. The mixture of the first Dirty Harry is just too well (the charismatic Harry Callahan, the dangerous Scorpio, intense relationship between Scorpio and Callahan), that the other four only practically try to borrow Harry Callahan "tough-attitude" in a different background. I'm not saying this to say that the other sequels are bad, is just that i've seen those sequels more as a 'separate, different action' movie from the original Dirty Harry. Because i'm not expecting another Dirty Harry movie, but just merely a good action movie, then i'm not dissapointed nor feel betrayed when watching Sudden Impact. It has just the right thing that make this movie as a 'better movie' if compared to the previous Enforcer or Magnum Force...a good story, something that is rarely found in the present day action movie.

It told a story of a woman who avenge her sister by killing her sister's rapers...and here's where Harry Callahan steps in, not as Harry Callahan that we know in the good old 'Dirty Harry', but as a detective who have to face his inner morale question on the right of that woman to avenge her sister, and his obligation to arrest a murderer.

So to all of you who really want to see Dirty Harry, well go directly to the real thing..the first Dirty Harry. To all of you who want to see more action...well you have to see Magnum Force or The Enforcer....but for those who wish to see an action movie with a touch of good story, well here it is. Of course the action is there...and its a good one too (particularly the finalle shoot out in fun park near the beach)..there is also some mob issue that Callahan wanted to nailto add up more possibility for action sequence....and you can still have some good one liner's from Eastwood such as 'Go ahead make my day'..but all of those were not as 'heavy' as its two predecessor. But then again, the action and the story is balanced prety well, thus makes Sudden Impact is very enjoyable. Eastwood directing is moderate but sufficient...i'm in the opinion that this movie is far much better then Eastwood recent work, 'Blood Work'.

Recomended for those of you who like action movie with a better plot and deeper character, unrecomended for those of you who wish a 'total shoot out' . ... Read more

Amazon.com

How did Hollywood make so many great, challenging, offbeat films in the 1970s? A Decade Under the Influence lists the reasons--or rather, lets the people who did the filmmaking list the reasons. The decade-shaping interviewees include Martin Scorsese, Robert Altman, Francis Coppola, et al. The film's argument has actually been conventional wisdom for at least 10 years, but it's well-supported by an abundance of clips, which should inspire even hardcore film buffs to seek out rarities such as Thunderbolt and Lightfoot or The King of Marvin Gardens. One might observe that the scarcity of women directors or black filmmakers suggests that the decade was not entirely golden, and the memories may be burnished a bit by nostalgia. But there's no question that the big studios were far more adventurous back then, and this briskly moving survey gives a lively Film 101 lecture in exactly why. --Robert Horton ... Read more

Reviews (7)

Shallow & self-serving & so disappointing.
I can only agree with those other viewers who found major gaps & omissions in the "documentary". No mention of Michael Ritchie or John Boorman that I could see. But lots of footage of "hot" & "trendy" folks like Mazursky, Avilsen & Hopper. Even the bit of commentary from Friedkin, Altmen & Coppola that might have given this effort some real substance is too slight & superficial to matter. It's stuff you've read or heard a thousand times before.

Too bad. They really blew it.

An incomplete look at a pivotal cultural moment
This quick, glitzy documentary, which looks at the maverick filmmaking that reshaped Hollywood in the late 1960s and throughout the '70s, has its ups and downs. At first I thought the lack of a central narrative voice, "telling" us what we're supposed to know, was kind of cool: "Yeah," I thought, "We're smart enough to understand what happened, and all these intelligent, thoughtful rebel filmmakers -- Coppola, Scorcese, Altman, Hopper, Dern, Eastwood, et al. -- can guide us through the history better than any dumb old narrator can... After all, they *lived* it, man...!!" But, sadly, this was not true: by the end of the three segments, I felt a little lost, and even a little cheated... I wasn't really sure what these advocates of independent cinema were trying to tell me, and while the parade of film clips and archival artwork (wish I'd taken notes!) was entertaining, it wasn't particularly well contextualized. The story arc, as such, was that Hollywood, having lost its bearings (and ability to produce hit movies) by the mid-1960s, almost accidentally discovered the rich offerings of low-budget, independent cinema. Suddenly, young, unproven writers and directors were given unfettered creative license, and throughout the 1970s they pushed the boundaries of artistic expression, breaking down taboos against exploring sexual, political and drug-related themes, as well as demolishing the boundaries of language and onscreen violence. Then, as the '80s opened, the push towards producing blockbuster hits reestablished the dominance of the old studio system. But the material between these central points is a diffuse parade of spectacle and insider asides, not as well structured or as informative as it could have been.

Also, on a technical note, why was the DVD version so hard to navigate? What was up with having to start up each segment of this film separately? Watching it on VHS might actually have been more rewarding...

WILL SMITH FILM FANS WILL NOT APPRECIATE THIS DOCUMENTARY
I was mesmerized by it all, plus I added several films to "My List" [of films to watch]. What a fantastic compilation of clips and testimony to mid-20th Century film. Going from films of the squeaky 50's and early 60's like Liz Taylor's "Giant", and Doris Day's "Pillow Talk", to darker, deeper films like "Midnight Cowboy", "Easy Rider", or "One Flew Over the Cuckoo's Nest" was a trippy journey, and the documentary takes you from one end to the other, and not without adequate homage to our European influences (the Europeans were at least a decade ahead of us/they had Fellini's art while we STILL had Doris Day's ever-lasting virginity).

There is no way to compile this cinematic metamorphosis in a single DVD, so the complaint that this was all too vague is asking for too much on one plate. For what this is, this is a brilliant, enlightening, delightful trip into America's film past.

So how could anyone not enjoy this compelling documentary? I suppose if you liked "Independence Day" you probably couldn't appreciate it.

Too-Vague Take On A Too-Big Topic
The problems with both ADUTI and the similar doc EASY RIDERS, RAGING BULLS are: they are generally fawning in tone; they play fast-and-loose with the truth by presenting only selected bits of film history; and - most importantly - they attempt to explain the zeitgeist of the 70s by restricting their view only to movies, when movies are (and have always been) a milk container in the cultural icebox...taking the flavor of whatever's sitting next to it. The 'counterculture', or 'new aesthetic' (or however you want to phrase it) lasted longer and more meaningfully in other media (music, art, fiction) where there was substantially less money being invested. I love many late 60s/70s films...in fact, that whole era is genuinely fascinating...but 'explaining', or just examining in depth, that window in time is more properly the domain of a Ken Burns-length documentary series. (You'd need 10-15 hours just to take in the full view.) And blaming everything that didn't work or fell apart on either drugs, JAWS, STAR WARS, or all three, is as pat and false as showing a married couple sleeping in twin beds during the heyday of the Production Code.

For instance, Bogdanovich is trotted out like a High Lama of Personal Cinema but the audience never gets the sense of how his lousy old-Hollywood imitations like AT LONG LAST LOVE and NICKELODEON catastrophically imploded his career, right in the middle of that halcyon decade (and STAR WARS didn't have a blessed thing to do with it). We get clips from DIRTY HARRY and MAGNUM FORCE, as if Eastwood's proto-fascist genuflections before Ruthless Authority were somehow considered hip and edgy by the intelligentsia of the decade, when they were uniformly bemoaned and despised. We get many cloud-cuckooland memories intimating that 70s cinema reflected the audience's desire for meatier, more challenging fare, when nothing could have been further from the truth (the top box-office stars for much of the decade were not Dustin Hoffman or Robert DeNiro but Eastwood, Burt Reynolds and Charles Bronson). The biggest hits of the 70s were all spun off the AIP model, not the Truffaut/Godard model: sensation ruled the day, then as now. People stood on long lines stretching several times around city blocks to see THE GODFATHER or SERPICO because - as a Roger Corman ad campaign might have phrased it - they "rip the lid off today's shocking headlines!!"

It's one thing to say that Hal Ashby and Francis Coppola made terrific films (they did indeed); it's another to claim that they made films during a golden time when the audience was, for once, on the side of the Artists. That time has never existed. Before JAWS, before STAR WARS, folks were packing theaters for DEATH WISH, BILLY JACK and THE EXORCIST - and not because they were diehard Cahiers du Cinema subscribers.

And what is not even touched upon is the long-term effect of the heightened gory violence of 70s films. We hear auteur after auteur hiding behind that sad old trope of "in order to show people the HORROR of violence, we had to truly show the EFFECTS of violence". Gee, thanks, Teacher....I'd've never dreamed that getting shot in the head might actually hurt, otherwise. Too bad the nonstop,desensitizing, rolling-snowball-momentum of all those squibs and open wounds is with us still, and it is almost 100% due to the movies of the 1970s. Coppola's triumphs may be a thing of the past - but Moe Green getting shot point-blank in the eye is forever. Scorsese has run out of heartfelt Little Italy stories to tell us, but he's still 'teaching' us how it might feel to have your eye forced out of its socket by having your head squeezed in a vise, or simply how liberating & invigorating it is to be turning that vise on behalf of the Mafia. I recall a 70s-era Pauline Kael column called "Fear of Movies" where she chided the audience for being prim, prudish wussies afraid to viscerally experience the primal excitement of violent films; a year or two later, she was fretting over the increasing 'brutality' of mass-entertainment. Way to chart cause and effect, Pauline!

Sorry. But if you're going to celebrate the films of the 1970s, you have to shine a little light on the warts and moles under the makeup too...or you end up with a puff-piece. Which is the case here, good intentions notwithstanding.

Dissapointing
I was really looking forward to seeing this documentary but it left so much out that...It's simply too uneven. Where is Spielberg, Woody Allen etc...? Why is Milos Forman completely brushed over? Why wasn't there more about Polanski? Why is there nothing discussed about Melvin Van Peebles or black film really in general? Nothing about Elaine May or Mike Nichols except a clip from the Graduate. What about George Roy Hill? Werner Herzog? Why isn't there an interview with George Lucas or more of a discussion about the Star Wars phenomena? What about Alan J. Pakula who did all the president's men? Mel Brooks? Robert Downey Sr.? Larry Cohen? John Landis? And to not have more about De Palma is unforgiveable to me. And if you're going to talk to actors of the seventies why don't we see interviews with Hoffman, Redford etc...? And why isn't the Ellen Burstyn interview included? Why aren't there interviews with today's filmmakers and how they have been influenced by the films of the 70's (i.e. Paul Thomas Anderson, Spike Lee, Wes Anderson, Sofia Coppola, Nick Cassevetes-and he was one of the interviewers for god's sakes). This documentary is like a weird hodge podge of people Lagravenese and Ted Demme (R.I.P) liked. As a film lover and being very familiar with this period in film history I thought it [was] a big fat lemon. Gets two stars from me as opposed to zero only because there is the occasionally good interview (i.e. Julie Christie)that really hits the target of why we should be talking about 70's film in the first place...Which is because you CAN'T make them like they used to. But what a dissapointment though. :( Don't buy this unless you're a teacher at a film school...Otherwise beware! ... Read more

Description

Harry Callahan grudgingly teams with a female cop during his pursuit of a band of terrorists. ... Read more

Reviews (26)

Welcome, Tonto
This is the third of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool, in 1988), Eastwood had aged and times had changed but Callahan's non-negotiaable values and unorthodox methods had remained essentially the same. What I find especially interesting in this film is the relationship which develops between Callahan and his partner Kate Moore, skillfully portrayed by Tyne Daly. Until now, Callahan has indeed been a "lone ranger," alienated (by choice or circumstance) from his superiors and fellow officers as well as from the criminals whom he pursues with deadly efficiency. Over time, Moore eventually earns Callahan's respect and trust (albeit grudgingly) as they attempt to rescue San Francisco's kidnapped mayor (John Crawford) amidst all manner of mayhem unrelated to that assignment. Credit James Fargo with keeping the narrative flowing smoothly. The supporting cast is solid, notably Bradford Dillman (Captain McKay) and Harry Guardino (Lieutenant Bressler). There is plenty of action, of course, skillfully presented. Despite its lack of much subtlety or nuance, I recommend it to those with a taste for this sort of urban adventure film. Those who enjoy it should also check out Coogan's Bluff and Bullitt (both 1968) as well as The Gauntlet (1977).

Another fine example of why they call him 'Dirty' Harry.
A group of thugs passing themselves off as The People's Revolutionary Army (or something like that) grab a stockpile of weapons and ammunition, killing Harry Callahan's friend and partner in the process. Callahan's new partner is a woman, something he does not particularly agree with, and she can barely keep up as Inspector #71 tears through San Francisco looking for the PRA. The Enforcer (Dirty Harry #3) lacks the grit and energy of the first Dirty Harry and the excessive bullet riddled body count of the second (Magnum Force). In comparison it almost seems sedate, both visually and in terms of its action content. What the movie does offer is a solid, if a bit routine, police action thriller story made better than average by its script. Harry's deathbed visit to the fading Frank DiGiorgio and his snappy relationship with rookie Inspector Kate Moore are both well done. On the action side of things, fans will no doubt enjoy Harry's unique handling of a hostage situation, a foot chase across San Francisco's rooftops, and the kidnapping of The Mayor. Recommended.

Trivia - This is the only film in the series not scored by Lalo Schifrin. He was unavailable at the time. Harry Guardino returns as Lt. Bressler from the first Dirty Harry and Bradford Dillman (playing Captain McKay here) would return as Captain Briggs in the fourth Dirty Harry, Sudden Impact. Albert Popwell makes his third of four Dirty Harry appearances. In the first Harry adventure he is the wounded bankrobber on the receiving end of Harry's famous "Do you feel lucky?" speech. In the second he plays a murderous pimp who gets more than a simple traffic stop. Here is a black militant who agrees to help Harry, for a price. In the fourth he got to play Harry's friend and partner...uh-oh. Sadly he is absent in The Dead Pool.

"Power to the People"
THE ENFORCER is the third entry to the Dirty Harry series. While a good perforance by Eastwood overall, the movie does not quite match up to the Don Siegel-directed original or MAGNUM FORCE, (which I consider his best movie). While THE ENFORCER is not the weakest Dirty Harry movie, it does have the weakest plot. Here Dirty Harry has to save the city of San Fancisco from a group of rebellious punks who are obsessed with heavy artiliary. They call themselves the People's Revolutionary Strike Force, and they are led by Bobby Maxwell, a deranged Vietnam Vet who wants to terrorize the public in exchange for ransom. After slaughtering 2 gas company employees, they break into an artility warehouse to steal the goods. Harry's partner, DeGeorgio arrives on the scene and is killed in the process. While trying to try down DeGeorgio's killer, Harry is assigned a new parter in the form of Kate Moore, (Tyne Daly), a yacking half-pint who wants to impress him in every way possible. Harry doesn't quite agree with the plan, especially when she is on the force just to coincide with the mayor's plans to be "stylish." But Moore turns out to be more valuable then he ever imagined, helping lead him to Maxwell, and saving his life twice along the way.

Of all the Dirty Harry films, this one has the most humor. The comments that Callahan makes at the personel review of Moore are hilarious. We also have him driving a car through a liquor store, (continuing with the traditon of breaking up a robbery). Another funny sequence is when he chases Henry Lee Coldwell halfway across the city and back! He follows him over fences, across rooftops, and through skylights, disturbing a porn shooting in the process! Jerry Fielding took over the musical score here, and as a result, the traditional Dirty Harry theme is nowhere to be found. This is rather disappointing and takes away from the movie's serious potential. Fielding's jazzy them is effective during the chase sequence however. These film does suffer from long sequences that really aren't neccessary. The one that will really make you laugh is when Callahan enters a brothel posing as "Larry Dickman!" Dirty Harry regular, Albert Popwell, shows up here as a leader of a black militant group.

The Revolutionary Strike Force eventually switches gears by kidnapping the mayor for even more ransom. Harry is eventually is led to Alcatraz Island, where the mayor is being held captive. The climax on Alcatraz is exciting, but I wish it didn't unfold so fast. The ending is very sad, although I will not give that away. While THE ENFORCER is not up to par with the first two movies in the series, it is still a solid chapter in the book of Dirty Harry. "Power to the People."

Interesting Film, But Questionable Message
In this interesting Dirty Harry film, Harry and company duel with a weird group of "revolutionaries." While the plot and characterization are compelling, the scenario gives rise to some questions.

How come Dirty Harry never paused from his pursuit of these terrorists, and asked himself, "Why do they hate us?" Harry seemed determined simply to wipe out these terrorists, in a unilateral fashion, as a cowboy would do. He never considered forming a coalition, or dispatching inspectors to monitor the activities of the group -- there was absolutely no mention of the United Nations. Dirty Harry, in his dealings with these terrorists, was at no time compassionate, tolerant, diverse or inclusive. He just seemed to think that killing them was the only way to stop them (which, indicentally, it WAS -- but that's beside the point). Harry did not at any time take into account any specific cultural or religious motivations which might have prompted the terrorists to kill people, and he seemed to have no regard whatever for their feelings.

Shouldn't Harry have been more sensitive, diverse, tolerant, inclusive and compassionate? Isn't that the best way, according to about half the people who participated in a national survey conducted November 2000, to deal with terrorists who want to wipe you out?

It has a certain sense of style.
While not as entertaining as the original Dirty Harry, (what could be?) The Enforcer for me was the reason you went to see Rated R Movies in the first place, violence, dirty language, a touch of skin and oh yeah, violence, whether Harry is driving a car through a store window or chasing a perp across the rooftops of San Francisco, the Enforcer doesn't disappoint. Tyne Daly puts in a solid performance as Harry's uncertain yet unwavering partner who gains not only her own confidence as the story devellops, but his as well. The enforcer also anticipates political correctness almost twenty years before that plague decended on us all. ... Read more

Description

An heiress flees from her ill-advised wedding and joins a ragtag Wild West show run by a self-made matinee cowboy hero. ... Read more

Reviews (10)

Lots of heart
The best part of this movie is without a doubt Clint Eastwood. He brings style and power to the role of an ex-con roving the countryside with his merry band of misfit rodeo clowns. I'll tell you right now that I can't stand Sandra Loche, but she does play an excellent .... I think this film owes a lot to George Romero's Knighriders. The real life toils of traveling carnivals is at the core of this film. Bronco Billy beleives in bringing joy to his "liddle pardners" that come out to see the show. His affection for the children is very contageous and is the reason his friends stay with him despite being completely broke. Heart is the key to this film and nobody plays tough guys with heart better than Clint. The only reason I'm only giving this film 4 stars is because Loch's character is the only one that changes at all throughout the film. It would have been nice to see Billy look at life a little differently because of this trail, but he is exactly the same man at the end that he is in the beginning. Maybe that's the message, but I would have liked to see some growth.

MINOR EASTWOOD BUT MAJOR PLEASURE
Between two Harry Callahan movies, Warner Brothers used to let Clint Eastwood direct more personal movies. Everybody knew that these films wouldn't be hits, they were little presents offered to the successful actor. Thanks to these minor movies, Clint Eastwood is now considered, at least in Europe, as one of the major american film directors.

BRONCO BILLY, shot in 1980, is a good surprise for the Eastwood fan. Starring Sondra Locke, Geoffrey Lewis Scatman Crothers, Sam Bottoms and Clint, the movie has all the ingredients of a good comedy. Witty and heartful. The show presented by Clint and his friends is hilarious and the relations between Bronco and the children very well developed. In Bronco Billy's world, everybody can become what he wants to be ; a shoemaker can become a cowboy, a desertor a master in throwing lassoes and so on. Come join this pathetic world described with tenderness by Clint Eastwood. The director.

Widescreen and standard copies, english and french subtitles and an incomplete filmography of Clint Eastwood as bonus features. Rather meager.

A DVD zone curious ones.

Saddle Up Partners.....
This review refers to the DVD edition(Warner Bros) of "Bronco Billy".....

Watching this wonderful film you will come to realize that this was a labor of love for Clint Eastwood, who directs as well as stars. He had something to say and said it with this story.It is many things. It is entertaining, amusing, inspiring and poignant. The message is clear. You can do what you want to do, be what you want to be.

Eastwood gathers all the usual suspects together and casts them as a group a misfits who all have a special role as part of "Bronco's Billy's Wild West Show", a modern day attempt to bring the wild west back into the hearts of all the "young partners out there". Of course Eastwood is "Bronco Billy", the rootin tootin sharpshooter who runs the show. His problem (besides never having any money to pay the crew) is holding on to a good assistant. Enter one Miss Antoinette Lilly(Sondra Locke). A snobby, wealthy heiress that has just been deserted by her new husband, in the middle of nowhere and she is presumed dead. She reluctantly becomes Bronco Billy's new assistant and learns the hard way, that there is more to life than money.

It a great story and an inspiring one also.It makes you want to follow your dreams. Most of the actors are recognizably some of Clint's favorites. They have been in many of his other films like "Outlaw Josey Wales","The Gauntlet", and "Pink Cadillac" to name a few, often working together and they do this well. The cast includes Geoffrey Lewis,Bill McKinney, Sam Bottoms, Scatman Crothers and William Prince. It has a great soundtrack and score, with music by Steve Dorff. Also watch for a cameo performance by Merle Haggard as our bar room buddies brawl in the neighborhood saloon.

The DVD is not the best transfer I have seen. This film from 1980 appeared a little washed out, and the colors seemed somewhat dated.(Nothing to take away from the enjoyment of the film though.)It may be viewed in widescreen or the standard format. The sound was good in Dolby Dig Surround Stereo(but could be really great in 5.1). There are subtitles in English and French. Warner brothers...this one is really in need of a remastered Special Edition. (Of course, I always feel that Eastwood films should be given special treatment)

Rated PG, it's one for the family but there are some adult situations that border on PG13.

So saddle up partners and enjoy this ride. It's rootin tootin fun....Happy trails....Laurie

adaveen76
Unfortunately a lot of people don't "get" this movie. WHat's really unfortunate is that they have absolutely no sense of irony. This movie shows the Duke in an amazingly touching and funny way. It deconstructs in a hilarious and sentimental way the American cowboy and indian fantasy. On top of that the sound track rocks.

One of Eastwood's Worst Movies...
The thought of a lord trying to be funny, is ludicrous, but Clint Eastwood did it. "Bronco Billy" is the best shot in the West, so he says. Watch him shoot plates being tossed up into the air. It's pure ability. Yes! I liked watching Billy jump from side-to-side of a galloping horse. It was almost comical. Good thing there was a bar fight in this movie, it was enjoyable. Why did that noisy blonde woman have to join the show? Those poor people who actually paid money for an already bad Wild West Show had to also listen to her? A lord does make a mistake here and there, Schwarzenegger with "Junior" and Eastwood with this. Oh well. But, as long as Clyde, the monkey, didn't show up, this movie would've been a complete nightmare. ... Read more

Description

A 1930's gangster/detective yarn about a Kansas City police lieutenant on the trail of underworld thugs and the private detective that keeps getting in his way. ... Read more

Reviews (5)

Mindless Fun
Mindlessly funny in some parts - if you don't expect too much. Missing is the scene where Clint explains to his girlfriend that he shot his wife when he found her in bed with his best friend. When asked about the friend, he replies, "He was my best friend," indicating he didn't shoot him.

Not a great one*
Sorry, but it's not a good one... & I love most Clint movies... sorry to have to give this one a bad review.
To sum up- alot of fighting- but boring!

Screw The Critics This is A Funny Movie
Watching Clint Eastwood & Burt Reynolds work together is fun, They are old friends and have a natural sense of comedy timing. Also Shaft himself Richard Roundtree appears.

A Thin satire
Burt Reynolds and Clint Eastwood play a PI (former cop) and police detective respectively seeking to bring down "snotball" bad guys in a 1930's genre gangster movie. While not normally a fan of satire, it has an entirely different flavor when actors are poking fun at themselves rather than someone else. It is fun to watch Reynolds and Eastwood play highly exaggerated stereotypes of their signature characters - a little like watching Jackie Chan outtakes.

Unfortunately, the satire rapidly wears a little thin like the same joke being repeated over and over again for an hour and a half. The ending is especially lame; as if they just got tired of making the movie and slapped something together so they could all go home.

Is it worth watching? Yes, if someone is in the right mood and doesn't expect too much.

Eastwood and Reynolds try Abbott and Costello.
I must take exception to Mr. Maltins' review of this one. At no time during the viewing of this film (my copy at least) do the stars "pour gasoline on a guy and set him on fire...". There is a scene where a gangster becomes soaked with gasoline from a ruptured gas tank. There is a subsequent fire but I saw no one being burned. In another scene our heroes threaten to ignite the posterior of another guy after saturating it with alcohol but no ignation takes place. All in all a good time killer with some pretty good sight gags. The gun fight in the garage is close to being a classic. Give us a break Len, it's escapism and worth a look. ... Read more

Reviews (1)

Triple Threat
This review refers to the "Clint Eastwood - Hero" DVD 3-pack by Warner Bros(10/03 release)....

So... what does an aging master thief, a rough, gruff Gunnery Sgt, and a seasoned Texas Ranger have in common? Well..Clint of course! All three of these films found in this 'hero' collection,which include "Absolute Power","Heartbreak Ridge" and "A Perfect World", are must haves for Eastwood fans.These are three of his works that really show off his expertise in front of and behind the camera as these were all directed by him as well.They also include some of the best talent in Hollywood as Clint has a knack for surrounding himself with the finest actors.

"Absolute Power" from 1997 is the newest of the trio. It's a terrific thriller that will have you on the edge of your seat as Clint goes up against some mighty powerful enemies. He is an aging master thief, and while in the process off pulling of the ultimate job, witnesses a murder.And this murder involves the most powerful man in the world. When Clint is the chief suspect, he must prove that the blood trail leads all the way to the Whitehouse. Not an easy task for our guy, as he is being persued by all sides.The film is multi-faceted as it also let's us in on this thief's softer side as he tries to build a relationship with his estranged daughter. A huge cast includes, Ed Harris, Gene Hackman, Laura Linney, Scott Glenn,Judy Davis, Dennis Haysbert and the great E.G. Marshall.

"Heartbreak Ridge" from 1986 is Eastwood's tough guy image personified. He is Gunnery Sgt. Tom "Gunny" Highway. Gunny has seen it all, and done it all. He's a decorated war hero who has survived battle in both Korea and Vietnam.He's tough and gruff and will soon face mandatory retirement.With no war to fight his last assignment is to whip the members of a raw but feisty recon platoon into shape. He's up against an unwilling group,a "follow orders or else"(not exactly his style)type commanding officer, and an ex-wife who's as feisty as the recruits.Both he and his men(and his ex-wife) are put to the test when war breaks out on the Island of Grenada. Marsha Mason co-stars and the cast is nicely rounded out by Mario VanPeebles, Moses Gunn, Bo Svenson and the wonderful Eileen Heckart.

Completeing this trio in the 'Hero' series is a film from 1993,"A Perfect World". Fans will more appreciate the director side of Eastwood in this one. He's a seasoned Texas Ranger who is in pursuit of an dangerous escaped convict who has kidnapped a small boy for a hostage.Kevin Costner is Haynes, the elusive fugitive and it his work in the film that is really showcased here.It's superbly acted by Costner, and beautifully directed by Eastwood. It's more than just a statewide cops and robbers chase, as the character development, and the past play a big part as the film progresses.Laura Dern also stars and the performance by T.J. Lowther the young actor who plays Phillip, the kidnap victim, is absolutely incredible.

This DVD boxed set is a great deal.Each in their own snap-case, they all present a very good picture, clear with nice color(Absolute Power is outstanding), in widescreen formats with 'AP' also giving the choice of a standard format, and all are in Dolby Dig 5.1 Surround sound.All the action and the wonderful musical scores, all composed by Lennie Niehaus sound fabulous.There's not much in the way of special features. Theatrical trailers and some cast bios.All have subtitles in English, French and Spanish.'AP' has some production notes. If you compare the price of this set to buying these films separately, you'll see what a good deal this is for the Eastwood fan(we're going to buy them all anyway!).Also makes a great gift, those who love Clint, will love this package, so go ahead and make their day!

Thanx...and enjoy.....Laurie ... Read more

Amazon.com

Scorned by reviewers when it came out, this concentrated dose of commando death-dealing to legions of Nazi machine-gun fodder has acquired a cult over the years. In 1968 Clint Eastwood was just getting used to the notion that he might be a world-class movie star; Richard Burton, whose image had been shaped equally by classical theater training and his headline-making romance with Elizabeth Taylor, was eager to try on the action ethos Eastwood was already nudging toward caricature. Alistair MacLean's novel The Guns of Navarone had inspired the film that started the '60s vogue for World War II military capers, so he was prevailed on to write the screenplay (his first). The central location, an impregnable Alpine stronghold locked in ice and snow, is surpassing cool, but the plot and action are ultra-mechanical, and the switcheroo gamesmanship of just who is the undercover double (triple?) agent on the mission becomes aggressively silly. --Richard T. Jameson ... Read more

Reviews (167)

HAMLET ON A HILLTOP
Perhaps I've been jaded by the kinetic fast paced action films of the past ten years, but I found WHERE EAGLES DARE a hit and miss film.Although it has a lot of action scenes, they come too far and few, and seem ridiculously drawn out and predictable.Alistair MacLean is rightfully considered a master of WWII and espionage thrillers and he certainly has wrought a complex, often confusing, plot in this rescue mission in the Alps.With Clint Eastwood the only Americanin the cast, EAGLES is full of noted British character actors and actresses and of course the unflappable presence of Richard Burton.The acting is so refined however that I had a hard time imagining Burton as such a dashing and capable warrior.The late lovely Mary Ure who had worked with Burton in LOOK BACK IN ANGER is merely a feminine presence in this film, but a darned good shot.Notable character actors Anton Diffring, Michael Hordern, Ferdy Mayne and Donald Houston also offer some classy support.But WHERE EAGLES DARE was too long and too convoluted for my taste.I'm not sure I understand even now who was on whose side.The locations and cinematography are gorgeous, though, and if you like this kind of espionage film, you'll probably like WHERE EAGLES DARE.

Great
This movie is good.I thought that it was going to be boring, but I was suprised I enjoyed it so much.It takes place in a snowy valley where the Germans have a castle stonghold.Lots of spy stuff and Clint Eastwood action.GOOD ENDING

Good World War II Fiction!!!
Never has any World War II fictional movie been as suspenseful as those based from the novels of Alistair MacLean where it involves espionage and daring life at risk attempts such as "The Guns of Navarone", "Force Ten from Navarone" and "Where Eagles Dare". All of these MacLean novels fit the criteria where one would wonder "what will happen next?"

"Where Eagles Dare" has a great cast of characters with two veteran actors such as Richard Burton who plays the British commander Major Smith and Clint Eastwood as the only American involved in the rescue attempt, Army Ranger Lieutenant Schaffer, who make a daring attempt to rescue an American general before they could make him talk inside the fortress castle called the "Schloss Adler" (Castle of the Eagles).

The movie was, perhaps, a little too modern for its time. The helicopter, in reality, was planned and under development around the time of World War II in America by Igor Sikorsky, but was not put into use until sometime before the Korean War. The downside of the movie was that of a Gestapo chief, Major Von Hapen (Derren Nesbitt), wearing a black SS Schutzstaffel uniform when, in reality, the Gestapo was a civilian organization. These were made up of agents that did not wear armbands or uniforms since they had to secretly spy on the general public throughout Nazi Germany and occupied countries under their control. The upside of the movie was the mind-boggling by Major Smith shortly after he and Lieutenant Schaffer confront the "general's" captors and British double agents while they were questioning him. One would have to watch the movie more than once in order to understand this segment of the plot. The fight scene on the cable car was also exciting to watch as was the destruction of the Schloss Adler while the daring escape took place.

Overall, this action-packed movie was brilliantly conceived as it was exciting to watch.

Second to None!
After watching this movie countless times over the last twenty-five years and having seen practically every movie that has ever been shown about World War II I can honestly say that this is second to none.Burton and Eastwood are at their best.The plot, settings, music, and scenery are second only to the twists and turns that keep you guessing until the last moments.Despite the number of times that I have viewed this movie, it gives me sewaty palms every time I put it in the player.A must see!!!!

FANTASTIC WW II ACTION FLICK
Where Eaqles Dare is probably only second to The Dirty Dozen as the greatest Action flick about WWII.Like that movie it concerns a daring plot with a group of highly skilled soldiers sent to carry out the mission.led by British officer major Smith (Richard Burton) and American Ranger Lt. Schaffer (Clint Eastwood) the agents seek to rescue a captured American General from a Nazi fortress who has sensitive knowledge of the D-Day invasion.

While obviously an action adventure movie, it's more specifically a `team mission' movie like The Dirty Dozen or a `penetrate the impenetrable fortress' movie. Talk about not making 'em like this any more! There are plenty of fight scenes, chases and Nazi shoot-em-ups.There are the usual stereo-typical Germans, the ruthless Gestapo officer, the stern commander, the visiting General and tons of German soldiers. No problem, ole Clint mows down a whole battalion single handedly. Burton cuts down a company or two himself and both he and Eastwood emerge with nary a scratch.

But hey...this isn't supposed to be a historically accurate film.This is pure, popcorn entertainment with gunfights, fist fights, cliff-hangers (literally) stereotypical nazi villians who can't hit the broad side of the barn and good ol' American and er... British heroes.

The script is entertaining and has a few notable twists in it, a testament to the skill of screenwriter and adventure novelist Alistair MacClain. Character development is not of particular importance in this story and yet one does come away with a palpable sense of Major Smith, a fact that I again acknowledge is the handywork of Burton, whose presence is auspicious regardless of his role.

At three hours it may be a bit overlong but it seems to fly by for the most part.A real classic of the genre and a great precursor to modern day action flicks. ... Read more

Description

Double Academy Award winners' Kevin Costner and Clint Eastwood confront each other from opposite sides of the law in A Perfect World, an acclaimed, multilayered manhunt saga (directed by Eastwood) that rumbles down Texas backroads toward a harrowing collision with fate. Costner plays Butch Haynes, a hardened prison escapee on the lam with a young hostage (T.J. Lowther in a remarkable film debut) who sees in Butch the father figure he never had. Eastwood is wily Texas Ranger Red Garnett, leading deputies and a criminologist (Laura Dern) in a statewide pursuit. Red knows every road and pothole in the Panhandle. What's more, he knows the elusive Haynes-because their paths have crossed before. ... Read more

Reviews (37)

Touching and Tragic
This film has two of Hollywood's biggest stars - Eastwood and Costner - both of whom give great performances. But it's the young actor who plays the kidnapped boy who steals the show. This drama is set in Texas, early November 1963 - shortly before JFK's fateful visit to Dallas. An escaped convict (Costner) kidnaps a boy and is on the run from the law (Eastwood) and each of their lives are changed forever. The film is especially touching whenever it focuses on the growing relationship between the convict & boy - Costner's portrayal of the tough escapee with a kind heart is great and the boy is so natural and likeable. Under Eastwood's direction the film is controlled and avoids the pitfall of melodrama. The ending is tragic yet inevitable. I think this is one of Costner's best performances and was surprised when the film seemed to be overlooked by the media. I loved the whole feel of the movie and cared about the characters - even some of the minor ones like the sharecropper family. I highly recommend this film.

2 Great Talents...Eastwood and Costner...1 Captivating Drama
This review refers to the Warner Home Video, DVD edition of "A Perfect World"....

Clint fans will really appreciate the director side of Eastwood in this film from 1993, "A Perfect World". He portrays a seasoned Texas Ranger in pursuit of a dangerous escaped convict, who has kidnapped a small boy for a hostage. Kevin Costner is Haynes, the elusive fugitive and it his work in the film that is really showcased here. It's superbly acted by Costner, and beautifully directed by Eastwood. It's more than just a statewide cops and robbers chase, as the character development, and the past play a big part as the film progresses.Laura Dern also stars and the performance by T.J. Lowther the young actor who plays Phillip, the kidnap victim, is absolutely incredible.

This DVD by Warner Bros presents a very good picture, clear with nice color, in a widescreen format. All the action and the wonderful musical score, composed by Lennie Niehaus sound fabulous in Dolby Dig 5.1 surround sound.There's not much in the way of special features. Theatrical trailers and some cast bios.There are subtitles in English, French and Spanish.

Eastwood and Costner fans will appreciate the combined talent that will captivate you from the first frame to the last in this very dramatic story. For the Eastwood collector, you may want to consider purchasing this in the Eastwood "Hero" 3 pack offered here at Amazon. In addition to this one it also includes "Heartbreak Ridge" and "Absolute Power". There is a nice savings buying them that way.

Go ahead...make your day....enjoy...Laurie

Eastwood journeys deeper into the heart of the American male
Continuing his exploration of what makes a man good, bad -- just plain human-- is what this film delves into, even more deeply than in the stunning "Unforgiven" (to his credit, Eastwood never pretends, as some male writers and direct