Description

Jay Trotter has waited a lifetime for this day. He's got a hot tip on a horse everyone thinks is ready for the glue factory. But, as track aficionados say, "Even when you know, you never know." One thing you can be certain be sure of is that with Richard Dreyfuss, David Johansen, Teri Garr and more, this is a winning comedy. So put it in your VCR and Let It Ride. Its characters give new meaning to "the odds." And its heart will touch everyone who's wondered: "If every dog has his day, why can't every person have one?" ... Read more

Reviews (60)

Not in this lifetime........PERFECT!
Those were the words that Jay Trotter(Dreyfus)read aloud from the Daily Racing Form about the winning chances of a horse named Charity. This is a been-there-and-you'll-laugh-yourself-silly movie if there ever was one. Go to the racetrack for a day, and you'll see every one of the characters portrayed in this movie, from Cheeseburger, the Hawaiian shirted gambler who knows nothing about handicapping and bets inside tips, to the bookie Lufkin, there collecting money from deadbeats and doctors alike. Based on the book "Good Vibes", this is a non-stop, always entertaining comedy that gives every track goer the incentive to try it one more time. Dreyfus portrays Jay Trotter, a down on his luck cab driver that has given up gambling in order to keep his perilous relationship with his wife (Terri Garr) together. His buddy Looney, also a cab driver played by David Johanssen, is prominent in this film as a born loser who records a conversation taking place in the back seat of his cab stating "The only way Charity can lose is if she's struck by lightning in the starting gate." Jennifer Tilly shows up in all her splendor and beauty as ditzy arm candy for a gambling, middle-aged, business owner who raises the price on the envelopes he sells according to the success he's had at the track that particular week. Tilly's character describes him best, "Herbie is rich." Add to the cast Michelle Phillips as a man-chasing soon to be widow, and run of luck that Trotter can't explain and you have the ingredients of a comedy that you won't soon forget. Get the video, already!

When a Loser can't stop Winning
I'd heard there were problems with the making of this comedy and it slipped in and out of theatres without much notice. I remember seeing the trailer and thinking that the movie looked terrible.
Then I saw it was based on a Jay Cronley novel.

If you've never read a Jay Cronley novel, find one: he has a hilarious writing style that can't be transferred to a movie screen. He wrote FUNNY FARM (made into the Chevy Chase movie) and QUICK CHANGE (with Bill Murray). The perfect John Candy role can be found in WALKING PAPERS but, sadly, John's gone. And then there's GOOD VIBES, which became LET IT RIDE.

This is a funny, funny movie. It takes the seedy setting of a horse track and fills it with hilarious characters all trying to make that winning bet. Richard Dreyfus gives an energetic performance as Jay Trotter, a loser who, for one day, just can't stop winning.

Give this underrated gem a shot. If you connect with it, then it's a winning bet.

We love the longshots
Is it possible that no one rated this film less than five stars? If you watch this movie, you'll see why. LET IT RIDE is one of those quiet sleepers that, at first, attracted a very narrow audience. When it premiered, and when it was released on video, no one I had asked had known of the film's existence. Now, more and more people are asking me if I have. I smugly say, "You bet!" (Bad pun intended.) This is one of those tightly-scripted, perfectly-acted, beautifully paced comedies that make you wish more like this were made. Put your money on the right pony and pick this one up. Sorry, Smarty Jones.

Let It Ride
If you like a punt- this is a must see. It has been surpassed by no other punting video ever made.

Wonderful !!
An amusing, funny film about a guy who is "having a very good day" ! You will not regret picking this DVD up, it's a great Sunday afternoon, laying on the couch film. It will put a few smiles on your face...:+) ... Read more

Reviews (264)

Gate to the Kingdom of Disillusion
First, a few reasons why I bothered to see this movie:

1. Roman Polanski is one of my favorite directors. 2. The theatrical/tv trailer looked intense 3. Interesting subject matter (occult). 4. French actress/wife of Polanski Emanuelle Seigner 5. Emanuelle Seigner 6. Last but not least, Emanuelle Seigner

Now, a few reasons why I was left disappointed:

1. The ending 2. The ending 3. ...and the ending.

This film was excellent for it's spectacular cinematography and various global locations. The plot and story itself were easy to comprehend . The mood, setting, atmosphere was very creepy and at times Gothic. Yet, it was not enough to frighten or thrill. As for the climax, maybe some of us are lazy and lack imagination to draw conclusions;However, I still wanted to know what really happened to Johnny Depp's character Corso at the end ( and have it explained to me by the director and actors) The ending was too ambiguous and symbolic (though the movie was filled with symbols figuratively and visually). As for Emanuelle Seigner, she is one underrated talented beauty only known for her modeling and acting in Europe. I wanted to know more about her character; Was she one of Satan's dominions or Satan himself ? She was definitely not heavensent(only to the eyes)...

This movie gets 3 stars because it left me with more questions than answers; No closure whatsoever...and leaving the ending for personal or individual interpretation doesn't count Mr. Polanski

The Worst Movie I Ever Viewed
I made the mistake of seeing this in the theatre...DO NOT BUY THIS MOVIE! It is far and away the most disappointing movie experience of my like.

2 hours of my life I wont get back.
Your time and money would be better spent if you were to commmit these rescources to the study of your own ass!

not a FLOP by any means
I'm currently watching the TRIO channel's disgusting butchery of this film as apart of their "month of flops" promotion. The only FLOP I see is their editing of essential footage. They have condensed the movie to under 2 hours...and have subsequently made certain scenes appear as "stupid" (for lack of a better word).

This movie grew on me. I was not intially impressed, but after viewing it with friends and family, I have become a big fan of its haunting yet calming persona. The subject matter deals with Satanic idolatry, but the movie is in no way "goth". It's the kind of film you could watch with your children and not worry about them being scarred for life.

As far as comedy, Johnny Depp's bad luck with women is hilarious. His facial expressions (even while killing "the albino") are a hoot.

As for the ending, after many viewings I believe Depp went to hell where he was praised for being the human father of the anti-Christ. All along, the lady in the sneakers was Satan.

YES, THE END IS A GYP. OTHERWISE A HAUNTING THRILLER!
The absolutely creepy yet sublime direction of this Polanski endeavour makes it a worthwhile watch. Almost Kubrick-like, wide angle shots and lax-paced screenplay and all.

I was riveted. Riveted, that is, right until the somewhat confusing fire and cobblestone ending, which admittedly leaves you with very little to chew on and instead of appearing clever and ambiguous, as it perhaps wanted to, mostly comes off as complacent.

Yet, the point of a mystery noirish film is to keep you intrigued through out, and the movie manages to do that quite successfully. The sleuthing process is almost done in tandem with the audience, which is fun. Johnny Depp is immaculate in his potrayal of a detached book detective and all others contribute richly. The music is tacky in bits, but not too distracting.

Recommended rental for haunting cinematography of Portugal and France, and a fabulously captivating atmosphere in general. ... Read more

Reviews (74)

Robert Altman's great masterpiece of the American Experience
I recently rewatched this film for the first time in a long, long time, and was amazed at how much better it was than I remembered. Moreover, I remembered it as being very, very good. In this film, director Robert Altman tracks the interweavings of over twenty major characters over the course of a few days in Nashville. Some of the characters are major Country-Western performers, and others are mere wannabes. All is set against the background of a mysterious third party presidential candidate for the Replacement Party, whose cars and vans drive around the city, broadcasting his commonsensical yet superficial political messages.

Altman has always excelled more than anyother director with ensemble casts, and this is the greatest example of that in his career. No one cast member predominates. Ronee Blakley probably should have won the Academy Award for Best Supporting Actress, but was hurt by Lily Tomlin's also being nominated. Lily Tomlin and Henry Gibson's performances were both completely unexpected at the time, since both were considered television comedians and had been regulars on Rowan and Martin's Laugh In. But truly, none of the cast members were weak, and most were exceptional. Keenan Wynn was superb as Mr. Green, whose wife is dying of cancer in the film. But the true star of the film is Altman, who is utterly masterful in the way he brings his characters into contact with one another, like a dance director choreographing an immense ballet. One becomes accustomed to seeing all the same faces in one scene or event after another, and for some odd recent it doesn't strike one as at all coincidental. I especially enjoyed seeing Jeff Goldblum's nonspeaking character The Tricycle Man popping up in scene after scene on his triwheel chopper that seems more a parody of EASY RIDER than an imitator.

The movie is laced with songs, and what makes them special is the fact that everyone did their own singing and most wrote the songs that they sang. Keith Carradine especially distinguished himself with two great songs, "I'm Easy, " which actually netted the Academy Award that year for best song, and the rousing closing number, "It Don't Bother Me." To be honest, while most of the singers are at least competent (except for the intentionally awful Sueleen Gay, heartbreakingly portrayed by the excellent Gwen Welles), few are truly first rate. The two great exceptions are Ronee Blakley, who manages an utterly stunning Loretta Lynn impersonation, and the improbably spectacular (in the context of the movie) Barbara Harris, whose unexpected rendition of "It Don't Worry Me" provides one of the movie's more amazing moments. Some real Nashville musicians turn up as well. In particular, Vassar Clements, considered by many to be the greatest country fiddler, turns up in a Nashville music club as himself.

The movie has many subtle things to say about celebrity and politics, and the ongoing confusion of the two (brought out powerfully by the ending, in which an entertainer rather than a political figure is assasinated, and by the fact that one person is mentioned as a gubernatorial candidate, when his only qualification would seem to be that he was a singer). But the movie has broader appeal than just of the Country Music Capital of America. The film intends to be about America itself. It truly does succeed in being an epic about the American experience. A great, great masterpiece.

One of the 70's greatest films and that's saying a lot!
I am waiting for a better DVD version with more extras and 1:85 ratio 2:35 is too small for me. I do own the video and I have no idea how many times I have watched this movie. It's almost worn out. If you are looking for a movie about country music this isn't it. It's about the way we were living and what was going on in the world and our country in the 70's. Yes I am old enough to remember! It is a film that most people seem to really love or really hate. I love it! Great cast! I am a huge Lily Tomlin fan and she is is wonderful in this film, but so is the rest of the cast. The 70's had some of the greatest films ever made this is one of the best!

The real Nashville?
Does this movie portray the real Nashville? I don't know; I don't work in the music industry. However, something tells me that this movie really does portray the real Nashville. It portrays people of mediocre talent; people who think they're the greatest thing since sliced bread. Some of the lyrics are so corn-ball they make you squirm with embarrassment, for example, "My mommy and daddy, my Idaho home".

American Life as a microcosm
An astonishing film, rich in satire and brilliantly executed. Altman manages to weave so many subplots and characters seamlessly. One of his crowning achievements. I still don't understand the negative reviews.

What we should mean by patriotism
Robert Altman's 1975 picture remains as enigmatic as ever. The film has a huge cast of 24 actors, most of who appear in only brief scenes with few other characters. Add to this the fact that many of the lines are delivered in a flat or even seemingly improvised fashion, with a tendency for characters to interrupt and speak over each other, and it's easy to feel that the disparate characters are not connected to each other at all. This is Altman's intention though, because this film is about the hopes and ambitions of the individual within the larger society of bicentennial America.

And the plot does come together to some extent as we build to the final song, one of the most moving endings in film history in my opinion. The lyrics, sung by an unknown, interspersed with scenes of America's young in a melting pot American city, suggest a stoicism, perseverance (as one idol falls, another rises to replace her) and vitality. Even after Vietnam, Watergate, assassinations, and deep recession, crossroads America itself maintains hope and optimism. 'Nashville' suggests we are not such a young and homogenous country after all.

Among the individual islands the film explores, standouts are Ronee Blakey as the beautiful and intense but fragile diva, Hnry Gibson as the king of country, with political aspirations, and Lily Tomlin as a loving mother and gospel singer facing a marital crisis. The incredible fact that much of the music was written and performed, with little rehearsal, by many of the actors (Keith Carradine and Karen Black's musical performances are also noteworthy) lends a kind of democratic (for lack of a better word) authenticity to the film as well. ... Read more

Reviews (74)

Just Because You Are Paranoid...
...Doesn't Mean You're Not Being Followed. Filmed and released between Coppola's masterpiece's THE GODFATHER and THE GODFATHER 2, The Conversation is a tremendous character study with teh flavors of a thriller. Gene Hackman, brings an incredible complexity and subtlety to his portrayal of Harry Caul. That performance and Francis Ford Coppola's direction and original script make this a film that is possibly more poignant today than during its original release, since the story deals with privacy and responsibility. Today, many of the feats performed by Caul as a surveillance operator, are available with most personal computers. Adorned with great characters, like John Cazale and Robert Duvall(both of THE GODFATHER), Cindy Williams and Harrison Ford in an early role as a Christmas Cookie baking weasel (both of AMERICAN GRAFITTI). But, its Hackman's story and his paranoia is evident from the get go. I believe it was the filmmakers intent for you to be left thinking when the film is over... they succeeded. The DVD is nicely restored with great sound design properly presented as well as a non-promotional mini-documentary and commentaries by Francis Ford and an editor.

"The Conversation" on DVD
"The Conversation" is one of those great little masterpieces of the 1970s that just so happens to be directed by Francis Ford Coppola. "The Conversation" tells the tale of Harry Caul, (geniously played by Gene Hackman) a surveillance expert who makes the mistake of getting personally involved in a disturbing assignment. Gene Hackman's performance is so subtle, underplayed, and finely-tuned that it alone makes the film worthwhile. The script is fabulous, with a twist that makes "The Sixth Sense" look like kid's stuff.

The DVD of "The Conversation" is great. To start off, it has good, animated menus. The theatrical trailer is nice, just for nostalgic purposes. There is also a featurette, "Close-Up on The Conversation". It makes for a nice, brief look at the making of the film, and it's fun to see Coppola so young. What really makes this DVD great though, are the two commentary tracks. The first is by the director himself, Francis Ford Coppola. Coppola's commentary is one of the most comprehensive I've ever heard. If you don't appreciate this movie now, you will after you've heard his commentary. The second commentary is by editor Walter Murch, which is also very good, especially if you are specifically interested in the editing process.

If you like Coppola, Hackman, or are just a sucker for a clever script, this DVD is for your collection.

The Commentaries Embellish This DVD
This is an excellent piece of filmaking. Very, very underated to date although many of the Amazon posts catch this piece of story telling. Like the parallel editing sequence that MADE the end of Godfather 1, really kill (pardon the pun) at least according to Robert Evans (The Kid Stays in the Picture)-it is interesting to note that this particular new editor of "The Conversation"-contributed alot of great ideas to the story as well as working on the sound mixing. FFC was off working on Godfather II, so perhaps the Editor has a little more freedom and time to work his magic. Funny-most of the workers of the young studio were non-union so he could not even be credited as a picture or sound Editor. Famous Director of Photography Haskell Wexler was "let go" by Francis very early on and replaced. This action gave the film a superior look, for the theme of the film. You have to love the retro vibe of all that electronic tape gear in the digital age we now live. The visual look is crisp and stunning. If you view this DVD-watch BOTH commentaries. The haunting piano melody over the DVD Menu and that appears throughout the story-is worth appreciation alone. I actually sat down and counted out both sets of machine gun triplets in what is a rather dreamy piece of solo piano. As many have said already-this belongs in your DVD library. And let's not forget the early work here of Harrison Ford-complete with scar on his chin; Cindy Williams; Robert Duvall and Teri Garr. Enjoy and relish. People ARE watching and listening. Even Gene Hackman's sax has "ears."

One gem: one lady between two giants
A Cannes' winner among other virtues, this film is like the fourth symphony of Beethoven: a princess between two power muscle men.
In fact the godfather I and II literally absorbed and in a certain way detoured, (together with Appocalyse now) the attention about this movie.
A genuine masterpiece that confirms the status of Mr. Coppola to the highest rank in the cinema's story.
Hcakman has never been best.

Outstanding work!
In between Godfather films, Francis Ford Coppola made this masterpiece. There are many actors that would go on to bigger and better things. Harrison Ford, Cindy Williams, John Cazale to name a few. But it's Gene Hackman's show, who gives his best performance since the French Connection. A classic!! ... Read more

Reviews (26)

One Great Sequel
EDDIE MURPHY SHINES AGAIN IN THE 2ND INSTALLMENT OF THE BEVERLY HILLS COP TRILLOGY THE FILMS THAT MADE HIM A SUPERSTAR OF THE
80'S. AXEL FOLEY THE SMARTMOUTH FAST TALKING DETROIT COP IS
AGAIN IN BEVERLY HILLS INVESTIGATING A STRING OF PROFESSINAL
ROBBERIES THAT IS SOMEWHAT INVOLVED THE ATTEMPTED MURDER OF
FOLEY'S FRIEND POLICE CHIEF BOGOMILL. THIS FILM IS MORE FAST
PACE AND HAS A LOT OF ACTION TO PLEASE ANY ACTION FAN. DIRECTOR
TONY SCOTT KEEPS THE ACTION & LAUGHS COMING AT A RAPID RATE.
BUT SOMEHOW THE ORIGINAL BEVERLY HILLS COP HAD MORE GENNUINE STYLE.

Murphy and Company Keep It In Check!
After the gargantuan success of "Beverly Hills Cop" it was inevitable that the executives at Paramount demand a sequel. So here you have it: "Beverly Hills Cop II," an unquestionably inferior sequel that still manages to be fun by rehashing some of the original's formula. The main problem with "Beverly Hills Cop II" is the fact that Axel Foley (Eddie Murphy) is now friendly with at least half of the Beverly Hills police force. Not so the case the first time around, since it was the very fact that he was unwelcome to begin with that made his tearing up of the culture the crucial crux of the comedy. Another weakness is the fact that this film's script places more focus on the action than it does on the laughs. This was a mistake for sure, since the comedy element is the original's greatest strength, as well as that of the cast. All is not lost however. This movie still manages to pull off some very funny gags thanks to the energy and timing of Murphy (still in his heyday) and of co-stars John Ashton and Judge Reinhold as the loveable Taggart and Rosewood. It is clear that the actors are enjoying these characters and it shows in their scenes together. There is a priceless moment at the Playboy Mansion featuring a cameo from Hefner himself. Interestingly enough, according to an included interview with Hef, this was the first time that he allowed a major motion picture to be shot on the infamous property. Most of the cast and crew are also interviewed as they look back on the making of what ended up being another major hit for Paramount in 1987.

Worthy of it's stars
Not as good as the first, but Good.

"Beverly Hills Cop" is back in business for sequel
Detriot cop Axel Foley returns to Beverly Hills to once again show "square" cops Rosewood and Taggert how real police work is done. This time, they're after a group of bank robbers known as "The Alphabet Bandits" who are responsible for shooting their boss. While this one is more dedicated to action than comedy (thanks to Top Gun director Tony Scott), Murphy is still in rare comedic form and manages to keep this sequel from being a waste of time. Too bad the same can't be said for the third entry in the "Beverly Hills Cop" franchise. Number two is a bit of a rehash but seeing all the characters from the fist go-around (with the exception of Bronson Pinchot and Lisa Eilbacher) back in action makes it excuseable.

A Mess
Murphy should have held out. Not for more money but for a better script. BH2 is just dumb. Asinine plot and everything that was fresh and cool about the original is trotted out all over again. Lame. ... Read more

Reviews (14)

A Timeless Classic
Maybe it's the fact that I used to watch cable television nearly every waking moment in the early 80's, but this is one of those classic movies I can never get enough of!

Ernie Souchak (John Belushi) is a Chicago reporter on assignment in the Rocky Mountains whose subject is environmentalist/bald eagle protector, Nell Porter (Blair Brown). Overweight and out of shape, he tumbles and stumbles through hikes and climbs with his agile counterpart learning about the 'other world' that exists outside the hussle and bustle of city-life. Initially turned off by the brazen Souchak, Porter slowly finds him midly attractive but always keeping her distance.

Without giving the entire story away, they wind up crossing paths again, this time in Souchak's town of Chicago. And in a fresh take, the movie doesn't end in typical Hollywood fashion.

Afficionados of romantic comedies will absolutely love this film. I, for one, developed a huge adolescent crush on the naturally beautiful and charming, Blair Brown. There are definitely some tear-jerker scenes and I'm not afraid to admit they get me everytime. Probably the fact that for a change, you saw John Belushi portraying an everyday charming guy everyone can relate to. Even the still photos of John and Blair together on set, smiling and throwing snowballs at each other on the closing credits is enough to make a tear well up, knowing this was one of Belushi's final movies.

Highly, highly recommended!!

Charming, though thin romantic comedy
A highly unlikely, though heartwarming romance between two very different individuals, CONTINENTAL DIVIDE features a trying-much-too-hard John Belushi, and a lusterlack Blair Brown. The background info about the making of the movie is much more interesting than the film itself (Belushi lost 30 pounds for the part). However, I watch this idealistic romantic comedy often because it reminds me that if you really want something, there is a way to make it happen!

a different side of john belushi
I saw this movie the other night and I was captivated. I only thought that John Belushi was a comedic actor. I watched and watched as I saw that there was more to John Belushi than meets the eye. The film shows the Animal House John Belushi in the beginning but later shows a different actor. The movie shows that he is a compassionate person. In short, I loved this movie I think that John Belushi is an extremely talented actor. I think it is ashame that he passed away at such an early age. I think thatn he could have made an important contribution to the film industry.

Continental Divide
This is John Belushi's finest moments, I could watch this movie over many times, I highly recommend this movie will be a great addition to anyones collection.

From alcohol to the alps
John Belushi is forever connected to the alcohol abusing, self depricating , and party animal charators that he 's reknowned for playing in other films. Luckily , before his untimely demise , he participated in this project...Continental Divide. It totally seperates him against typecast and shows just how much diversified acting ability , he had .Whereas , alot of people (typical Belushi fans)didn't appreciate this effort, I think it was extremely refreshing. It only took me about five minutes to forget that it was John Belushi portraying Ernie Souchak. A top dog columnist who's forced out of town to do a safer article , at the request of his boss , to save him from danger. Blair Brown's Nell Porter, provides the perfect opposite, for Belushi's Souchak. The film has a very basic "boy meets girl " formula. However ,the script and actors take this film to an all time high. It is a very special film that provides very special and cinematic moments. I enjoyed it when I was a teenager and I hated love story's. But there's more to this tale than just a typical spin. Definately not a film to be missed. ... Read more

Reviews (16)

More like 3.5 stars; a fine, funky 70's curio
Alternately ahead of its time and an unmistakable product of its era, the 1976 paramedic comedy-drama "Mother, Jugs and Speed" has finally made its way to DVD.

This uneven but underappreciated little B-movie drew obvious influence from the blood-and-pranks mixture of Robert Altman's "MASH," but you can also see its darkly comic influence on contemporary fare such as "Six Feet Under" and "Bringing out the Dead," and it poked fun at zip-ups gone wrong 20 years before "There's Something About Mary."

Bill Cosby and Harvey Keitel play Southern California ambulance drivers forced to contend with all manner of accidents and injuries, both amusing and tragic. The all-over-the-map cast also includes Raquel Welch, Allen Garfield, Dick Butkus, Bruce Davison, L.Q. Jones, Larry Hagman (as a creepy lech whose antics haven't aged well) and even Allan Warnick, the kid from the records room in "Chinatown."

With its gritty, widescreen look and those awesome blue lens flares so common to the period, "Mother" is a fine, funky 70's curio. Welch and Keitel (who had just been replaced by Martin Sheen in "Apocalypse Now") are stiff but the rest of the pre-Carter administration cast seems to be having fun, particularly Cosby, as the glib, laconic Mother. It's a bit strange to see the sitcom star playing an anti-hero, but his cool, sneaky performance breezily anchors the movie.

Good drive-in fare
Pretty much what you would expect, given the plot--two competing ambulance services chase around the city for patients and profits; the wacky stuff, like occupied gurneys rolling free down city streets and scaring nuns at crosswalks alternates with the mercifully brief meditative stuff--shortly after giving his "There's more to life than this" speech to fellow EMT Bill Cosby, Bruce Davison gets blown away by a junkie who wants drugs from their rig. Raquel Welch moves her way up from harassed office secretary (everyone at the station calls her "Jugs", nice, huh?) to EMT, but loses her first patient--bummer! Harvey Keitel is Raquel's love interest (rare that the man gets subordinated in that way), and Cosby underplays nicely as the most professional of the group. Allen Garfield does his usual sleazebag routine as the put-upon head of the operation. Funny in spots--evocative of the time period. Really stretches the "PG" rating--the board must've been in a giving mood--lots of rough language, drug and alcohol use, and yes, Larry Hagman's character at least TRIES to have sex with an OD patient in the back of his vehicle. Raquel, though, "comes through" under a sheet (a lot happens in the back of those vans!) Can't give an "expert" review--I'm a librarian!

A 70's Classic finally on DVD!!!!!
After all these years the Peter Yates classic staring Bill Cosby, Raquel Welch, Harvey Keitel finally arrives on DVD. Take Cosby's humor, Raquel's sex appeal, Keitel's smouldering late 70's cool and one sweet ride of an ambulance, and you've got Mother, Jugs and Speed. Peter Yates' classic take on the ambulance industry in metropolitan Los Angeles gives us a little bit of everything in a quick, well paced film. Cosby's charm shines in one of his best roles i think as the cynical, no nonsense ambulance driver Mother Tucker. Just by looking at Mother's custom Rig, and patch covered jacket you get the impression that Cosby's character was not always an ambulance driver, but perhaps was once something quite differnt. Follow the F+B ambulance company and their staff of irregulars (Including Larry Hagman of Dallas Fame, and football player Dick Butkus) as they do their best to save the lives of their patients and hammer away at one another with a barrage of jokes, and one liners. They don't make comedys like this anymore where the car was just as big of a star as the trio named in the title. While normally found in the comedy section, the film does have an equal number of "dark" moments that let the viewer know that Yates wasn't just doing this for laffs and help to balance out the humor. The DVD transfer is crystal clear, and the slamming 70's soundtrack will be nostalgic for some, and new, and inventive to others. Another reviewer mentioned hearing Peter Frampton's "Show me The Way" playing in an early scene, and I always think of this film when i hear that song. Treat yourself to a 70's classic, and enjoy the ride, and pray that if you ever need the guys in white that he shows up wearing yellow sneakers with red socks, and goes by the name of Mother Tucker.

How do I love Jugs, let me count the ways
I could spend countless words proclaiming the greatness of this film as one of the great urban street comedies of the 70's but just watch the film and it will speak for itself.
I do want to mention that the director of this cinematic gem also directed a little number called "Krull" which is to high fantasy what "Mother, Jugs, and Speed" is to the world of high-brow comedy.
Plus it gave us Lysette Anthony.

A very enjoyable movie about EMT work!
I think this movie is one of Bill Cosby's funniest and best. He plays an fun loving Emergency Medical Tech (EMT) worker who works by his own rules. He drinks his beer, jams his Brother Johnsons tape loudly and scares nuns. The movie does have some very funny moments (like the runaway gurney with the lady strapped to it). Rachael Welch, Harvey Keitel, and Larry Hagman all play fine supporting roles in this movie. Hagman is espically hilirious as an hot to trot driver. I agree with another reviewer who said that this movie shows EMT work in its earliest beginnings. Basically, they were running from call to call dealing with all kinds of different patients and situations. I also like this movie because it was filmed on location in Venice, Culver City, and Los Angeles California. This movie is one gems from the early 1970's. I recommend it highly to anyone. ... Read more

Reviews (46)

If God could do the things we do ...
... he'd be a happy man!
I just finished watching the DVD of "The Stunt Man." It's still a smart, amazing, funny, scary, exhilirating experience. This is what great movie making (and great acting) is all about. Richard Rush's direction, the acting from Peter O'Toole and the rest, the terrific screenplay, the great music ... it's just ... perfect. As fresh now as the day it rolled out of the camera.
It's a shame Rush hasn't been able to make more films, but with this classic to his credit he can rest assured that his place in cinema history is complete. Thanks, Mr. Rush!
And Peter O'Toole ... nothing will top his work in "Lawrence of Arabia," but this comes darned close. Eli Cross is the classic "film director as god." O'Toole makes him more than just a petty movie-set tyrant. Cross is sly, witty, mysterious and all-knowing. He's frightening but fascinating. You wouldn't want to introduce him to your mother but you would want to take him out to dinner just to listen to him spin his stories. When he descends from above in his camera crane you'll begin to think he's god incarnate ... just as the stunt man does.
And the plot? That's what made "The Stunt Man" such a hard sell to the movie studios and what makes it a classic. What is reality and what isn't? Are we in control of our lives or aren't we? How do we know what's really going on and what it all means? Is Eli trying to kill the stunt man or just trying to finish his movie on time?
Anchor Bay's DVD transfer is superb. The "Limited Edition" includes Rush's documentary on the making the film. Don't miss it!
If you've never seen this film, get it FAST and enjoy! If you haven't seen it in a while, rediscover why it's so great.
Amen!

Lost Classic!
Most films that rely heavily on stunts don't provide much of interest in between the airbag falls and vehicle pile-ups - Hooper, Cannonball Run, The Blues Brothers and their ilk being prime examples, and even the revered likes of Bullitt tend to sag a bit when the protagonists get out of the car. Fortunately this overlooked gem manages to mix stops-out stunt sequences with a borderline-pretentious paranoia plot to cover all bases with ease. Jobbing greenhorn Steve Railsback gets a job in the stunt team of Peter O'Toole's director's World War One action romance, falls for the leading lady, has his every waking moment interrupted by O'Toole on an ace crane-mounted director's chair, and finally takes on the escape from a sinking car stunt that killed his predecessor. There's plenty of elementary-grade symbolism thrown at it (O'Toole's messianic character is called Eli Cross, in true ramming-the-point-home style), and the whole "What is reality after all? Eh? Think about it" ethos of the film won't impress everyone, but it's all done with a light touch, and you really won't see anything like this anywhere else, and the set-pieces, particularly the rooftop gun battle and aerial dogfight, are brilliantly staged.

One of the top cult movies from the eighties!
Through this clever , ingenious script , the brilliant film maker Richard Rush (nominated as best director in 1980) made a emblematic and glorious film for those people who wante to taste something different . Built as a smart chines puzzle , a man suddenly in a location film and the delicate boundaries between the reality and the fiction are broken . Under this perspective the viewer is challenged moment by moment and obilgated to establish who is who and what is what . Think that you are in a mirror hall (Lady of Shangai's ending sequence) and try to find the object and not confuse with its image .
Link this premise with another two film made in the sixties (Blow up of Antonioni)and Belle de jour (Luis Buñuel) and more recently Parole des enfants (1995) Open you eyes (Alejandro Amenábar 1997) or The rules of engagement (William Friedkin 2000) and you'll be rewarded by that intelligent plot , loaded with thrills, chills, suspense , riddles and surprises , plus an outstanding cast: Peter O'Toole (nominated as best actor in 1980 for this performance) and Hershey .
I'm absolutely convinced since the moment you watch this film , it will become one of your timeless and favorites films.
The doubt for acquire this film never must prevail in your mind even for a second.

o'toole should have gotten the oscar
this is a marvellous cult classic and has three fabulous performances in the vastly underrated barbara hershey and steve railsback.
of course the main thing here is o'toole. this and my favorite year were made close together and amounted to nothing less than a 'comeback' for the actor.
unfortunatley hollwood hasnt made such excellent use of o'toole since then but its a proud spot on this wonderful actors resume

DIDN'T FLIP MY MINNOW
Don't get me wrong. This is not a bad movie. It just doesn't compare to Citizen Kane in innovation. Really, some LA Times reporter wrote that! I guess I'm supposed to watch this numerous times, but it just wasn't that interesting to me. Where's the innovation? The crane?(Golly gee Cletus, I never seen a crane that big before) The reflected faces? The cliched lines of the Vietnam Vet? Then there is that quote that's always bandied about, "You're an actor playing a stuntman playing an actor..." I understand what he is saying, it's just not very pithy.

I kept waiting for the big suprise, the part of the movie that floored me. It never came. I wasn't drawn into an anti-reality, didn't see a dual reality and did not see any allegory. To some reviewers this is the greatest film ever. There's a guy at DVD Verdict who wrote that this film changed the way he looked at movies. I didn't see that. I watched a movie, that while good, was not thought provoking. I suppose I should watch it again, but it just didn't flip my minnow. ... Read more

Amazon.com

The Cotton Club is routinely eclipsed by the controversies that surrounded its tumultuous production, but the film itself offers abundant pleasures that should not be overlooked. If Apocalypse Now represents the triumph of director Francis Coppola's perilous ambition, then The Cotton Club represents the ungainly glory of uncontrolled genius, as brilliant as it is out of its depth. As an upscale homage to classic gangster films it's frequently astonishing, cramming a thick novel's worth of plot and characters into 129 minutes, gloriously serviced by impeccable production design, elegant cinematography, and stylistic flourishes that show Coppola at the top of his game.

What The Cotton Club lacks is cohesion. As written by Coppola and novelist William Kennedy (then enjoying the peak of his critical acclaim), the movie struggles to exceed the narrative scope of The Godfather, but its multiple early-'30s plot lines fail to form any strong connective tissue. It's three (or four) movies in one, with cornet player Dixie Dwyer (Richard Gere, playing his own jazzy solos) drifting from one story to the next--loving a young, ambitious vamp (Diane Lane, with whom Gere shares precious little chemistry), enjoying the success of a hotshot hoofer (Gregory Hines), and protecting his brazen bother (Coppola's then-newcomer nephew, Nicolas Cage) from the deadly temper of mob boss Dutch Schultz (James Remar). Bob Hoskins and Fred Gwynne also score big in grand supporting roles, but The Cotton Club is perhaps best appreciated for its meticulous re-creation of Harlem's Cotton Club heyday, and the brilliant music (Ellington, Calloway, etc.) that brought rhythm to gangland's rat-a-tat-tat. --Jeff Shannon ... Read more

Reviews (22)

OK, so it's not The Godfather
There have been many criticisms of this movie: that it favors style over substance, that it has too many conflicting storylines, that it slides all over the place without any real character development. I don't disagree. But, that being said, I still like this movie an awful lot. It is packed with talent from end to end, not just the proclaimed stars of the picture, but other little surprises that turn up from time to time. Look for Tom Waits in a bit part that takes place within the Cotton Club, Laurence Fishburne (credited as Larry) as a stylish and dangerous member of black organized crime, and Jennifer Grey as Nicholas Cage's perpetually dim and semi-clad young wife. Diane Lane is as lovely as can be, and really seems to convey the singleminded amorality of her teenaged character, determined to get some security for herself, and the conflict created when she is forced to confront the growing madness of her keeper, mobster Dutch Schultz, and her love for Gere's character of Dixie Dwyer. The music and dance numbers are as good as you've heard, and the sets and costumes beautiful and believable. I think that one problem with this movie may have been the era in which it was released, when a 2-hour movie was still considered extraordinarily long. It does have the jerky, confusing feel of a movie that's been too heavily cut. Perhaps if it had been made today, audiences would be willing to sit through three hours of the intricate plot development that so complex a story really needs. Let's hope a director's cut is released someday.

All in all, this is worth a look, or several, despite its rather considerable flaws.

Satisfying Fun
There was enough tap and dance to keep my creative spirit satisfied and smiling wide. The poetic drama was wonderful and the singing was quite entertaining as well. I was surprised to see Nicolas Cage in his supporting role, although he has played other gangsters in his time. The sex and violence were not too graphic, however, not tame enough for the younger set. You can't beat it for the price, especially if you like tap and drama. Nice late 20s music and costumes... Hines fans should be pleased!

Skip the movie, get the soundtrack!
Like many of Coppola's movies, Cotton Club is great to look at and listen to, but the storytelling falls flat and lacks coherency.
If you're going to watch it, watch it for the musical numbers and don't set your expectations too high for anything more, or skip the DVD and just get the STUNNING soundtrack.

One of my personal favourites.
This movie is brilliant and fascinating from beginning to end. It's so romantic, stylish and beautiful. I always loved everything about it, and was really surprised to know it wasn't a huge hit when it first came out. To me, it's a cult movie.
Diane Lane's character, the tough adolescent who looks like a grown woman and whose face is her fortune, is a personal favourite of mine. I love her wardrobe and hair style, as well as how she starts out as a brunet in the movie and turns blond by the end. People talk a lot about Richard Gere's trumpet playing and not enough about what a nice singing voice she has. I always thought she was a very underestimated actress.
The musical scenes are unforgettable. I loved the late great Gregory Hines, both as a dancer and as an actor, and he really excelled in this picture.
It's a master piece and no one should miss it.

Moments of Greatness Only
I think the biggest problem is the casting. Richard Gere and Diane Lane did a wonderful job together in the recent film Unfaithful but in Cotton Club they seem more like big brother and precocious little sister. Gere plays a Hollywood actor and he is just too smooth with his little moustache and greased back hair--one moment he is smooching with Diane Lane, the next moment he is onstage playing trumpet, the next hes talking tough to a ruthless killer. Its like hes supposed to be some kind of Harlem Renaissance Man. I think at this phase in his career Gere was not so popular because people perceived him as being kind of conceited and this role just seems crafted for a guy who adores himself. Nowadays he comes across as a much more appealing type of fellow but then the self love was just annoying. Diane Lane was a wonderful child actress but in this role she is not a child anymore and not quite a woman yet either. The awkwardness of the Gere-Lane relationship hurts the film considerably. Plus when your lead just isn't Al Pacino or Robert DeNiro and its a mob picture you feel disappointed. Gere is not a mob guy, he's too sophisticated to play mob roles, and he knows it.

Additionally what happens on-stage at the Cotton Club really takes us out of the drama that is happening off-stage. By the time each musical number ends you almost forget what the film is about. There are so many characters(Bob Hoskins, Fred Gwen, Nic Cage, Joe Dallesandro) saying so many things and yet no one character ever grabs our attention and so its hard to care what each character is plotting to do. Its possible to watch this film and not really know who the main character or what the main plot line is. The writing is that obscure. Even if you figure out its a film about Gere and Lane it doesn't help much because they just don't seem right for each other anyway. As a result we have no one and no thing to root for. Beneath the flash of the costumes the film just has no heart and soul. Its like a glossy magazine with pretty faces but no substance.

That said the film is a wonder of cinematography and choreography. One wonderful scene toward the end of the film has Coppola cutting between Gregory Hines tapping and a particularly lurid murder scene. This is the kind of thing Coppola did so well in Godfather--mixing life and death in an operatic way--but here the great camera work seems kind of empty because the characters have failed to really make their mark on our imaginations.

Perhaps in the future Coppola will release an extended version of this film which will make the story clearer. Until then I would recommend this film only if you want a strictly visual entertainment. ... Read more

Reviews (21)

Remember when film was interesting?
Robert Downey's greatest success. This film was originally described as a 'metaphor for everything' when it first came out. It is an irreverent, unpredictable, relentlessly hilarious, almost dadaist black and white opus dei that was inspired by the directors work in an advertising firm.

It focuses on a 'token' black man on the board of directors for a upscale advertising agency, whom ends up running the entire organiztion when his constituents vote for him thinking no one else would while electing a new leader.

The actors were all part of a very peculiar clique and appear en masse in a wide spectrum of subculture films from the era.

Anyone with an even passing interest in non-conventional cinema should watch this movie religiously. Its been a huge influence on my own tastes, and this sentiment if shared by virtually everyone Ive ever met who has seen it.

An old friend....
That NEVER shows on television!! Not even cable!

This has got to be the most outrageous comedy about blacks to come down the pike ever, until Keenan Ivory Wayan's "I'm Gonna Get You Sucka" came out. The movie centers around a token black guy who sits on the board of an ad agency, and, due to the death of the chairman of the board during a meeting he is present at, gets voted chairman simply because all the voters thought nobody ELSE would vote for him!

You might think that Putney, being the token black guy on an all-white ad agency board of directors, would be a dyed-in-the-wool Uncle Tom...far from it! His redo of the agency, renamed "Truth & Soul, Inc.", turns it into the media equivalent of the Symbionese Liberation Army, with militants, "Shaft"-like bodyguards, Antontio Vargas dressed as a black muslim, complete with burnoose, and a staff FULL of major attitude. The insane, slapdash themes and staging of commercials the agency does are viewed as inconoclastic by the effete clients they take on, and their ads actually increase sales for some companies!

This is the kind of film which ITSELF is made so crudely and sincerely, that it works on that level with a heavy dose of cheeky cleverness. It's mostly in black and white, photographed WAY too dark in some spots, with some color spots for featured commercials...and you'll be surprised to see a young Shelly Plimpton singing a jingle with a VERY negroid young man named Ronny Dyson who had once been a habitué of the 60s Merv Griffin Show.

You'll also recognize "Dr. Sidney Greenbaum" from "M*A*S*H" and Laura Greene, one of those nameless character/commercial actresses that were all over TV and movies in the 70s...

The treatment of the white characters in the film is, to be polite, gruesome...they're ridiculed, pushed around, mistreated and disdained. Blacks are lampooned mercilessly too, as when a white delivery boy finally snaps after being constantly told to use the freight elevator. He breaks into the board room during a meeting, brandishing a gun, and a black bodyguard, who previously had made a point of whipping out HIS gun whenever someone wouldn't cooperate, keeps searching his pockets and waistband for the gun when it's NEEDED Stepin Fetchit-style; not to mention the "Birth of a Nation" way the black run agency is portrayed...this movie barbeques EVERYBODY....

Anarchic, smart-assed, angry, funny, crude...words to describe this late-60s specimen. It's worth every penny and if you're a boomer, funnier than (hades)!

swope
Most older movies seem tame. Not this one! "Putney Swope" doesn't pull any punches and is STILL ahead of the times as far as portraying race relations in an honest and funny way.

A word of caution: This movie is extremely low budget and extremely irreverent. Much of it seems made-up from moment to moment. But there are some hilarious, brilliant moments in this.

Insanity in every frame...
The true beauty of this film lies in the fact that Downey is able to pack so much insanity in so tight a space. Every frame of this picture is spilling over with madness worthy of the Marx Brothers at their anarchistic best. Just dig the names, man! We have Mark Focus, Mr. Victrola Cola, Mr. Ethereal Cereal...my God, it's the 1960s at its dark, psycho-delic best. Sure, it's a bit dated, but come on - it's an artifact, as telling of the times as "Magical Mystery Tour" or "Gimmie Shelter."

Incidentally, unlike most "racial comedies" of the 1960s, Downey allows his pointed satire to skewer both black and white (think Hal Ashby's "The Landlord"). All in all a perfectly insane picture; maybe not a cinematic classic, but certainly the damn funniest products of "alternate" cinema to date.

Hillarious Satire of Madison Avenue
This movie had me in stitches the first time I viewed it. Though it seems very dated, the movie still holds up. Note the dubbed voice of Arnold Johnson. That was actually Robert Downey, Sr. Also notice "Huggy Bear" from Starsky & Hutch. ... Read more

Reviews (24)

Babs and Segal charm in dated romantic comedy.
Way back in 1970, Barbra Streisand paired with George Segal in this sleazier than Neil Simon,opposites attract, romantic comedy, written by Buck Henry based on a play by Bill Manhoff.. While Owl and the Pussycat is far better than your average romantic comedy (just try the 'Touch of Class' movies today for instance), the film is little more than an unrealistic, though entertaining sit-com.

Barbra Streisand risked a lot by playing Doris, a slutty, gutter talking (more rude than crude) part-time prostitute who is 'an actress with three, well two commercials' to her name. This was a far cry from the beloved Funny Girl or Broadway Diva who starred on T.V. specials the audiences accepted. George Segal is Felix, the overly nervous intellectual struggling writer. They live in the same apartment building. [...] About halfway through the film, the film gets a bit more serious and we learn a little more about the characters. This is not a utter fantasy type film like say Pretty Woman, but the characters are clearly not particularly realistic either.

The film is a relic of its era and perhaps a bit more interesting now because of that. Streisand appearing as a prostitute in skimpy outfits (you'll perhaps remember the lingerie with the strategically placed pink hand silhouettes when you see it from the old poster for this film). Streisand proved with her thicker than usual Bronx accent, and her portrayal of a risqué character that she had talent as an actress/comedian and there was more to her than Funny Girl. George Segal is at his best. His reactions, comic timing and slow burn frustrations are amusing and very entertaining to watch.

Robert Klein pops up as Barney, a friend of Segal's Felix (and his girlfriend is none other than former Ivory Soap star turn porn star Marilyn Chambers), and there's Allan Garfield as a manager of a dress shop and Jacques Sandulescu as the cranky apartment manager/super, but this is almost entirely a two character film and the charisma and talent of Segal and Streisand carry the picture easily. Don't expect Streisand to break out singing--she doesn't warble a note in character here in this movie.

PC WARNING: When Doris first meets Felix she insists he's gay and continually taunts him for being a weak gay man. The sensitive among you may find the dated, insensitive and not politically correct references more insulting than funny.

NOTE: This is the re-released PG rated film which is two minutes shorter then the original R rated film that was released in 1970. Barbra says the F word in the original, but does not do so here and there was also a few other cuts for language (and one peek-a-boo revealing shot of
Bab's anatomy now excised). A bit of a cheat to release the re-release of the film without a note or explanation about it.

In the end of course the film doesn't stray very far from the formula of your typical Doris Day/ Rock Hudson film. Eventually the characters reveal their softer sides to each other but the film doesn't let itself get too soppy.

If you like the stars at all you'll want to see the film, but even if you aren't a fan of Streisand, she's playing an interesting bigger than life character here worth taking a look at , particularly if you like plays and films like Barefoot in the Park or The Odd Couple.

DVD STUFF

The film is presented in 1:85:1 Anamorphic widescreen of you can watch a pan and scan version as well (don't). The film has been digitally remastered from an excellent print that has only occasional specks of grain and a few scratches. The colors look good, the black levels are strong and very little edge enhancement is visible.

The Audio is Dolby Digital Mono, (in both English and French.). The over-lapping dialogue is easy to hear and the dialogue, sparse sound effects and background music is sharp and free from distortion or signs of age.

EXTRAS:

The only extra feature on the DVD are three theatrical trailers for The Mirror has Two Faces (a bad Streisand film), For Pete's Sake (a forced dated Streisand comedy) and Roxanne (the Steve Martin romantic comedy). No trailer for Owl and the Pussycat however.

There are the not quite complete filmographies of the director and stars, and lots of different subtitle choices.

This is a no frills DVD.

bottom line:

Here's a slightly risqué and racy romantic comedy sit-com feature film relic from 1970. It's dated but if you have any affection for either one of the stars or have forgotten that Diva Barbra is actually a pretty impressive actress when she wants to be, there's a lot to encourage you to give this film a try. The film boasts many funny one-liners and director Herb Ross never lets things get too soppy. The DVD looks and sounds very good but there are no extras..

Christopher Jarmick, is the author of The Glass Cocoon with Serena F. Holder a critically acclaimed, steamy suspense thriller.

I'm with the critics -- DON'T CUT IT!!
Enough reviewers have groused that the verdict is in -- The Owl and the Pussycat WAS a classic that rocked, until the idiot Babs and the Columbia scissor boys got hold of it. If I were Buck Henry, I'd be angry. The majority of people who would be interested in this film ALREADY SAW IT in our relative youth. That means we saw Babs nude and we heard the "F" word that had everyone talking, as she tells off a bunch of moochers. More than a few of us need to give Columbia a piece of our minds. This is unconscionable. The nude scene was NOT destroyed, it was BLOCKED from the collar bone down (she was laying in Barney's bed, asking "Whatdaya think?" just before Felix joined her. It still exists in the vault. I own a copy with the "F" word intact, and in context, it only makes it funny. COLUMBIA, NOW HEAR THIS: GIVE US THIS FILM IN ITS ORIGINAL FORM, OR GIVE US NOTHING!!

OWL & THE PUSSYCAT DVD CENSORED???
Finally, one of the funniest STREISAND films Comes to DVD, unfortunately in a PG-EDITED version! Why can't Columbia picture heads let us decide what we can and cannot see? I own the almost unedited R rated VHS copy, and waited for years for it's widescreen DVD debut. Much to my dismay, it finally comes out EDITED!!!! WHY??? Because i wanted the widescreen version i plopped down my $25.00 for it anyway. Transfer is great and i highly recommend this DVD if you don't mind Corporate Censorship! Shame on Columbia Pictures DVD, do they honestly think someone underage will shell out for a movie they probably never heard of?

"The sun does not spit!"
One of the most hilarious films ever made, THE OWL AND THE PUSSYCAT has more laughs than ten of today's so-called "comedies" combined. Even though a few set changes and a couple of new supporting characters are added to "open up" the storyline, director Herbert Ross and writer Buck Henry manage to keep the same spirit of the original one-act, two-character play intact. There's a lot of verbal warfare in Henry's screenplay, and he seems to have a gift for penning wickedly funny dialogue. Some viewers could argue that THE OWL AND THE PUSSYCAT is little more than two characters insulting each other for 95 minutes, but - when those insults are so rigorously funny - who cares?

In the female lead, Barbra Streisand gives a refreshingly unsentimental performance as Doris, the semi-literate hooker who (for once) does not have a heart of gold. George Segal was primarily known as a dramatic actor befre he was cast as Felix, the snotty book clerk/writter-wannabe. His performance is so convincing that he has been known as an expert comic ever since. The chemistry between Streisand and Segal ignites from the beginning, and it stays aflame throughout their relationship's many ups and downs. Robert Klien has a funny supporting role - and plays it expertly - but THE OWL AND THE PUSSYCAT remains a showcase for the chemistry between Streisand and Segal. I think well-respected film critic Pauline Kael said it best when she wrote, "Were Tracy and Hepburn ever this good. . . maybe, but they were never better." High praise indeed!

About the DVD: This relatively featureless DVD has excellent picture quality (I wish all films from the seventies looked this good), but I am very disappointed that Columbia chose to use the PG edit of the film for this release. Though only one scene was edited, that particular scene no longer makes any apparent sense with Streisand's foul-mouthed phrase deleted. Hopefully the original theatrical cut will someday make it's way to DVD

The Owl and The Pussy Cat w/Barbara Streisand
This movie is a classic. Very funny worth buying especially at Amason' prices a must see for all Barbara Streisand fans. It will have u rolling on the floor with laughter ... Read more

Amazon.com

The Black Stallion
Adapted from the beloved novel by Walter Farley, the 1979 family classic TheBlack Stallion was hailed by no less than hard-to-please critic PaulineKael, who wrote that "it may be the greatest children's movie ever made." Avisual feast from start to finish, the timeless tale plays out on almost mythicterms. A young boy survives a shipwreck and is stranded on a deserted islandwith a graceful black stallion, with whom the boy develops an almost empathicfriendship. After being rescued and returning home, the two make a winning teamas jockey and lightning-fast racehorse under the tutelage of a passionatetrainer, played by Mickey Rooney in an Oscar-nominated role. From its serenelyhypnotic island sequence to the breathtaking race scenes, this delightful filmis guaranteed to enthrall any viewer, regardless of age. The BlackStallion is a genuine masterpiece of family entertainment. --JeffShannon

The Black Stallion Returns
A rare sequel that can stand alone, 1983's The Black Stallion Returns isboth a fun follow-up and a fine adventure in its own right. Kelly Reno returnsas the now adolescent, deceptively ordinary Alec Ramsay, who stows away on aplane for Casablanca after the titular horse is kidnapped by Arabs. Getting himback pitches Alec into the middle of tribal rivalries and all sorts ofcomplicated, dangerous intrigue. The cast includes Teri Garr, Vincent Spano, andWoody Strode, but the real star here may be cinematographer Carlo Di Palma, aveteran of several Woody Allen films and a master of color, light, and framing.Director Robert Dalva edited the previous film and happily executes countlessideas he appears to have stored up from his first stallion outing. But it'sReno's resourceful hero--with his anti-Harry Potter normalcy--that finally takeshold of viewers. --Tom Keogh ... Read more

Reviews (8)

so nostalgic...
Watching these movies brings me back to my early teenage years when Walter Farley's books were the ultimate for a horse crazy girl. Maybe they are not as sophisticated or technologically advanced as newer horse flicks, but they are special in their own right. Four different horses were used for this film, this explaining slight differences in appearance. In accordance to breed standards, an Arabian horse is the only horse that can be purely black, as the members of this breed have predominantly black skin, whereas other breeds have pink. A true black Arabian horse will not "bleach out" as a bay will. Anyhow, great movies for any horse lover.

The Black Stallion
If you have read the book, or just have a horse crazy person in your house you MUST see the movie! THe backround music in The Black Stallion is incredible, it follows the horses movements! You almost feel as if you are ridding the Black!

Speaking as a person who read the books...
I have read every book that Walter and his son have written about the Black. The books always captured a child's point of view about horses. The dream of sailing off into the wind on the back of a really fast steed. I think Coppola captured that feeling in both of these movies. I like the quietness of the first one. The book was written to make you feel rather than listen to dialogue. There was little dialogue to begin with. Slightly off the subject, I think Walter had a passion about Seabisquit and had him in mind when he created the Black.
Kelly Reno was superb. A total natural around horses. Cass- ole was stunning, even in makeup. Oh, if the horse looks brown in the sunlight, remember this, no animal is truly black. They're all just a really dark shade of brown.

Read the book
My suggestion is to read the book, and not even touch this movie. The boy is not a very good actor and the build up to the match race is incredibly weak. If you've seen the movie Seabiscuit, this movie would be a major step down for you.

A good value for the money on these horse-lover classics
Although there is little bonus material on these DVDs, fans of the Black Stallion will enjoy the crisp picture on both DVDs. ... Read more

Reviews (7)

A review....and a correction to Amazon's listing
The subject of this movie seems very timely considering the modern McCarthyism currently being experienced.

James Woods plays the role of Roy Cohn to a "T", and the rest of the casting is equally wonderful. The movie begins with a brief view of Roy as a child, switches to 1984, when Cohn is dying of aids, and then presents a wonderful historic perspective of Cohn and McCarthy's "witch hunt" of the '50's. During these dramatizations, the movie shines. Unfortunately, it is slowed from time to time by the intrusion of scenes of Cohn on his deathbed, seeing visions of the people whose lives he decimated. This "fantasy" portion of the movie really drags down the historic portion of the film, and makes what could have been a great movie into a mediocre one.

As for the DVD...contrary to Amazon's posting, the movie is ANAMORPHIC WIDESCREEN. The picture is average, with grain rearing its ugly head on a regular basis.

Also, given that tops of heads disappear on occasion throughout the movie, one has to wonder if the widescreen was created by hard-matting of a full frame picture.

Despite the downfalls, I still would recommend the movie, if for no other reason than to inspire the viewer to delve more deeply into research on the subject of McCarthyism, Cohn, and McCarthy himself.

Imaginative look at Roy Cohn
When Wisconsin Senator Joseph McCarthy muscled his way onto a committee investigating communist subversives in the government, he brought along with him Roy Cohn. The son of a New York state judge and a brilliant lawyer in his own right, young Cohn saw McCarthy's committee as a way to increase his own social and political position. After all, this hotshot lawyer helped send the Rosenbergs to the electric chair, so a stint busting Reds in the government seemed a logical progression for him. After the collapse of McCarthyism and the subsequent waning of the Red Scare, Roy moved into a private legal practice in New York. Many considered this lawyer one of the most brilliant legal minds in the country, and Cohn got plenty of work in high profile divorce cases and even worked with members of the Mafia on occasion. Roy Cohn died in 1986, a disbarred lawyer reduced to a shattered husk of the dealmaker he once was. HBO thought Roy Cohn an intriguing enough character to fund this shrill 1992 effort starring the venerable James Woods as "Citizen Cohn."

The movie tells us that young Cohn quickly fell under the spell of his overbearing mother, an unnaturally close relationship that would last as long as she lived. Roy's father, a liberal judge with the firm idea that "what's right never changes," soon comes to despise his overly ambitious son and his morally suspect ways. After assisting in the conviction of the Rosenbergs, Cohn ingratiates himself with McCarthy in order to serve as the junior senator's chief counsel and personal attack dog. Moreover, Roy tells McCarthy that making Bobby Kennedy chief counsel for the committee (yes, RFK did a stint with McCarthy) could raise ugly charges of anti-Semitism because most of the men called in to testify are Jews. McCarthy soon regrets his decision as Cohn quickly takes over by grabbing the spotlight and developing most of the cases. The new chief counsel even insists on hiring G. David Shine, a hotel heir who doesn't know a thing about how to conduct a proper witch-hunt. It isn't any time at all before Cohn threatens people like Dashiell Hammett and the engineers working for the Voice of America in a shameful series of interrogations resulting in wrecked careers and ruined lives. When the United States Army drafts Shine, Cohn launches a personal vendetta against the Department of the Army. His goal is to procure an assignment for Shine on the committee, but the Army sees things differently. The military recorded dozens of threats Roy made against them and threaten to release them to the media if McCarthy and Cohn refuse to back off. The case does go to committee and the Army's attorney, Joseph Welch, publicly destroys the Wisconsin senator.

The rest of the film shows Roy in his post-McCarthy days: the endless deal making, the unethical behavior, and his closely guarded double life. We see Cohn attempting to work with J. Edgar Hoover to bring down the hated Bobby Kennedy, now the Attorney General of the United States and a man with a personal vendetta against the former McCarthy acolyte. There is a trial where the government brings a host of charges against Roy and cannot make them stick. We see how Cohn accepts money from people as "loans" and then promptly claims that these loans were "gifts." Through it all, no one can ever touch Roy Cohn; he is "the gingerbread boy," a blazing comet that threatens to destroy anyone who stands in his way. His amazement that no one stops him from lying, cheating, stealing, and intimidating people only serves to make him more obnoxious. No one tells Roy Cohn no, and he knows it.

The narrative technique used to tell his story is through flashback, as the ghosts of those Roy once terrorized visit him as he lies dying in a hospital room. These are not happy spirits: Ethel Rosenberg makes an appearance sneering and jeering at Cohn for convicting her of treason. She even charges that Roy did it because of her ethnicity, a claim Cohn rejects when he says he did it for the headlines. Some of these visits are slightly humorous, such as the revenant of Joseph Welch saying, "Have you no sense of mortality, sir, at long last? They need the room." Seeing Roy's mother show up and complain about her son dumping her ashes in the East River is worth a chuckle or two as well.

James Woods does his usual bang up job as the abrasive Roy Cohn and Joe Don Baker bumbles and harrumphs his way through the role of Joe McCarthy. These are the two stand out actors in the film, as the other characters necessarily come and go quickly in an effort to fit as much of Cohn's life into the picture as possible. Even then much of Roy's life is missing. The later sections of the film skip as many as ten years in order spend more time with the McCarthy hearings. While I recognize a screenwriter is going to focus on the Red Scare more than anything else because of the Hollywood Ten and all that stuff, that is no excuse to engage in the type of rampant rumor seen here. J. Edgar Hoover, Francis Cardinal Spellman, and G. David Shine are the targets of the wildest speculations. I guess it is easier to make these brazen charges against people when they are dead than it is when they are alive. Still, despite the historical tightrope "Citizen Cohn" teeters on, watching James Woods in yet another frothing at the mouth performance always pays off in the end.

A riveting movie
I don't know who they were giving oscars to in the year this movie came out but (as always) they fail to give them to the movie or the actors which deserve them and James Woods and the citisen Cohn sure deserved some oscar recognition for this masterpiece

For history buffs such as myself this movie is one of those you can watch again and again

5 stars out of 5

Decent, James Woods is awesome
The wonderful story of Roy Chon, friend and sometime lover of Hoover, died of AIDS. The movie was a little sketchy. It tried to seem dramatic and important but in the end the only thing this one has going for it is James Woods superior acting. Four stars just because Woods is in it.

McCarthy's right hand man
James Woods gives a riveting performance of Roy Cohn, the lawyer at the center of the US communist witch hunts of the early 1950s. The spoiled brat and closet gay on whom Joe McCarthy so naively relied is shown in a series of flashbacks from his hospital bed in the 1980s. The pace is fast with characters such as Bobby Kennedy, Walter Winchell and Ethel Rosenberg popping up here and there to shed light on Cohn's selfish character. Cohn's habit of helping himself at meals to other people's plates, notably Cardinal Spellman's, sums him up precisely. Naturally, there are moot points. There is, for example, no real evidence Cohn was David Schine's lover and Cohn's relationship with his father was more complex than the comtempt shown in the movie. No matter. Cohn's ability to ruin other people whilst serving his own career and bank balance is succinctly portrayed in an excellently written script. ... Read more