Reviews (110)

one the definitive films of the '80s finally on DVD!
WALL STREET has always been one of my favourite Oliver Stone films. it crackles with the same intense, acerbic dialogue as SWEET SMELL OF SUCCESS. from his "Greed is good" speech to the way he handles day to day deals with ruthless efficiency, you can see how Michael Douglas nailed this role of the ultimate amoral insider and deservedly won the Oscar that year for Best Actor.

after watching this film on a crappy pan and scam VHS tape, it is so gratifying to finally see this film given a proper DVD treatment. the transfer is crisp and clear with good sound but the real selling points are the fascinating documentary -- which features Douglas and Charlie Sheen and their views and thoughts of the film after all this time -- and Stone's informative and candid audio commentary. for someone like myself who has seen this film a zillion times, listening to Stone's observations on his movie was a real treat. great stuff. along with GLENGARRY GLEN ROSS, this is one of THE best films about money, greed and the people who ruthlessly pursue it.

'Gekko the Great'
Real-life bigtime investment banker Jeff Beck not only advised Oliver Stone when he made 'Wallstreet' but also stars in this film for a few minutes playing himself at a climactic meeting of topdog-lawyers and bankers. He delivers one of the many exhilirating monologues in this Epic tale of greed, pride and innocense lost. "Now your boss will really start thinking he's Gekko the Great!" He shouts at Bud Fox (Charlie Sheen) who plays a struggling young stockbroker who's desperately trying to get on the fast-track to becoming a "player".

Michael Douglas who plays 'Gordon Gekko' (not 'Gecko' as the Amazon review suggests, the name can be seen in the scene where Charlie Sheen turns on his computer in the morning and finds out it's "Gekko's Birthday") puts on such a mindblowing performance he really can be dubbed 'Gekko the Great'. The character is right up there with Don Vito Corleone, Tony Montana, Popeye Doyle and some other members of that elite group of high-octane male movie-characters that will long outlive the actors that created them.

Gordon Gekko is a high profile corporate raider that was probably modeled after Ivan Boesky (the biggest corporate raider of the 80's who eventually went behind bars for insider-trading), Michael Milken (creator and unchallenged 80's king of the high yield or junk-bond) and John Guttfreund (CEO of Salomon Brothers in the 80's who'se extravert and bizarre behaviour is documented in the classic books "Liar's Poker" (Michael Lewis) and "Barbarians at the Gate" (John Helyar).

Michael Douglas seems to have been born to play this part and from the moment he is introduced ("Lunch? whaddaya kiddin' me, lunch is for wimps!") to the moment we viewers have to part from his hypnotic character ("I gave you Darian, I gave you everything!") he reduces any leaps of faith that his character may present us with to tiny hops due to his powerhouse presence. In fact, whenever I see Michael Douglas in another movie I have the strange feeling that Gordon Gekko is trapped inside and might burst out at any time to hose us down with sardonic one-liners. ("Love is just an old lie created to keep people from jumping out of windows.")

Gekko is truly the "mother of all high-rollers", and his performance alone more than warrants the purchase of this film.

Charles Sheen plays a believable 'Bud Fox' but one wonders what a late 80's Tom Cruise or Kiefer Sutherland might have done with the part. Charlie never really creates the electricity that Douglas shocks the audience with.

I won't get into the details of the story here but will post some comments on the general themes in the movie.

There's the theme that Stone had already explored in 'Platoon' of two fathers fighting for the soul of their son. In Platoon it was Tom Berenger and Willem Dafoe battling for custody of Charlie Sheen's spirit. In Wallstreet it's Douglas and Martin Sheen representing the 'exciting but evil' and 'wholesome but tedious' ways to go for Charlie Sheen's character. This theme introduces some good tension in the storytelling.

The other theme that Stone put into this narrative is the bleeding heart "Capitalism is bad and unfair" jingle. "I don't produce anything...I own..." Gekko confesses at one point. "How many boats to waterski behind do you need? When is it enough?!" cries a shocked Bud Fox. The moral comments on succesful capitalists come accros somewhat naive and in my opinion don't really work. I won't go into the details but most people I've met who've seen the movie don't even remember what it was about Gordon Gekko that was so wrong. All they remember is the classic "Greed is Good" speech and ironically most of them agree with Gekko on the issue. The fact that Oliver Stone lets Gekko initiate industrial espionage is the reason I gave the movie only four stars instead of five.

I personnaly think this was a real blooper. A man in Gekko's position doesn't need the aggravation of blatantly breakin the law. There's a good plot-line concerning a fictive company 'Bluestar Airlines' that Gekko has his own plans with to make himself rich and get scores of hard working people fired that adds enough suspense to the tale. It seems as though Stone was so set on painting a negative picture of egoistical an a-moral Wallstreeters that he went one bridge too far.

Fact is that, if anything, this movie is like a recruiting video for Investment Banking. What "Top Gun" did for Naval Aviation "Wall Street" has done for Investment Banking. Big corporate banks have never had to complain about the amount of interested well educated young hopefulls but nowadays there's probably not one person sitting in any dealing room anywhere in the world who has not seen Wall Street. I am currently a trader in Amsterdam and I am convinced that if it wasn't for the scenes that have the camera following runners and stressed out yuppies yelling "How about those september 40's!" I wouldn't have been in this racket.

The dealing room-scenes are some of the most exhilirating scenes in the history of cinematography. Spielberg sucked in audiences with his scenes of Normandy's beaches in '44. Stone creates the same spellbinding grip on the audience without getting anybody shot or brutally maimed. That alone is a great achievement for any director in Hollywood. More so for the man who made a career in gory cinematic violence with 'Scarface', 'Platoon' and 'Natural Born Killers'.

Al Hail Gekko the Great! See this movie again and again. It's full of catchy one-liners that will make you not only the toast of any party but might provide you with more of an energy boost than any Tony Robbins video ever will. "Life all comes down to a few moments...this is one of them."

One of the Best Movies of the 1980's
Oliver Stone will never be known for subtlety. "Wall Street" bashes you over the head with its message- getting to the top in society requires duplicity, dishonesty, and the willingness to destroy any obstacle. However, unlike Ayn Rand, Stone vilifies rather than lauds this dubious morality. Bud Fox is a fresh faced, innocent stock broker trying to get ahead through hard work and elbow grease, as he was taught by his father. Bud soon meets powerful, charismatic corporate raider Gordon Gekko, incapable of love, remorse, or empathy. Gekko, we are told, sold NASA short 15 minutes after the Challenger exploded (impossible since the shuttle was destroyed in 1986 and the film is set in 1985!). Gekko predictably seduces Bud with his world of "perks", and Bud's star rises dramatically the farther he falls into corruption.

Throughout the film, Bud serves as a sounding board for the rival values of Gekko and his father. The speech most cited by critics and fans is the immortal "Greed is Good" monologue. While this speech, standing alone, is a vigorous defense of capitalism and selfishness, it is important to note that Gekko is using it at a shareholders' meeting against a lousy, entrenched, and greedy management!

Inevitably, Bud is forced to decide whether to follow his father's philosophy or Gekko's, and to pay the price for his misdeeds. A slight complaint with the ending- the fate of Gekko is hinted at rather than displayed. Gordon Gekko has become something of a hero for young, wanna-be big shots, who are attracted to the glamour of his lifestyle and his "up your's, I got mine!" attitude much as Bud was. Perhaps seeing Gekko get his comeuppance could have made an impression.

Overall, Wall Street is a tight, well done character drama populated with iconic characters delivering iconic dialogue that acts as an indictment of a decade. The movie and its message will stay with you long after viewing it.

As for the DVD, the sound, although in 5.1, is relegated almost exclusively to the center channel. One does not hear the sounds of Manhattan from all directions as Bud navigates the concrete jungle. The video quality appears grainy in some areas. This is a great movie worthy of better treatment on DVD.

Good.
'Wall Street' was a good movie, although once again, Oliver Stone goes way over the top. Powerful speech about greed by Michael Douglas though.

My favourite movie
I found this movie to be fantastic. I loved every minute of it. Most of this movie seemed to tie in with politics. Being a conservative, I found this very interesting. The plot of millionare Gordon Gekko followed along the ways life should be lived. Greed, power, and self-confidence.

Revenge was another big part in this movie. I liked how Charlie
Sheen played his role of Bud Fox. Towards the end the focus was to screw over Gekko and to have sweet revenge.

From this movie came my favourite quote of all:
"... greed, for the lack of a better word , is good. Greed is right, Greed works. Greed clarifies, cuts through, and captures the essense of the evolutionary spirit. Greed, in all its forms-greed for life, for money, knowledge has marked an upward surge of mankind..."

I'm not sure that my way is the way that Oliver Stone intended his movie to be interpereted. Oh well, I don't necessarilly care. Greed is Good! ... Read more

Reviews (897)

"No hay banda! There is no band. It is all an illusion."
David Lynch's "Mulholland Drive" is a whole lot of nothing. People have attached various meanings to the images, dialogue, and events in it, but this has been a waste of a tremendous amount of time. "Mulholland Drive" is nothing more than a failed-television pilot that was edited together with some newly-shot material so that all the previously-shot footage would not go to waste. To think that some people believe that the end product is a momentous creative accomplishment is mind-boggling because "Mulholland Drive" is all smoke and absolutely no fire.

Wide-eyed Betty Elms (Naomi Watts) arrives in Los Angeles hoping to become a major star in the entertainment industry. Rita (Laura Elena Harring) has been targeted for death but has her life spared when an accident enables her to escape her fate. The lives of the two women become strangely intertwined when Betty finds the amnesiac Rita taking a shower in her aunt's apartment. In the course of trying to find out who Rita really is, the two women come across a movie director named Adam Kesher (Justin Theroux) who might hold some of the answers the women are seeking. Before all is said and done, a decomposing body is discovered which proves to be the key to unraveling the mystery behind Rita's identity and the strange relationship she has with Betty.

So what did Lynch intend to accomplish with "Mulholland Drive"? Did he want to create a surrealist work that would redefine the film narrative? Did he want to create a post-modern film noir that was so stylish and complex that it would belong to a category all its own? Did he want to prove that a film could effectively tell a story using only symbols and metaphors? Did he want to create the cinematic version of the cosmic joke? The more you think about it, it seems the "cosmic joke" choice might be the correct answer - and boy, did Lynch pull a fast one by tricking Universal into releasing this film and tricking us into watching it. Truth be told, "Mulholland Drive" is not the crowning achievement of his career - it is instead incontrovertible proof that Lynch has crossed over from being a director who makes "unique" films to being a director who makes "incomprehensible" films. The fine performances by Watts, Harring, and Theroux are wasted here as is the beautiful production design and cinematography. It is too bad that all of these separate elements did not find a home in a better production. "Mulholland Drive" is simply the equivalent of an abstract painting in which people see whatever they believe they see when looking at it. If you believe that pointless ambiguity is a desired goal of the creative process then this film is for you. Look elsewhere if you're not entertained by staring at nothingness.

a beautiful masterwork
This film has a haunting beauty that is akin to experiencing Klee upon the first time. The mystery and sensuality wrecks havoc of all your senses. I relished the experience.

Midgets!
This film is David Lynch doing what he does best: screwing with people's heads until they want to smash their VCRs. There's everything you expect from Lynch; bizarre, dreamlike situations, whacked-out characters with no clearly defined purpose, an inexplicably foreboding atmosphere. Oh, and of course, the entire cast shifting identities in the last half hour. While I loved it, there was one particular moment which was a bit too unsettling, even for Lynch. You see, there's this elderly couple who appear at the beginning. They're kind of strange, and have smiles plastered on their faces. They disappear for the next two hours, which is nothing new. Near the end, they show up again - as...hyperactive two-inch tall midgets. Even Eraserhead's singing worm creature didn't disturb me as much. I mean, midgets are kind of disturbing, and old people who can't keep smiling are also kind of disturbing, and when you combine the two...

25354. IRS97, stick to reviewing Charlton Heston movies
... Because apparently that's all you know.
Your recent attacks on 'Age' for her response to your original aggresively offensive review attacking anyone who has a taste for Lynch's art are as 'ignorant' as your original review was.
Age, as most people who admire Lynch's art, has a passion for the art of film and music.
Dirge9 (whom I do not know!) recently wrote a superb review of Mulholland and what it truly is.
A lot of reviewers (besides myself and my group of 7 artists)
have responded to your 'movies are just movies mentality'.
And, your conservatism shows IT'S age.
Comparing the art of Lynch to the 'art' of someone like Charlton Heston is excrutiatingly laughable.
I can see why, as an American conservative, you 'get' Heston, the most arrogant Hollywood actor of all time. There's even an 'in joke' in Mulholland with the casting of Chad Everett (who brilliantly parodies his own Hollywood image) that is comparable to the like and mentality of Heston, the once president of the Hollywood Actors Union who blatantly attacked Ed Asner for his political stances and had enough Hollywood clout to see to it that 'Lou Grant' was taken off the air.
Mulholland is so anti-Hollywood in every frame. It mocks Hollwood's 'The story must be clear, cohesive and literal' mentality.
This film pulls the rug out from under the Hollywood type viewer's feet in every sense imaginable.
Hollywood is a facade and Mulholland mocks that facade. Nothing is as it seems, hence the two halves of the film. First, we have the facade, then the ugly truth comes out and does so in such a way that it brilliantly leaves the viewer scratching his head.
'What the hell just happened?' is the typical response.
Admittedly, this film is not at all friendly to the Hollywood type viewer (aka yourself).
it's amusing too that in looking now at all of your reviews that you liked 'The Shining' (another anti-Hollywood film), anD detested both 'Twister' and 'Zardoz'.
'Age', in the college we attended, wrote reviews very similar to your views on those three films.
And yet,even though you, like her, pointed out the downright ignorance of 'Twister', and the Hollywood hyper pretentiousness of Zardoz, and praised the brillance of that horror epic, 'The Shining' you did not 'get' the similar sentiments of Lynch's 'Mulholland and 'Lost Highway'.
There are movies and there are films and Mulholland fits squarely into the latter.
Film is as much a visual 'art form' as painting is, while 'movies' are valid forms of entertainment, usually created by Hollywood business men.
Europe is far more advanced in it's thinking regarding film as an art form and Lynch has a very European artist's frame of thinking.
Another reviewer recently wrote of 'elitistic taste' and wrote that this is something to strive for.
Mulholland is a perfect example of a film being for 'eltistic taste' and like Dirge9 I agree that the fact that this film gets the passionate reviews that it does, is refreshing because it proves that Lynch's art is indeed challenging and every negative review you give it further proves this point.

and another thing, part two
I notice my previous review is getting only "unhelpful" votes. So let me try to explain myself yet again. David Lynch is interested in making preposterous movies. David Lynch is perniciously interested in making movies that are basically terrible, yet terrible in a dissociative way. The essence of a David Lynch movie is that it is a load of horse puckey, to quote the apartment manager in Mulholland drive. What's that? You want examples? Well, lets take another of Lynch's movies, Lost Highway. Bill Pullman's character is established as morosely mellow and more or less inert. Cut to: a scene of him playing his saxophone in a club, "wailing on it" as they say. This is in total contradiction to what we have just seen - contradiction being the main form of literary humor - but more importantly, Pullman is a very, very bad saxophone player. His playing is preposterous. One cannot take him seriously as a musician. Another example, from the same movie, is Richard Pryor as the garage manager on the phone to a potential customer. He says, "We got eight guys here. I'll let you talk to five of them; and if you can get that price from ONE of them, I'll let you ask the other three." Any questions? Is this not self-evidently complete and utter nonsense? And what about the fact that halfway through the movie Bill Pullman turns into a totally different guy and so is let out of jail. After all, since he is not the same guy they put in there, they gotta let him out. That follows, don't it? Am I making myself clear?
No? Okay, what about David Bowie in Fire Walk With Me? He plays a Texan. I am sure he was cast as a Texan precisely because David Lynch figured on Bowie being unable to do a convincing accent. He says to his casting director, "Let's have Bowie play the Texan. He'll do a terrible job and it'll sound like sh*t." Am I getting through to you people now? David Lynch intentionally makes very bad movies. What?!?!? Another example?!?!? Well, how's about Laura Palmer saying to her boyfriend, "I'm long gone, like a turkey in the corn." "Don't say that. A turkey's one of the dumbest birds there is." (tears falling down her cheek)"Gobble...gobble...gobble..." Can't you see what I'm saying to you?!?!?
DO YOU BEGIN TO SEE THERE IS NO BOY THERE IN THE DARK ROOM?!??! ... Read more

Amazon.com

What a combo! Tobe Hooper, the director of The Texas Chainsaw Massacre, teamed up with family-oriented producer Steven Spielberg to make Poltergeist. The film is about a haunted suburban tract home in a development very much like the Arizona one in which Spielberg was raised. (Because it came out the same summer as Spielberg's E.T., it was tempting to see both movies as representing Spielberg's ambivalent feelings about childhood in suburbia. One was a fantasy, the other a nightmare.)Spielberg also cowrote the screenplay, which taps into primal, childlike fears of monsters under the bed, monsters in the closet, sinister clown faces, and all manner of things that go bump in the night. At first, some of the odd happenings in the house are kind of funny and amusing, but they grow gradually creepier until the film climaxes in a terrifying special-effects extravaganza when 5-year-old Carole Anne (Heather O'Rourke) is kidnapped by the spooks and held hostage in another dimension. Though not nearly as frightening as Hooper's magnum opus, or the original A Nightmare on Elm Street, which came along two years later, Poltergeist is one of the smartest and most entertaining horror pictures of its time. --Jim Emerson ... Read more

Reviews (147)

Haunting.
Steven Spielberg doesn't just make great family films and moving dramas. He also can help make a great horror movie. Of course, he had some help from famed horror director Tobe Hooper. However, make no doubt the hand of Spielberg is all over POLTERGEIST and the movie wouldn't be the classic it is without his guiding vision.

The movie is about the Freeling family, a typical suburban family living in an above average suburbs. Everything about the Freeling's life seems normal. That is until the youngest daughter, Carol-Anne. (Heather O'Rourke) starts hearing voices late at night from the television. She wakens the family late one night to announce that, "They're heeere." From there the Freeling's lives are slowly turned upside down as small ghostly pranks such as moving chairs and breaking glass snowball into more and more frightening incidents until young Carol-Anne is kidnapped into the neatherworld by forces from beyond.

JoBeth Williams pulls off a wonderful performances as the distraught mother and Craig T. Nelson is a joy to watch as the family's patriarch.

POLTERGEIST is a horror movie that is remininscent of an Alfred Hitchcock movie, but with an extra heaping of Spielbergian special effects. The movie is full of suspense, yet actually contains very little violence, hardly any foul language, and no sex. If the film wasn't so frightening, it could be a family film.

A HORROR CLASSIC--AND RIGHTFULLY SO
What sets Poltergeist apart from the usual banality of other horror films is quite simple: this one actually has a story. A story that is as touching and beautiful as it is bloodchilling. This movie actually grabs you by the heart and holds on tight until you reach the final credits. The plot centers on the suburban Freeling family and the supernatural havoc their home is wreaking on them all. There is no sex, no slashing, and minimal gore, and yet you are quite honestly frightened out of your wits. The special effects-- which include a spectral parade down the stairs of the Freelings' home and a massive, roaring skull forcing its way through a doorway--are spectacular, and the cast is genuinely talented. The way Diane Freeling (JoBeth Williams) caterwauls in despair when her daughter, Carol Anne (the late Heather O'Rourke) is abducted by the spirits is heartwrenchingly believable. In short, this is a true must-see. Other standouts: Tangina Barrons (Zelda Rubinstein), a determined clairvoyant; and Dr. Martha Lesh (Beatrice Straight), a hard-nosed but sensitive parapsychologist.

"IT KNOWS WHAT SCARES YOU..."
When two of the greatest directors, horror master Tobe Hooper (creator of "The Texas Chainsaw Massacre" & "Salem's Lot") and filming genius, Steven Spielberg (creator of "Close Encounters of the Third Kind" & "Schindler's List") came together, the blockbuster smash-hit, "Poltergeist" was born and blew audiences away worldwide! A classic combo of epic proportions that brought us one of the most horrifying, imaginative, and powerful films ever put on the BIG SCREEN!

Originally released in 1982, Heather O' Rourke plays the main role as loveable (and cute!) Carol-Anne, while JoBeth Williams, Craig T. Nelson (leading star of the 80s T.V. sitcom hit, "Coach"), & Zelda Rubinstein would probably be considered the supporting actors. It is the most original and creative ghost story since "The Exorcist" (1973) & "The Amityville Horror" (1979) about the Freeling family who lives in the beautiful California suburbs. (which is where the movie was filmed) Carol-Anne somehow has a link with the supernatural via the family television set and soon strange and funny things begin to happen: a large earthquake strikes the community, chairs begin moving on their own, and the family dog begins barking for no apparent reason. (Or so it looks from OUR point of view!)

However, the phenomenon soon turns into a terrifying nightmare of unspeakable horrors: the mysterious tree outside in the back yard comes to life and nearly swallows Carol-Annes' brother, Robbie whole; and Carol-Anne is sucked into a parallel demension (the afterlife) through her bedroom closet. Now, it's up to a group of professionals in the study of the paranormal and a gifted elderly psychic to get her back!

(WARNING: Do NOT read this if you have not yet seen the movie. Contains spoilers...)

In the world of the afterlife, Carol-Anne continues to be tormented by the powerful entity (AKA The Beast) and soon her mother must be plunged into the spectral world herself, while her husband and the others assist her safe return in the process. Barely escaping the undead insanity, Carol-Anne and her mother are brought back to our reality through a gateway in the bathroom ceiling.

Everything is back to normal and everyone is safe again... OR SO IT SEEMS! One night, the family agrees to leave their beautiful home but the nightmare isn't over yet! Robbie is attacked by the one thing that scares him, his stuffed clown doll, while the mother tackles head on with the beast ITSELF! The spirits are now PISSED!! Carol-Anne and Robbie are nearly swallowed back into the portal to the afterlife but are saved by their courageous mother.

The father, being a real estate agent arrives home with his boss and is enraged with anger with the discovery that the town cemetary's headstones was moved but the bodies were left buried under the Freeling's home. After a breathtaking escape, all hell breaks loose in the suburbs in an explosive thrill-ride finale! The ending was quite clever and nicely done and once you see it, you'll never think of T.V. sets the same way again! The DVD includes WIDESCREEN & FULLSCREEN animorphic formats and the original theatrical trailer to the film which is nice for an extra treat! But keep in mind that the BONUS extras are pretty limited.

There are absolutely NO BTS footage, let alone cast interviews or director commentaries. During the production of the film, real scary events were reported happening which weren't supposed to happen and ironically a few years later, Heather O' Rourke, Dominique Dunne (who played Carol-Anne and Robbie's older sister, Dana Freeling), & Julian Beck (who played the villain, Kain in the sequel) died. (Heather O' Rourke died before the release of "Poltergeist III") I only hope that maybe in the future a Special Edition 2-disk set of the movie can be available, teaching us what REALLY happened during filming with the cast interviews and such. After all, it would give Tobe Hooper and Spielberg fans a more insight to the movie. For now, this is the best version of the movie you can get and is without doubt, a MASTERPIECE in cinema!

I GIVE IT A 10/10!!!! DON'T MISS OUT ON THIS #1 HORROR CLASSIC! BUY TODAY!!! I also recommend, "The Amityville Horror", "Tourist Trap", "The Exorcist", & "The Funhouse" in addition! They are all truly horrifying films in their own unique way.

Always Liked This But...
Poltergeist comes from my childhood so it will always be a part of me. It was one of the first films I remember seeing and I will never forget it. To watch it now brings back memories of being a kid and for that it will always have a place in my heart. This film was never that scary to me. For some reason I found it too silly to be scary. Poltergeist is also one of the dumbest movies to be made because there is no way a family would stay in a house AFTER chairs pile up on the table and they hear voices at night. Also who would stay in this house AFTER they got Carol Ann back? That was the straw that broke the camel's back. When I was a child I didn't notice these things but as an adult it makes a once very interesting film seem down right pathetic. I still like this movie it just makes no sense whatsoever.

Poltergeist (1982)
Director: Tobe Hooper
Cast: Craig T. Nelson, Jobeth Williams, Beatrice Straight, Dominique Dunne, Zelda Rubenstein.
Running Time: 114 minutes.
Rated PG for ghastly scary scenes and some language.

The anticipation for "Poltergiest" was imminent. With "Texas Chainsaw Massacre" director Tobe Hooper teaming with the likes of Steven Spielberg (who has directed such classics as "Jaws" and "Jurassic Park") and Frank Marshall, it was bound to be a supernatural classic. The team did not disappoint. This film is one of the most stylish, devilishly entertaining horror films of the past quarter century, using superb special effects, fine performances, and an elegantly humorous screenplay as a springboard to portray the terror of restless spirits.

The opening scene of "Poltergiest" is the most famous, presenting the cute six-year old girl Carol Ann in front of a disoriented television screen. As the girl turns back to her family, who has fallen asleep watching a television program, she proclaims "They're here!", creating the foundation for a tense, roller-coaster ride full of ghoulish thrills and chills. When the family realizes that their house has been inhabited by fiendish spirits who wish to use their daughter as tool to reach the next world, parents Steven and Diane (played extremely well by "Coach"'s Craig T. Nelson and the charming Jobeth Williams) must put their faith back in love and use sheer determination to save their family from the evil ghosts.

Some of the most memorable and witty scenes involve the quirky haunted house specialist (played by Rubenstein), which she guides the Freeling parents into a world of unspeakable horrors as they attempt to rescue their daughter. The musical score by Jerry Goldsmith is evocatively on the mark, using a chorus of children vocalists that not only create a glorious harmony, but add an eeriness to the film. "Poltergiest" is not only a ghost tale, but a film that renders a theme of hope and faith, using a gentle touch that is not found in many horror films. A magnificent spectacle of stricly original terror, "Poltergiest" has withstood the tests of time and is still of one of the best. ... Read more

Amazon.com

"Do ya wanna party?" challenges the soundtrack to this freaky and funny reworking of George Romero's Night of the Living Dead. Paced to the beat of a pounding rock score, this comic flesh feast delivers both laughs and outlandish gore. No longer lumbering, moaning creatures, these lithe, feral, and cunning undead claw their way out of the cemetery and into the skulls of a human smorgasbord. They even master the art of home delivery: "Send more cops," croaks a corpse into a patrol car radio. Director Dan O'Bannon even takes pains to explain their motivation between the tributes to the granddaddy of zombie horrors ("Well, it worked in the movie!" screams James Karen when a pickax to the skull hardly phases a lively cadaver). Not that it really matters amid the gore and gallows humor, but it does add a kick to the cynically sinister climax. --Sean Axmaker ... Read more

Reviews (141)

"It worked in the movie!"
Re-animated corpses, swearing, blood & gore, full-frontal female nudity, iconoclastic jabs at American culture, and lots of gallows humor--what more could a horror fan ask for?

Any genre fan who has a morbid sense of humor is sure to enjoy 1985's THE RETURN OF THE LIVING DEAD. In the same vein as other tongue-in-cheek horror shtick such as the Chiodo Brothers' KILLER KLOWNS FROM OUTER SPACE and Sam Raimi's ARMY OF DARKNESS, this one's specifically a spoof of George Romero's classic and highly revered zombie film NIGHT OF THE LIVING DEAD. Director/Screenwriter Dan O'Bannon, probably best known for having penned the original ALIEN movie, does a fantastic job of lovingly poking fun at the Horror and SF genres while at the same time satirizing everything from the U.S. Military to Punk Rock. This movie is not only funny, it's got plenty o' "brains"!

And you can't beat the financial value of the DVD edition. Not only does it cost less than a lot of other full-length, widescreen DVD thrillers--including some that are hardly worth the plastic and aluminum it took to make 'em--but it also includes these cool extras: an optional audio commentary by O'Bannon and production designer William Stout; both the G-rated and R-rated theatrical trailers; over 5-minutes of various TV spots; some storyboard-like production stills; and a really cool "Designing the Dead" featurette, in which O'Bannon and Stout discuss the evolution of the final look and feel of the movie (lots of great shots of Stout's EC-Comics-like designs for the zombies offered in this one).

THIS FILM ON DVD WAS WELL WORTH THE WAIT
Well, Well, Well, here's a film that offers great brain food ... RETURN OF THE LIVING DEAD. This film was a surprise hit in August 1985 when this film was released theatrically. I think both cops and peramedics enjoyed this film as well.

This film stars James Karen, Clu Galuger (Nightmare 2), Thom Matthews (Jason Lives : Friday the 13th Part6), scream goddess Linnea Quigley (who plays Trash in this movie), Miguel Nunez and Marc Venturini (whom both appeared in Friday the 13th Part5 - The New Beginning) and a bunch of other actors we all never heard of.

This film pays homage to Night of the Living Dead - the George A. Romero 1960 classic. It also blends in horror along in with comedy (one of the first horror films to do it) with satisfying results. My favourite part of this film is when Trash (Linnea Quigley) visits the Resurrection Cemetary with her friends and tells them her fantasy of dying - to be attacked by older men and eaten alive - and Trash just happens to get her wish.

This film deals with a medical worker (James Karen) and his assistant (Thom Matthews) encounter cannisters of dead cadavers, that splits open that awakes the dead and they turn to a crematorist for help - with disasterous results. The army eventually gets involved and the dead are ready to party.

This film has a good sound mix for a film of the 80's era. A good 80's soundtrack that is now hard to find. A noted song in this film Tonight (We'll Make Love Till We Die) by SSQ was better known as Stacey Q who would later sign on with Atlantic Records the year later with the #2 hit "Two of Hearts". Unfortunately for Stacey Q, she was a one hit wonder, made two albums and was dropped by Atlantic Records in 1990.

I have nothing but great things to say about this film and this DVD. MGM did a great job with the transfer of this film, both piture and sound quality wise. This film is presented in tis standard version and for the first time in widescreen (1.85:1) version. Extras include a soundtrack commentary, a "Featurette" with the writer and director Dan O'Bannon, tv spots and two theatre trailers. This film is a must have for fans of the genre and of this film. Highly reccomended for cops and peramedics !!!!

This film and DVD is well worth the wait so do get your copy today !!!!

"Not the common Zombie flick"
In this sequel of N.O.T.L.D, a mortician I guess you could say, cremated a Zombie and the smoke from his ashes created acid rain which brought the dead back to life. Like I said it's not the common zombie flick, in this sequel the zombies run and talk, which is kind of a disappointment, but it was something different plus it wasnt a Romero film but it was pretty good. Its worth buying and holding on to. It was pretty cool when they basically interviewed the Head of a zombie to ask why it was killing people, so that was a plus. Pretty good and like I said its definately worth buying.

i love all the return of the livind dead's
hi i just want everyone to know these return of the living dead are the best movies i had ever seen ....i wish so bad they will make a remake of this movie like they did to the dawn of the dead cause these movies were my favorite especially this part ..part1 ....i am so happy they are starting to make zombies movies agin....that i remeber it was residents evil first it was ok but not a real zombie movie then dawn of the dead....now i want my favorite one ...(return of the living dead)remakeings...

Perversely funny and haunting
Taking the old zombie/living dead legends and movie treatments, and then standing them on their ears, RETURN OF THE LIVING DEAD is a perversely funny and, yet, fiercely frightening movie. A combination of "The Night of the Living Dead," "Thriller", and a little bit of "Sid and Nancy", RETURN OF THE LIVING Dead is a great punk horror film. The tag-lines are hysterical. (My favorite: "Hey, guys, how can you kill something that's already dead?" "You know, Frank, the kid's got a good point there")

Some gruesome special effects, especially the make-up, are effective, but they do not overwhelm the film. The cast, playing it up between tongue-in-cheek camp and true terror, is made up mostly of no ones but they are quite up to the task. RETURN OF THE LIVING DEAD is a great horror comedy. ... Read more

Amazon.com

Any Given Sunday, Oliver Stone's salute-cum-exposé of pro football, belabors some pretty obvious points for nigh onto three hours; but between the frenetic editing, the pounding rap-music beats, and several flashy performances, it's certainly never dull. Al Pacino, coach of the fictional Miami Sharks (the NFL declined involvement in this production), struggles with the most time-honored of sports movie dilemmas: what to do with the old friend who's past his prime and the young hotshot who could save the franchise but first has to learn what being a team player is all about. Comedian Jamie Foxx does a marvelous dramatic turn as the rookie quarterback whose ego and talent are equally impressive, while Pacino seems more at ease in Oliver Stone Land than any actor since regular James Woods (on hand as well as a sleazy team doctor). Prowling the sidelines, shouting spittle-flecked orders, seizing up in almost physical pain when a play goes the wrong way, Pacino is as unashamedly--and entertainingly--hyperbolic as Stone's whirling montages of boiling storm clouds, bloodthirsty fans, and players smashed into the mud. (Once again football, perhaps the most sophisticated of team sports, is viewed cinematically as a bunch of guys hitting each other in slow motion.) Unfortunately, all the self-conscious mythologizing and pumped-up macho posturing that Stone can muster doesn't conceal a clichéd, slapped-together script, whose few good ideas (mostly about race in America) jostle about with several hoary, terrible ones--including a too-literal analogy of football players as modern gladiators. (To drive the point home, Stone includes Charlton Heston--the aging Ben-Hur--in one of many star-powered cameos.) All in all, Any Given Sunday is never dull, but never very enjoyable, either. --Bruce Reid ... Read more

Reviews (205)

Any Given Sunday
This was truly an excellent film. This movie is Oliver Stone's best since Platoon. The fast-moving and dizzying cinemaphotography fits the high adrenaline atmosphere of the professional football world well. The film is also perfectly cast. Pacino gives life to the head coach, and Cameron Diaz's clearly most intense role as the team's owner is believeable. James Woods gives an excellent performance as the team doctor, who doesn't really seem to care about anyone but himself. Jamie Foxx has a breakthrough dramatic role as the new hotshot quarterback, whose ritualistic vomiting adds humor to the movie. With his performance, we find out Foxx really can act. LL Cool J, also puts through a convincing performance as the team's running back. Dennis Quaid doesn't really do much as the former QB with injury problems except help to develop Pacino's character. An outstanding cast, that features Charlton Heston as the football comissioner, and Ann-Margaret as Cameron Diaz's alcoholic mother. Former pro football players Jim Brown and Lawrence Taylor pop up as members of the team. I recommend it highly. This is possibly the best sports movie ever made.

War games.
Oliver Stone's cinematic obsession with portrayting American culture as a Vietnam battleground continues with this exhausting study of their national sport.

Once again abandoning the traditional story-telling conventions in favour of flashy cutting, trippy camerawork and a barrage of electic musical snippets, this is a game of two halves. Although the hour or so of in-your-face American football footage is hypnotic, thrilling, scary and technically astounding, the off-field conflicts offer the same old tired sports cliches, albeit with big names and Stone's eccentric camerawork.

The first half hour of the film is almost a mini masterpiece. Sticking the audience smack in the middle of a ferocious game of American footbal, he brilliantly orchestrates frenetic, muddy, bloody, bone-crunching MTV visuals in a Natural Born Killers vein, and introduces the stressed protagonists. There's explosive coach Tony D'Amato (Al Pacino), cynical owner Christina Pagniacci (Cameron Diaz), dedicated star player 'Cap' Rooney (Dennis Quaid) and self-important star player to-be Willie Beaman (Jamie Foxx). When Rooney receives a major injury, Beaman is thrust into the spotlight and begins to show his potential. As his quarterback skills improve and the team seems destined for a play-off place, his arrogant disregard for the rest of the team causes majoy ructions. Meanwhile, Tony and Christina's major hate-hate relationship worsens.

There's a handful of other subplots too, which you could probably write yourself and the fine supporting cast - James Woods, Matthew Modine and Aaron Eckhart - are criminally underused. The behind-the-scenes drama is decently performed, but it seems so flat and pedestrian compared to the explosive games, that you find yourself willing on the next touchdown. Pacino is energetic as usual, even if he is in shouty auto-pilot, Foxx is almost Oscar-worthy in a memorable performance, and Diaz is pretty amazing, it is good to see the actress playing different roles, as her character, Christina Pagniacci is a cold-hearted bitchy business woman, and Diaz usally plays blonde sweet-hearts.

It would seem that the character-and-plot driven days of Platoon and Born on the Fourth of July are long gone for Oliver Stone. Pushing the technical envelope is an alright decision, but it is about time Stone varied his game a little.

About more than just the game
I'm not a football fan. In fact all I know about the game is that there is a ball that must be moved from one end of a rectangular field to the other. Stone decided to draw parallels between this modern game and the gladiators in Ancient Rome. The suggestions were anything but subtle, what with the grunting, clashing sounds, the numerous shots of Ben Hur and the actual references in the film you couldn't help but notice.

Although this movie is ostensibly about football, I came away from it learning a bit more about life. The movie is about an old coach (Al Pacino) whose love of the game has blinded him to life's real pleasures, an injured QB (Quaid) who is easily manipulated by others to continue playing even if it is detrimental to his health. The daughter (Diaz) of a dead football 'baron', who seeks to fulfill her father's lost hope for a son, and a rising star (Foxx) who is blind to everything but his own gratification. From these cast of characters Stone creates drama.

This movie is exciting even for those, like me, who aren't too interested in football. The game scenes seem more like gladiatorial battles than actual football games, and you are left wondering if we have really changed from those Romans thousands of years ago, the way 'we' love these slugfests.

As some earlier reviewers mentioned, Stone appears to be slightly biased in his portrayal of the management of these teams. They are definitely out to make money, but I doubt they are as ruthless as they were made out to be. He should have had some perspective in this movie so as not to make it seem like the management were the 'baddies' and the players hapless pawns.

Overall, this was a great movie. I'd recommend it to anyone who likes drama. For those with kids, you might want to watch it beforehand as it has some sexual scenes, nudity and quite a lot of obscene language.

Not quite there, but entertaining.
In Oliver Stone's Any Given Sunday, the audience gets hit by cliches as fast and as hard as the fictional Miami Sharks' quarterbacks get hit by other players during the film's opening game. The audience also get hit hard by the (overly) kinetic editing, both of the film and of the mish-mash adrenaline pumper of a soundtrack, featuring an assortment of rock, rap, and techno beats. Stone and co-writer John Logan push (overly) to get us to buy into their vision of the NFL as a modern gladiatorial arena, and frankly, it doesn't always work; Logan would later get his gladiator fix by co-writing Ridley Scott's crowd-pleaser, well, Gladiator. Still, Logan and Stone manage to score some points with their (overly) broad script which tries to give us an all-encompassing view of modern professional football. Inevitably, it proves too much, and the writing just proves too wide in scope to create a balanced and clear film, though it does have its shining moments, such as when Coach D'Amato (Al Pacino) has comments on the (overly) commercial persona the NFL has adopted, or when Cameron Diaz's character's mother describes the "tragedy" that is her daughter.

Pacino, completely at ease in an Stone flick, gives his first real performance in a long time. Both in his in-game frenzy and in his drunken, sadder scenes, Pacino delivers the goods. Comedian Jamie Foxx also turns in a winning dramatic performance as the rookie quarterback. Come to think of it, the whole cast is stellar and all perform well. Stone seems to bring out strong, almost flamboyant, performances in his actors, and in Oliver Stone films, that's very appropriate. However, the MTV-inspired soundtrack and cinematography detract from the serious delivery of some of the film's concepts. At times, the film seemed more an extended music video than anything else.

Any Given Sunday is a rough movie, both in terms production and in content. The film, despite its lengthy runtime, still feels like it left much of its ideas unsaid; the script just tries too cover simply too many characters and concepts, leaving many of the key players in a somewhat shallow and cardboard like state. Still, Any Given Sunday is an entertaining movie, and fans of football, Oliver Stone, and movies overloaded with dizzying amounts of music and testosterone will no doubt be pleased by the time the credits roll.

MOST REALISTIC SPORTS MOVIE EVER
Among Oliver Stone's work includes "Any Given Sunday" (1999), as good and realistic a sports movie as has ever been made. It features an over-the-top performance by Al Pacino as a veteran pro football coach who can still motivate his over-paid, over-sexed, over-drugged, slightly thuggish, mostly black (except for a few White Aryan Brotherhood linemen) mercenaries with a speech that sends Knute Rockne to the bench.
He reportedly is working on the story of the 1934 Republican industrialists who recruited Marine hero Smedley Butler to overthrow Franklin Roosevelt, which was the genesis of "Seven Days in May". We are still waiting for Tinsel Town to take on Kennedy stealing the 1960 election. It could be a long wait. If any producers are reading this, I am offering my services at the Writers Guild minimum. ... Read more

Reviews (85)

Preposterous, But Fun Jungle Adventure
In the tradition of H. Rider Haggard and "Indiana Jones" comes another blockbuster adaptation of a bestselling Michael Crichton novel. Up until now, this has not been one of his better known books, although it was a good enough read. The film is okay, but hopefully it will lead people to the even better book.

The story begins in the jungles of the Congo. An expedition of scientists has discovered an incredible find: a huge source of pure, blue diamonds. They communicate the good news back home, but before they can transmit their coordinates, they are suddenly attacked and killed. But by what?

Another scientist is sent in to find out. Dr. Karen Ross (Laura Linney), for reasons best left unexplained, attaches herself to a mission already bound for Zaire. A primatologist (Dylan Walsh) is returning his talking gorilla-she communicates through sign language-to her home in Africa. He is accompanied by a mysterious and very shady Romanian "philanthropist" with the unlikely name of Herkermer Homolka (Tim Curry). Karen comes along at a crucial time with a pile of money and is soon part of the gang.

Once in Africa, they meet up with Monroe Kelly (Ernie Hudson), their Great White Hunter "who happens to be black." That's when their adventure begins in earnest and it is a wild one. I won't give it away here-you probably wouldn't believe me anyway-but it is exciting and suspenseful, if never actually believable.

The screenplay for "Congo" was written by noted playwright John Patrick Shanley ("Moonstruck"). He has an odd sense of humor-witness his underrated "Joe Vs. the Volcano"-that is very much in evidence here. The story at times borders on the ludicrous and it is filled with all the delightful cliches that usually populate jungle adventure films (e.g. porters who go missing in the night, and a corpse with a diamond clutched in its hand).

Maybe the film wouldn't have worked any other way. I don't know. By making the story a pseudo-spoof, though, Shanley has removed the dramatic tension and suspense that made the novel work. Since everything is played for laughs-all too frequently unintentionally-then it is almost impossible for us to really get involved and care about what is happening.

Still, there is always pleasure to be had from a film that doesn't take itself too seriously and is not above poking fun at the customs of its genre. "Congo" has that, plus a few exciting scenes and some fun performances, particularly by Ernie Hudson. It is certainly not a great film, but it is a pleasant diversion on a hot summer day.

Why are these folks so critical, was the book so good?
I did not read the novel and while I won't say it's the best movie ever made (It's probably a four and a half in my opinion) I found it perfectly entertaining. Admittedly, I have read a lot of SF and like well made SF and adventure movies (Aliens 2, Matrix, even Bakshi's LOTR) but I also enjoy any genre of movie that is created with attention and art if possible and not with lowest-common-denominator formulaic design or for contract obligations. True, if your looking for dramatic acting, go watch "Boys Don't Cry", or "Men Don't Leave" (Movies, not a Four Seasons greatest hits compendium) Congo lacks the special effects of the newer Godzilla movie, but I enjoyed it more than the latest Star Wars movie (Phantom Menace) Congo, which I have watched twice on VHS and will most likely pick up on DVD, has, as one of the other reviewers noted, a Saturday morning adventure feel. It was tense and the gorillas were well done for monster movie make-up. The characters all unobtrusively played out their archetype roles. I recommend this movie to those who can keep thier minds open and who have a taste for adventure in a E. R. Burroughs vein.

EXCELLENT STORY-EXCELLENT MOVIE!!!
Definitely a great adventure and one of my personal favorites, Congo, brings to the screen a tale set in the African jungles involving an unlikely group that has banded together in search of a lost city and the rare diamonds that are rumored to exist there in abundance. The actors' performances are outstanding, especially Tim Curry whose "Romanian philanthropist" character steals the show. The plot, the jungle ruins, and the battles are all wonderful, making this film one of the best of its kind.
Congo is an action packed movie with strong elements of Indiana Jones and Tomb Raider, therefore, a "must see" for those with a passion for archaeology, mystery and adventure.

Before Python there was Congo
Made way back in 1995. A horror story about a lost city and killer gorillas. A research team is slaughtered by some unknown creature will locking for a dimon to power a laser. Design for communication. She goes on a quest across the africian border to retrive it.

What she things is an ancient legendary city and killer gorilas. Can the survive and get off the island. Before the volcano errupts.

If you like Congo I also recomend Raptor, Python, Phyton 2, Anadaconda.

Entertainment well done
I loved this movie, bought the DVD and watch it over and over the performance is so good. It is hard to single out any one thing. The musical score and songs are so good, I keep playing them over in my head. The scene where Dylan Walsh's character starts singing "California Dreaming" to Amy and everyone of the Africans join in the song shows the universality of music and song to people. As with any well executed movie, the details were done right letting the viewer enjoy the actors work. All of the priciple actors came accross as believable in their characters. The only mystery to me is the total lack of credit listing for Joe Pantoliano's participation and his character not even being listed in the ending credits! There must be some Hollywood Gossip behind that. Ernie Hudson really stole the show. The using of a British accent was genius. Since the English colonized and ruled most of Africa for years and set up most of the schools, an African guide would speak English with a British accent. The ending sequence with the volcano erupting and the land splitting brings back fond memories of 1940s "expedition" movies that always ended with such a scene.

"Congo" is entertaining, well directed, scored and acted. It is well worth the price of purchase and my only critcism (the devil is in the details) is the depiction of too few porters to haul the amount of equipment they kept coming up with for different scenes. Laura Linney's character was great! She had the best lines in the movie too.

Rent it or buy it, you will not regret it. ... Read more

Reviews (205)

Any Given Sunday
This was truly an excellent film. This movie is Oliver Stone's best since Platoon. The fast-moving and dizzying cinemaphotography fits the high adrenaline atmosphere of the professional football world well. The film is also perfectly cast. Pacino gives life to the head coach, and Cameron Diaz's clearly most intense role as the team's owner is believeable. James Woods gives an excellent performance as the team doctor, who doesn't really seem to care about anyone but himself. Jamie Foxx has a breakthrough dramatic role as the new hotshot quarterback, whose ritualistic vomiting adds humor to the movie. With his performance, we find out Foxx really can act. LL Cool J, also puts through a convincing performance as the team's running back. Dennis Quaid doesn't really do much as the former QB with injury problems except help to develop Pacino's character. An outstanding cast, that features Charlton Heston as the football comissioner, and Ann-Margaret as Cameron Diaz's alcoholic mother. Former pro football players Jim Brown and Lawrence Taylor pop up as members of the team. I recommend it highly. This is possibly the best sports movie ever made.

War games.
Oliver Stone's cinematic obsession with portrayting American culture as a Vietnam battleground continues with this exhausting study of their national sport.

Once again abandoning the traditional story-telling conventions in favour of flashy cutting, trippy camerawork and a barrage of electic musical snippets, this is a game of two halves. Although the hour or so of in-your-face American football footage is hypnotic, thrilling, scary and technically astounding, the off-field conflicts offer the same old tired sports cliches, albeit with big names and Stone's eccentric camerawork.

The first half hour of the film is almost a mini masterpiece. Sticking the audience smack in the middle of a ferocious game of American footbal, he brilliantly orchestrates frenetic, muddy, bloody, bone-crunching MTV visuals in a Natural Born Killers vein, and introduces the stressed protagonists. There's explosive coach Tony D'Amato (Al Pacino), cynical owner Christina Pagniacci (Cameron Diaz), dedicated star player 'Cap' Rooney (Dennis Quaid) and self-important star player to-be Willie Beaman (Jamie Foxx). When Rooney receives a major injury, Beaman is thrust into the spotlight and begins to show his potential. As his quarterback skills improve and the team seems destined for a play-off place, his arrogant disregard for the rest of the team causes majoy ructions. Meanwhile, Tony and Christina's major hate-hate relationship worsens.

There's a handful of other subplots too, which you could probably write yourself and the fine supporting cast - James Woods, Matthew Modine and Aaron Eckhart - are criminally underused. The behind-the-scenes drama is decently performed, but it seems so flat and pedestrian compared to the explosive games, that you find yourself willing on the next touchdown. Pacino is energetic as usual, even if he is in shouty auto-pilot, Foxx is almost Oscar-worthy in a memorable performance, and Diaz is pretty amazing, it is good to see the actress playing different roles, as her character, Christina Pagniacci is a cold-hearted bitchy business woman, and Diaz usally plays blonde sweet-hearts.

It would seem that the character-and-plot driven days of Platoon and Born on the Fourth of July are long gone for Oliver Stone. Pushing the technical envelope is an alright decision, but it is about time Stone varied his game a little.

About more than just the game
I'm not a football fan. In fact all I know about the game is that there is a ball that must be moved from one end of a rectangular field to the other. Stone decided to draw parallels between this modern game and the gladiators in Ancient Rome. The suggestions were anything but subtle, what with the grunting, clashing sounds, the numerous shots of Ben Hur and the actual references in the film you couldn't help but notice.

Although this movie is ostensibly about football, I came away from it learning a bit more about life. The movie is about an old coach (Al Pacino) whose love of the game has blinded him to life's real pleasures, an injured QB (Quaid) who is easily manipulated by others to continue playing even if it is detrimental to his health. The daughter (Diaz) of a dead football 'baron', who seeks to fulfill her father's lost hope for a son, and a rising star (Foxx) who is blind to everything but his own gratification. From these cast of characters Stone creates drama.

This movie is exciting even for those, like me, who aren't too interested in football. The game scenes seem more like gladiatorial battles than actual football games, and you are left wondering if we have really changed from those Romans thousands of years ago, the way 'we' love these slugfests.

As some earlier reviewers mentioned, Stone appears to be slightly biased in his portrayal of the management of these teams. They are definitely out to make money, but I doubt they are as ruthless as they were made out to be. He should have had some perspective in this movie so as not to make it seem like the management were the 'baddies' and the players hapless pawns.

Overall, this was a great movie. I'd recommend it to anyone who likes drama. For those with kids, you might want to watch it beforehand as it has some sexual scenes, nudity and quite a lot of obscene language.

Not quite there, but entertaining.
In Oliver Stone's Any Given Sunday, the audience gets hit by cliches as fast and as hard as the fictional Miami Sharks' quarterbacks get hit by other players during the film's opening game. The audience also get hit hard by the (overly) kinetic editing, both of the film and of the mish-mash adrenaline pumper of a soundtrack, featuring an assortment of rock, rap, and techno beats. Stone and co-writer John Logan push (overly) to get us to buy into their vision of the NFL as a modern gladiatorial arena, and frankly, it doesn't always work; Logan would later get his gladiator fix by co-writing Ridley Scott's crowd-pleaser, well, Gladiator. Still, Logan and Stone manage to score some points with their (overly) broad script which tries to give us an all-encompassing view of modern professional football. Inevitably, it proves too much, and the writing just proves too wide in scope to create a balanced and clear film, though it does have its shining moments, such as when Coach D'Amato (Al Pacino) has comments on the (overly) commercial persona the NFL has adopted, or when Cameron Diaz's character's mother describes the "tragedy" that is her daughter.

Pacino, completely at ease in an Stone flick, gives his first real performance in a long time. Both in his in-game frenzy and in his drunken, sadder scenes, Pacino delivers the goods. Comedian Jamie Foxx also turns in a winning dramatic performance as the rookie quarterback. Come to think of it, the whole cast is stellar and all perform well. Stone seems to bring out strong, almost flamboyant, performances in his actors, and in Oliver Stone films, that's very appropriate. However, the MTV-inspired soundtrack and cinematography detract from the serious delivery of some of the film's concepts. At times, the film seemed more an extended music video than anything else.

Any Given Sunday is a rough movie, both in terms production and in content. The film, despite its lengthy runtime, still feels like it left much of its ideas unsaid; the script just tries too cover simply too many characters and concepts, leaving many of the key players in a somewhat shallow and cardboard like state. Still, Any Given Sunday is an entertaining movie, and fans of football, Oliver Stone, and movies overloaded with dizzying amounts of music and testosterone will no doubt be pleased by the time the credits roll.

MOST REALISTIC SPORTS MOVIE EVER
Among Oliver Stone's work includes "Any Given Sunday" (1999), as good and realistic a sports movie as has ever been made. It features an over-the-top performance by Al Pacino as a veteran pro football coach who can still motivate his over-paid, over-sexed, over-drugged, slightly thuggish, mostly black (except for a few White Aryan Brotherhood linemen) mercenaries with a speech that sends Knute Rockne to the bench.
He reportedly is working on the story of the 1934 Republican industrialists who recruited Marine hero Smedley Butler to overthrow Franklin Roosevelt, which was the genesis of "Seven Days in May". We are still waiting for Tinsel Town to take on Kennedy stealing the 1960 election. It could be a long wait. If any producers are reading this, I am offering my services at the Writers Guild minimum. ... Read more

Reviews (62)

Pure B-grade cheese
The first Return of the Living Dead (thank God its finally on DVD) was an instant classic, and the filmakers of this sequel decided to throw any kind of seriousness out the door completely and offer up some laugh out loud zombified fun. Thom Matthews and James Karen return to their roles from the original, this time a few kids discover a broken cannister which soon leads to zombies taking over the entire town. As with the first film, these zombies aren't just stumbling around; they are fast, smart, and vicious, but the film itself isn't scary or even overly gory for the most part, its just intentionally funny (by the time the Michael Jackson "Thriller" zomie jumps in out of nowhere during the electricution scene at the end I was literally rolling around the floor laughing like an idiot), but horror fans looking to take this seriously will hate it. All in all, those looking for a horror/comedy with some brains (no pun intended) should be satisfied with this. Look for X-Files and Shocker alumnus Mitch Pileggi in a cameo.

Strill good even now.
This movie may not have the same tone or feel of the first film but hey, its an 80's zombie gorefest complete with another slimy Trioxin zombie. This film gives the zombie epidemic more effect b/c it's not just limited to the graveyard and its surroundings.....these zombies reak havoc(albeit silly)on the city. The music in this one isnt as good as the original...no Cramps or 45 Grave this time. Not much else to say other than its a good zombie film. Not as good as the first but it still goes well with it. Hell, I thought the third one was decent and gory despite the love story...we need more zombie love stories..right? right?! Get this on dvd and enjoy until you too become (un)dead

Great Classic
I really think this is the best out of all the return of the living dead movies.
1.You get to see more zombies.
2.It is more entertaining ,and fun.
3.There is more gore.
The first one most of the zombies were covered in mud as with this one the movie has more better make up effects. Sure it is cheesy but that is what i like about. I am so glad this is finally coming out on dvd if you truly love zombie movies this is definately worth having in your collection because the just don't make fun,good or creative horror movies like this anymore.

Hey its No original....but at least its a worthy sequel!!
Its pretty clear to everyone that this sequel is not a good as the first one....but it has its cool moments, unlike the third one!!!! BUT BEHOLD RETURN OF THE LIVING DEAD FANS!! A studio is finally producing this classic sequel on dvd for the first time. There will also be many extras to satisfy the long wait on this title. These are not rumors either, this is accurate news. Just be patient..I have a feeling whatever studio producing this title on dvd will not let the fans down...so be on the look out!!!!!!!

...
Time for a DVD, what are they waiting for? ... Read more

Amazon.com

At the top of his game, Stephen King has a real gift for miningmonsters--zero-at-the-bone horror--out of everyday faces and places. Adaptedfrom a novella in the 1982 collection that also spawned Stand by Me and TheShawshank Redemption, Apt Pupil looks at first as if it might drawauthentically enlightening terror from the soul-cancer that makes bloodrelations of a Southern California golden boy (Brad Renfro) and an aging Naziwar criminal (Sir Ian McKellen). Turned on by a high-school course about theHolocaust, Todd Bowden (such a bland handle for this top-of-his-classsociopath!) tracks down Kurt Dussander, a former Gestapo killer hiding in theshadows of sunny SoCal. Blackmailing the old man into sharing his firsthandstories of genocide, the teenager trips out on the virtual reality of themonster's memories. There's perverse play here on the way a kid hungry forknowledge can bring a long-retired teacher or grandparent back to life. Trulysuperb as James Whale in Gods and Monsters, McKellen brings subtlety to thisStephen King creepshow: his dessicated Dussander is like a mummy or vampire revivified by Todd's appetite for atrocity.

Considerable talent intersects in Apt Pupil: It's director Bryan Singer'sfirst film since The Usual Suspects, that enormously popular, ratherheartless thriller-machine. The outstanding cast also includes DavidSchwimmer as a Jewish guidance counselor pathetically impotent in the face ofTodd's talent for evil, and Bruce Davison as Todd's All-American Dad, lackingthe capacity to even imagine evil. And the story itself has the potential forgazing into the heart of darkness right here in Hometown, U.S.A. But Apt Pupiljust turns ugly and unclean when it trivializes its subject, equatingHolocaust horrors with slamming a cat into an oven or offing a nosy vagrant (Elias Koteas). Reducing the great spiritual abyss that lies at the center ofthe 20th century to cheap slasher-movie thrills and chills is reprehensible.Both Todd and the writers of Apt Pupil should have heeded the old saw: Whensupping with the devil, best use a long spoon. --Kathleen Murphy ... Read more

Reviews (94)

DISAPPOINTED
I gave this film two stars - one each for the great performances given by the actors. As far as the movie itself, it started out great but ended with not only a fizzle but left me scratching my head...

What was the point? An A student going bad? Where was the Stephen King in this picture? This could have been based on any old story.

While the storyline itself was fascinating and when the boy forced the old man into the Nazi uniform, I was right there. I invisioned all sorts of follow up but felt so let down with the dismal ending.

WARNING: Anybody who really wants to see the movie stop reading at this point. To sum it up the movie is boy finds old Nazi, boy tries to manipulates old Nazi, old Nazi comes back swinging, changes his minds, get found out, dies and boy becomes somebody not very nice. Blah, blah, blah. So what. I wanted the movie to make me care. It didn't.

Don't take that trip to the video store, save your money and wait for it to come out on cable or rent something really good because Apt Pupil simply wasn't.

Don't believe true evil exists? You have a lot to learn!
Director Bryan Singer seems fascinated by the dense blackness that comprises the unpleasant side of the human psyche, and he has built a reputation on creating films that explore those darker facets of mankind. Fans will not be disappointed, then, by APT PUPIL (1998). It is a riveting but disturbing fictional thriller that deals with the real-life subjects of evil and the Holocaust, the latter being a topic that is often regarded as too sensitive and controversial for all but non-fictional works. With APT PUPIL--which is based on a Stephen King novella--Singer actually uses the Holocaust as a backdrop for his exploration of the ease with which evil can take root in even the most prosaic of locations in the everyday world. And to a lesser degree, the film is also Singer's comment on the strong influence that an authority figure can have on shaping the worldview of a naïve and eager disciple.

In the film, an American high-school honor student (Brad Renfro) who is fascinated by the history of WWII--specifically the Holocaust--discovers that an elderly German émigré (Ian McKellen) living in the neighborhood is actually a hunted Nazi war criminal incognito, and the clever boy is able to gather enough evidence of this fact that he could easily expose the old man's true identity. But instead of turning his data over to the authorities, the boy uses it to muscle the elderly gent into sharing the details of the atrocities he committed during the war--details that "they're afraid to tell us about in school."

Of course, the old Nazi is outraged, but he also knows he's been trapped. So he ultimately resigns himself to the situation, and detailed stories of heinous actions he does tell. It isn't long before the recounting of his wartime atrocities awakens the old man's long-dormant fiendish and sadistic urges. And though the stories at first give the boy nightmares, it doesn't take too long for the boy's mind to start soaking up the vicious and perverse Nazi philosophy like a sponge soaks up water. The boy is an apt pupil indeed.

The acting in APT PUPIL is nothing short of superb. As the Nazi fugitive, the venerable Ian McKellen delivers a tour-de-force performance. He skillfully creates a convincing portrait of an utterly sadistic and amoral personality that is successfully kept hidden behind the façade of a subdued and affable persona. McKellen's performance is so realistic, in fact, that one is simultaneously awed by the actor's talent and disturbed by his characterization. Brad Renfro is also excellent--and frightening--as the white-bread everyboy whose minor inclination towards sadism is transformed into unfettered evil under the influence of the aging Nazi refugee. And though Renfro hasn't McKellen's range of skill or experience, he plays well against his mature colleague and does not come off as second-best.

David Schwimmer--better known from his role as Ross on TV's wildly popular FRIENDS--gives a believable and refreshingly somber performance in a supporting role as the boy's school counselor. And genre fans will surely recognize Bruce Davison, here playing the boy's father, from his break-out performance as the titular character in the original WILLARD (1971). Fans may also recognize genre regular James Karen, who here appears as the boy's grandfather.

As stated before, it is often considered a no-no to reference or address the Holocaust in fictional films. So it's not surprising that some critics decry APT PUPIL for trivializing the Holocaust and the suffering of Holocaust victims. But this criticism is unfounded, especially in light of the character treatment in this film. While it may be true that McKellen's interpretation of the fugitive Nazi is sometimes sympathetic, the actor never portrays the old man as repentant and therefore never assuages the repugnance or wickedness of the acts committed by such Nazis during WWII. And when the boy reveals what HE has become under the old Nazi's tutelage, his true nature is regarded as frightening and dangerous and NOT glamorous or alluring.

The DVD edition from Columbia/Tristar is a two-sided disc that offers an anamorphic widescreen version of the film in its original 2.35:1 aspect ratio (side A), as well as a full-screen pan-and-scan version of the film (Side B). The widescreen version is pristine, with few, if any, visible digital or filmic artifacts. Also on the disc are the original theatrical trailer and a short making-of featurette. All in all, this is an impeccable, reasonably priced edition of a captivating film that belongs in the collections of all serious genre fans or lovers of good cinema.

"Well today I am going to tell you story about an old man.."
This movie was not a horror movie like the preview might stimulate it as being but it is more of a dark drama, until the middle when it starts going into the thriller genre. This movie was as good as it was because of one person, Ian Mckellen. He made the movie and put on a chilling performance as the Neighbor Nazi. The movie's ending I didnt expect it, but it did not have the huge twist like Usual Suspects, Singer's other movie, but I still thought it was neat. Overall for six dollars i felt that this movie was sure worth the price and i would have payed ten to see it.

Implausable.
'Apt Pupil' was half decent until the ending, where the resolution of the story was ridiculously implausable. Yes, the Germans did very terrible things during WWII, but how long will the media continue to hammer the Germans over and over again? Haven't we had enough of the German Holocaust Thing? How many more movies can they possibly make about the subject matter??

DILATED PUPIL
Buoyed by the marvelous performances of Ian McKellen and Brad Renfro, APT PUPIL, Stephen King's expose on the horrors of the Holocaust, manages to entertain and provoke thoughts of this horrible blight on mankind.
However, at the heart, I couldn't understand Renfro's obsession with the Holocaust, nor really understand where his cold heart came from. His cruelty in humiliating McKellen during the infamous uniform/march scene, is totally despicable in showing Renfro's callousness. Everything points to the fact that despite McKellen's evil, Renfro's is even worse in that he chooses it for pleasure, rather than the distorted duty of a Nazi soldier.
The movie seems a little long at times, but director Bryan Singer keeps things interesting and his evocation of the above mentioned performances, is to his obvious credit. ... Read more

Reviews (20)

A must for all Pfeiffer fans.
Up Close and Personal does the impossible: it manages to jump from different settings within two hours and shift its plot while keeping the audience wanting more and more. Pfeiffer stars as a reporter, Tally, who has always aspired to make it to the top in television news. Along the way, she meets a veteran newsman, Warren Justice (Robert Redford), who gives her a chance at a reporter. As she begins to mature in her stories and her thirst for knowledge heightens, she begins to turn heads in the news business, and ends up moving from a station in Miami to a station in Philadelphia. All the while, Tally and Warren struggle to keep alive a relationship that both know is inevitable. Performances from all actors are very original and heartfelt, under Jon Avnet's wonderful direction. Thomas Newman's score is brilliant, and fits in at every moment to add to the emotional appeal of the movie. A storyline that never stops moving at times keeps the energy alive, which makes this movie one that will please most people.

SURPRISING
I recently happened to see (quite by accident, which I guess is what "happened to" implies) Up Close and Personal starring Robert Redford and Michelle Pfeiffer. I was completely against seeing it. It looked positively ridiculous and asinine from commercials, making it seem like a wholly sappy love story between an older man and an up and coming woman (who would of course be nowhere if it weren't for his benevolence and patience). Not to add the terrible Celine Dion theme song. After watching it, however, I realised that while it was not great by any means-a bit better than mediocre entertainment perhaps-it was much better than I expected. Much different from what I expected as well. It was entirely mismarketed. Not to add that STUPID title. Really should be seen to understand what I mean. I don't want to hash out all the plot details because it would just waste your time and mine when you could just watch the movie and find out for yourself. It does have a sad ending, which was also a pleasant surprise. You kind of expect a movie like this to end happily ever after.

Not all that, but Pfieffer and Redford make it worth it
Both actors deliver fine performances. Even though the plot is ho-hum, the movie is still interesting to watch. Sad, of course, as all fine love stories are. But worth a peek.

emotional
This is one of the first movies I can say that I made me cry at the end that I love. Redford and Pfeiffer are AWESOME and it had all the things a movie must have; action, romance, and humor.

Get out your suspension of disbelief!
This movie was interesting enough to keep me watching to the end but I was disappointed. Maybe I missed the point, but it seemed to me that almost nothing about this movie was real. Robert Redford's character wore clothes and had furniture that seemed mostly lifted from the Sundance Catalog. Michelle Pfeiffer's character never seemed to be doing any research but rather staying late at work to play solitaire on her computer. And we later are expected to believe that she gets up from her wedding bed to work at her laptop on a news story. I found it a sad reflection on Hollywood's take on American values and an insult to the viewer's intelligence. ... Read more

Reviews (21)

A Thriller That Has Not Dated
THE CHINA SYNDROME is one of those rare films that has more than just highly competent acting, scripting, and directing going for it. Current events also pops up from time to time to remind us that the events on the screen fit only too carefully into the jigsaw puzzle of art imitiating life. Just a few weeks after this nuclear power plant disaster film was released, a real life and similar catastrophe happened at the Three Mile Island nuclear plant. And then a decade later, a colossal meltdown at the Russian nuclear facility at Chernobyl again served as warning that if fallible human beings are permitted to design and run nuclear power plants, then the events of THE CHINA SYNDROME are just waiting to happen.

Director James Bridges pictures the fictional Ventana nuclear facility as an inevitable calamity to be. Jack Lemmon is shift supervisor Jack Godell, a man who is dedicated to the safety of the people of California. At first, he staunchly defends the integrity of his bosses who warn him that this plant must go online on time. Soon enough, with the help of television reporter Kimberly Wells, (Jane Fonda) and cameraman Richard Adams, (Michael Douglas) Godell discovers that safety has taken second place to corpora