Reviews (130)

Takes classic film noir detective story to new heights
This 1974 film takes the classic film noir detective movie to new heights. Yes, there is murder, scandal and lots of lies. But yet Jack Nicholson, cast as a private eye, is a sympathetic character. There's one scene in which the director, Roman Polanski, playing a bit part as a thug, rips open Nicholson's nose with a knife. This is the kind of wound that makes the audience grimace every time someone refers to it in the film. Faye Dunaway is cast as the femme fatale. She's beautiful, of course, and it's hard to take our eyes off of her. She's a woman of mystery, but little by little we glimpse her humanity. And by the time her secret is revealed, she's won everyone's heart.

Based on a real life scandal in Los Angeles in 1908, another underlying theme is about water and power in this desert city. The action takes place in the 1930s, and the details of that period of time are well portrayed, right down to Faye Dunaway's shaved and penciled eyebrows. The screenplay won an Academy Award and I can understand why. It was tightly written and revealed details that moved the plot forward at just the right pace. I sat there fascinated, not wanting to take my eyes off the screen, trying to figure out what would happen next and constantly surprised by the next twist and turn. John Huston is cast in the role of a wealthy landowner with a huge secret of his own. He's a fine actor and his presence on the screen added depth to the whole production.

The DVD has a special interview with the writer, Robert Towne, as well as Roman Polanski. This added to my enjoyment of the film and provided further insight about its production. Definitely recommended.

Transcendent Film Noir
I've seen very few "greatest film" lists that don't have Chinatown among the top 10, or even top 5. It's deserving. It's done in the style of a '50's film noir, but transcends the genre.

There are great performances here by Jack Nicholson and John Huston. Nicholson plays a jaded but heroically decent private investigator in the mold of Humphrey Bogart. He's much less the tough guy than Bogart, though, and you get the impression that he'd rather being doing something less seedy for a living. It's a very subtle portrayal. Huston, on the other hand, plays a tycoon whose mere presence on the screen can make your skin crawl.

The film stands out in just about every respect. The sets are wonderful and the cinematography beautiful to look at. Even the score is exceptional.

The DVD is a little short of extras, but they really aren't missed. The transfer is very high quality in all respects.

To the brainiac above who doesn't understand why the water is being dumped in the ocean: they're trying to create a drought to drive the farmers out of business. That's pretty much the key point of the plot. And, yes, a .38 snubnose is perfectly capable of hitting someone at 50 yards. Guns & Ammo tests them to that distance all the time. Get a clue!

A Master Screenplay, A Perfect Film
Many writers consider Robert Towne's screenplay for 'Chinatown' as the perfect screenplay. It is, and is also in fact the example of how important good writing is in the art of cinema. It is perfection and in the hands of Roman Polanski it became a film masterpiece. But it all goes back to the writing. Robert Towne has taken the true story of how Los Angeles stole water to grow and wound around it the fictional story of Jake Gittes, Evelyn Mulwray, and Noah Cross and made them major participants in an ugly little tale of lust and greed. Towne's screenplay is layered like a decaying Dahlia with twisting mysteries and taught suspense. There is not a loose end in sight and a few well placed red herrings are added to the mix to delight any fan of this type of story.
The attention to detail from vintage cars, sets, real L.A. streets and alleys to the excellent score by Jerry Goldsmith and the golden cinematography of John A. Alonzo contribute to all the aspects of this classic of the post 60's film noir.
Faye Dunaway as Evelyn Mulwray is at the top of her game creating a neurotic exotic hothouse flower that carries death within the heart of her dark and dirty secret. Lacquered and veiled in the most perfect black widow getup of the genre she is superbly brittle and vulnerable at the same time. She is fascinating to watch as she slowly unravels along with the mystery until she is naked in the horror of what her past and present prison is. This is a great performance by a great artist.
As Evelyn's father Noah Cross, John Huston is the debauched cancerous center of evil and greed captured within the crumbling casing of a seemingly charming old man. He too gives the performance of a lifetime and his soliloquy on what a man is capable of is chilling.
The center of this masterwork is Jack Nicholson who became a star with this, the best of his early work. His J. J. Gittes is hardboiled and ruthless in getting to the bottom of why he is being used to take the fall for a murder. He embodies the soul of Bogart and the heart of a romantic fighting to stay tuff in a rotten world. He is drawn with such skill that he seems not to be acting but simply existing the real world of L.A. in the late 1930's.
"Chinatown" is seminal in its place in film history. It bridged and old and forgotten genre with a new Hollywood in its post studio infancy and laid the groundwork for later films of equal ambition such as "Mullholland Falls" and "L.A. Confidential".
This is one of the best film ever made and a must have for any serious film collector.

I cut my nose shaving
Not since Otto Preminger's LAURA had filmgoers the pleasure of watching a classic film noir, until Polanski's CHINATOWN. The plot and characters are complex but chillingly believeable. I can't find anything wrong with this film. It is well-paced for a fairly long movie. The lighting, cinematography, setting, costumes... everything is as should be. The performances by John Huston and Faye Dunaway are eerie and tragic, respectively. Then of course there's Nicholson. Mad Jack was already firmly established on the Hollywood map having already won acclaim for EASY RIDER, THE LAST DETAIL, and FIVE EASY PIECES. This film however fixed him permanently in the constellation of Hollywood stars. ONE FLEW OVER THE CUCKOO'S NEST would soon follow. In any event, his portrayal of an aloof, world-weary gumshoe who stumbles in over his head into an intrigue involving crooked politicians and the money-slobbering wealthy still holds up 30 years later. This is an incredible film.

THIS IS WHAT FILM IS SUPPOSED TO BE
The mid-1970s saw a spate of "government conspiracy" films, all with liberal themes that emanated from Watergate. None of them were about Kennedy stealing the 1960 election. Hmm.
"Chinatown" (1974) may be the best screenplay ever written. A historical look at 1930s Los Angeles, it actually condensed events from the 1900s with events that, uh, never happened but made for good drama. Written by L.A. native Robert Towne, directed by Roman Polanski, produced by Evans and starring Jack Nicholson, Faye Dunnaway and famed director John Huston, it told the story of how Los Angeles became a metropolis. In Towne's version, Huston "owns" the L.A. Department of Water & Power with a character based on actual L.A. City engineer William Mulholland. Mulholland had orchestrated the political deal which built the aqueduct that brought water from the Owens Valley into the L.A. Basin, allowing millions of Southern Californians to keep their lawns green to this day.
The Mulholland character is "sacrificed" at the altar of greed, embodied by Huston, who secretly buys the San Fernando Valley, knowing that once the water deal is set, it will be incorporated into the city, making him a gazillionaire. It is rather cynical, although nobody suggests the L.A. "city fathers" were boy scouts. The same old theme is that capitalism and American political power are corrupt. To make sure the audience is convinced the corruption is beyond redemption, Huston is in the end found out be an insatiable, incestual monster. He plays the role so well it brings up minds-eye imagery of his real daughter, Angelica. The film is utterly beyond any criticism, regardless of political colorization. For decades, film students and screenwriters have studied it. It spawned an artistic quest to lace the screen with symbols, metaphors, backstory, and twists.
"Chinatown" seems to be the apex of the American film period, the mid-1970s. The period from 1960 to 1979 is unparalleled, but the backstory of the people who created these classics is a telling tale of why the genre leans to the Left. In the 1960s, film schools became popular. Four schools emerged, and have held their place as the place to learn the craft. In Los Angeles there was the USC School of Cinema-Television. Their first big alumnus was "Star Wars" director George Lucas. UCLA combined their film school with their drama program, so as to bring actors, writers, directors and producers together. Coppola went to UCLA along with a future rock star named Jim Morrison, who would form The Doors with another UCLA film alumnus, keyboardist Ray Manzarek.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Amazon.com

David Lynch's 1990 Wild at Heart is an utterly random and ugly experience with pockets of startling imagery and inspired set pieces. Based on a Barry Gifford novel, the film stars Nicolas Cage and Laura Dern as lovers on the lam whose relationship is tested and who meet some truly dangerous wackos (including an almost-simian Willem Dafoe). Lynch's thoughts seem to be everywhere, and he expects the audience to keep up with a story that seems more a collection of avant-garde whims than a coherent vision with the intuitive brilliance of his Blue Velvet. Cage gives one of his more chaotic performances, but then he was just reading Lynch's signposts. --Tom Keogh ... Read more

Reviews (68)

if you're truly wild at heart, then you must .....
i first saw this film in theatres back in 1990 and i couldn't get the film outta my head. at that time, i knew very little about david lynch or his unique style. needless to say, i fell heart and soul for this maniac film and knew i would probably want to watch it over and over. nicolas cage gives perhaps his best performance prior to the wonderful leaving las vegas and i still think this film was very overlooked by everyone with the exception of true lynch fans. while this is probably his easiest film to date that the mainstream cinema could DIGEST, wild at heart is still very much avantguard as it is excessive in the language, violence, and sex departments. what makes this film so digestible is the ironic humor which surrounds the plot like a second skin. while still not a film for everyone, there is much to like about this david lynch treat. i particularly love the scene where nicolas cage is visited by the good which played by then unknown sheryl lee who advises him that the wild at heart must follow their dreams. shouldn't we all follow our dreams no matter how crazy or chaotic things may be?

Dear Tom Keogh,
Wild at Heart is, indeed, a film with some startling images. Any David Lynch fan will tell you that you should expect no less from him. In this film, Lynch is showing a subtle form of humor, he is referencing the Wizard of Oz (I'll not dare say "remake," he is rewriting it in his own fashion), and he is creating film as art in his typical fashion. You see, you actually have to pay attention to Lynch's movies in order to fully understand them. You likely have to watch them more than once to get his points. That's all part of the fun. If you bother to pay attention to the details of the movie, then you will understand that his thoughts are not all over the place at all, but are telling you a story, in Lynchian fashion. He doesn't take you by the little hand and lead you through a smarmy Hollywood film about life and love then whisk you off to a nice, rosy conclusion with a sunset and cutesy music. Don't expect the point to Wild at Heart to come easily. If that is what you want, may I suggest "Dumb and Dumber." David Lynch combines film with art and Wild at Heart is no exception. If you want a movie to present a simple story line and to conclude with a pretty red bow, then skip this one. But if you want to watch an outstanding David Lynch movie, then Wild at Heart will not disappoint. This is a fantastic movie.

PLEASE RELEASE IT ON DVD!!
David Lynch's Wild At Heart is a masterpiece, it won Palme D'Or at Cannes Film Festival for Best Picture. It has an outstanding cast, featuring Nicolas Cage, Laura Dern, Isabela Rosselini, Sheryl Lee,
Diane Ladd, Harry Dean Stanton, Willem Dafoe and so many other great actors! Why wasn't yet released on DVD in North America? Everywhere else in the world was. David Lynch is one of the best American directors and "Wild At Heart" is one of his masterpieces.
My favorite line from this film is: CENSORED.

Film of the Future
Lynch uses cinema the way it should be used. It's a naturally surreal medium, something only Lynch has truly understood, ever since Salvador Dali made Un Chien Andalou, all those years ago. Wild at Heart is totally coherent, as many reviewers have realised, even if only partly and subconsciously. All I would like to know is this: is the American South really the raw and mindless hell on earth that it seems to be in almost every film I've seen located there?

David Lynch's violent adaptation of the Wizard of Oz
Wild at Heart is David Lynch's violent adaptation of the Wizard of Oz with mesmerizing cinematography, which offers an exceptionally artistic cinema experience. Many scenes are visually packed as they offer much to ponder since they are often surrealistic or full of symbolism. The symbolism and surreal environment enhance the fantastic adventure into love, passion, and righteousness that Lynch provides for his audience. The tale begins with Sailor (Nicolas Cage) who was sent to jail for manslaughter as he killed a man in self-defense that was sent by his girlfriends neurotic mother. Released on probation Sailor is free and loving as he can reunite with his girlfriend Lula (Laura Dern) despite Lula's mothers opposition to their relationship. Lula's defiance upsets her mother who hires another hitman to slay Sailor. However, Lula and Sailor decide to take off to California and break Sailor's probation by following the yellow line on the road to the promise land. ... Read more

Reviews (43)

Something 'Worthwhile' has this way come
Excellent film adaptation to Mr. Bradbury's whimsical book by the same title.

The film is cast in the autumn (the autumn of life?) and a small town around turn of the century America (our dream of what America should be?). Two boys, Will Halloway and Jim Nightshade are excited to hear of a carnival coming to town (remember our youth when autumn always brought some sort of carnival to your town?). However, this carnival is no ordinary one. It's proprieter, Mr. Dark, offers people what they desire most -- at a fearsome price.

Jim and Will discover the underlying nature of Mr. Dark, his menions and the carnival and end up as quarry for the mysterious, sinister man. Will's father, Charles Halloway - the town librarian - is an unlikely hero who faces his own fears and temptations to protect the two youths from Mr. Dark.

Not really bloody or scary, I'd say the theme of this movie (that of facing the realities of life) creates uneasiness because of the familiar setting and its dealing with normal everyday people and their dreams/wishes.

The movie is well done and entertaining. Certainly worth a look. You might consider before allowing younger children to view it - it would probably give them dreams.

~P~

Love Bradbury! ...not so much love for film adaptation -
Director, Jack Clayton, The Innocents, [an excellent film...] Something Wicked This Way Comes (1983) -- Staring Jason Robards and Jonathan Pryce. This screenplay adaptation (1983), by the author, of his own novel Something Wicked This Way Comes, is good only during scenes with Robards and Pryce (these scenes are VERY good) yet, the plot is motivated by the actions of the characters of the two boys, Will Holloway and Jim Nightshade who, were inadequately cast (it's hard to find good child actors). Along with not being shot very well (Director of Photography, Stephen H. Burrum [the writer of this review simply can't tolerate the day-for-night scenes.]), it also seems that, 10 to 18 pages of the original script are missing from the final cut (the whole Tom Fury, B-Story), and much of the special effects scenes are cut in such a way as to reveal they didn't work and had to be cut out &/or around; how sad. The story simply falls apart! Somehow, a BEAUTIFUL script ended up as a film that, "had to be saved." Such, is the way of Hollywood.

Something Wicked This Way Comes, is available in paperback, ISBN: 0380729407 based on the screenplay, Dark Carnival by Ray Bradbury, based on the short story, The Black Ferris (1948), by Ray Bradbury available in ISBN 0-394-51335-5

Genuine Horror from Disney via Anchor Bay Comes
Based on the best-selling 1962 novel by venerable SF and horror writer Ray Bradbury--who also penned this cinematic adaptation--1983's SOMETHING WICKED THIS WAY COMES is the unabashedly nostalgic story of two young boys, Will Halloway (Vidal Peterson) and Jim Nightshade (Shawn Carson), who engage in a battle of wills with Mr. Dark (Jonathan Pryce), the nefarious proprietor of a preternatural carnival that that literally blows into the boys' hometown one brisk October night (circa 1940). When Will and Jim discover that Dark and his troupe of midway miscreants are hiding some evil secret that might endanger the town, the boys take it upon themselves to uncover the truth and protect their friends and neighbors.

Some viewers are surprised to learn that this somber film is a product of the Walt Disney Company. Though there are the lovable small-town characters that one expects from Disney, it is admittedly rare to find a Disney flick with an incorrigibly evil character such as Mr. Dark (obviously the Devil in all but name). It is also unusual for a Disney film to have such a grim atmosphere, at least one that is not regularly punctured with puerile comedic relief, but SOMETHING THIS WAY COMES has a consistently spooky ambiance and an earnestly frightening plot, both of which elevate it to the level of a genuine horror film DESPITE its Disney label.

The performances in SOMETHING WICKED THIS WAY COMES are top-notch. Jonathan Pryce is deliciously wicked as the enigmatic Mr. Dark--genre fans might recognize Pryce as the actor playing Governor Swann in the 2003 blockbuster PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL--and Jason Robards does a fine turn as the wise librarian father of young Will. Vidal Peterson and Shawn Carson, the two young actors portraying Will and Jim, are relative newcomers whose lack of substantial experience is an asset rather than a liability, as it actually adds to the realism of their characters' youthful innocence. Some of the seasoned actors that fill supporting and background parts also contribute greatly to the quality of the film. The gorgeous Pam Grier, star of several popular "blaxploitation" flicks in the 1970s, plays the carnival's witch-like fortune-teller; Diane Ladd plays Jim Nightshade's mother, a woman who is raising her son alone after both were abandoned by the boy's father; and Ellen Geer, daughter of the late Will Geer of TV's THE WALTONS, portrays the mother of Will Halloway. Horror fans might recognize the late Royal Dano in the role of Tom Fury, the lightning-rod salesman. During his lengthy career, the ubiquitous Dano appeared in such genre favorites as Hitchcock's THE TROUBLE WITH HARRY (1955), 7 FACES OF DR. LAO (1964), and KILLER KLOWNS FROM OUTER SPACE (1988); and also in episodes of genre TV shows like LOST IN SPACE, NIGHT GALLERY, AMAZING STORIES, and TWIN PEAKS.

Although the script does not have the same scope and attention to detail found in the novel, Bradbury has still done an exceptional job of translating to screenplay the novel's eerie essence and moral subtext. And director Jack Clayton does almost as well in visually interpreting Bradbury's script. He generates the perfect atmosphere for some genuinely creepy moments, and he is also quite adept at evoking Bradbury's primary theme of innocence lost.

SOMETHING WICKED THIS WAY COMES generates most of its chills and scares the old-fashioned way--through atmosphere, suggestion, good plotting, and great characterization. Unfortunately, the flick was originally released during the peak of the first big wave of slasher films in the early 1980s, and it was therefore unfairly ignored by moviegoers and panned by critics. But thanks to the cool folks at Anchor Bay, this little beauty has a new lease on life via DVD.

Anchor Bay's disc is short on extras, offering only the theatrical trailer and the option of viewing in either pan-and-scan or 1.66:1 Letterbox formats. But the digital transfer looks nearly pristine--even when viewed on a widescreen HDTV-- with only a few minor defects from the source print noticeable. In keeping with the subject matter, the film was shot with dark tones and subtle hues, and these come through wonderfully on the DVD. Serious collectors of horror films on DVD won't want to let this genre gem slip away.

More Than it Appears - Worthy of The Twilight Zone
I've read through several reviews and find myself in agreement with fans of this film. It is truly one of the most underrated films in Disney's library. Whether Disney has disowned it is questionable and I suspect there is a connection behind the scenes with Anchor Bay, just as there is (or was?) with Miramax Films.

The key to this film is that Bradbury captured the tone and flavor of his book perfectly. While nowhere near as complete as the book and the story told therein, it is, nonetheless, complete in and of itself. There's nothing missing for those who haven't read the book. But, if you liked the movie, go find a copy of his book and read it one dark and stormy night.

If you've seen some of the weird science before in other films, most likely it was because Bradbury wrote about it first. He is and was the Stephen King of his generation with such strange tales as The Illustrated Man and The Martian Chronicles (both are actually linked anthologies of his short stories).

If you haven't read the description of the film, it is a story about Middle America early in the first half of the Twentieth Century and two boys sharing their childhood. One comes from a respected, if unexciting family and the other from a less than honorable setting. Yet they live beyond their differences and hold on to their own special fantasies and memories in a Norman Rockwell sort of way. Life was simpler then than it is now, and yet it has its dark side, as the boys soon find out. Mr. Dark's Carnival has come to town in as mysterious way as it did in another time, many decades before, affecting all who became involved.

The film is deliciously handled with a flare that defies description, probably because Bradbury graced it with his retelling through the screenplay. Coupled with the compelling music that adds flavor and color to the outstanding cinematography, the film draws us into a Twilight Zone of the familiar and macabre.

The film is treated as one for children. It decidedly is not one for little ones who are half-awake, and yet the story is more disturbing to those who will think upon the hidden messages that are as old as time itself and what every parent dreads... What is to become of us? What is to become of our children? This is the very heart of the fear that is so omnipresent once the carnival arrives that dreadful night.

Don't just watch this story once. See it twice, but not on the same night. Give it some time to develop in your subconscious, and then, one autumn night, when the leaves are turning color, give it another look, ignoring the cliches it has spawned in other, later and lesser stories.

Disney does horror... really!
No need to repeat the plot you can read about that plenty below. This review is for parents.

Something Wicked This Way Comes is very scary. Not only have the censors totally misjudged this film but it is still classed as a children's movie! What rubbish! This is horror through and through, although albeit it can still be watched by kids but most adults will think twice about what they have just shown to them.

PARENTS SHOULD WATCH THIS BEFORE SHOWING IT TO THEIR KIDS.

This is not your average "darker" childern's flick like the Dark Crystal or the Black Caldron. It is much darker than that. I also remember a very graphic hand crushing scene. ... Read more

Reviews (79)

Good film, great extras
The breezy rehab story of Gwen Cummings(Sandra Bullock) and her 28 days towards the road to recovery isn't a perfect film by any stretch of the imagination, but it's definitely enjoyable.The key points to the DVD that may warrant you buying it are Betty Thomas's directors commentary, three character testimonials that were cut from the final film, instructions on how to make a gum wrapper chain like the fiesty heroine,theatrical trailers,and talent files. But the best thing, and possibly worth the price of the rest of the disc, is the hilarious 26 minutes of "lost episodes" of the fictional soap "Santa Cruz" that everyone at the rehab center watches.That alone is almost as funny as the movie, with the actors playing their scenes with intense seriousness amid ridiculous plot situations even more far fetched than the average soap.

Here's Looking at You, Sandra Bullock
Director Betty Thomas has achieved something rare: A modern movie that tackles a serious issue and emerges with it's tastefulness intact. "28 Days" has the plot of a drama, the soul of a comedy, the feel of a documentary and a fabulous performance by Sandra Bullock that gives each genre a place in the delicate mix of this wonderful movie.

Bullock is Gwen Cummings, an alcoholic, pill popping journalist who is sentenced to spend 28 days in a rehab center she drunkenly steals a limo and crashes it into a house. Leaving behind her boozy British boyfriend Jasper (superbly played by Domonic West), Gwen soon finds the support and understanding of her eccentric and often hilarious new neighbors. There's Eddie (Viggo Mortensen), the washed up baseball player who'll sleep with anyone; Oliver (Mike O'Malley), the wisecracking Park Avenue pot addict; Andrea (Azura Skye), a young woman addicted to drugs and a preposterous soap opera called "Santa Cruz," which she eventually turns everyone on to; and Gerhardt (Alan Tudyk), the wacky German. "28 Days," unlike an "Erin Brokovich" where one star dominates, is an ensemble film that allows a variety of talents to shine. And with a cast of this caliber, sometimes that shine rivals the stars themselves in brightness.

Despite many humorous moments, it's the dramatic aspects of "28 Days" that make it great. When Gwen becomes so desperate for her pills that she jumps out the window to get some she threw away earlier, the obsessiveness and despair of dependency are captured at their most vivid. Then there's her troubled relationship with her sister Lily (sensitively portrayed by Elizabeth Perkins), who can't decide whether she wants to give up on the woman who has never been there for her, or stand by her in the hope that she will reform, risking having her heart broken yet again.

It's because Bullock and screenwriter Susannah Grant have made Gwen such a likable character that these situations have real bite. Sine we can't decide whether we love her or hate her, we keep watching the movie on the edge of our seats, searching for something that will proove to us once and for all what Gwen Cummings is. The movie wisely avoids giving us a straight answer to that and many other questions, allowing the viewer instead to make their own decisions and create their own relationaships with the characters and the things they encounter.

"28 Days" is a triumph for all involved. There's nothing better for a cynical critic like me then proof on the screen that films moving stories with engaging characters are still being made. Perhaps the best news of all is the resurrection of Sandra Bullock's career after three flops in a row. If she continues to show such wise judgement in choosing her projects, this poor man's Julia Roberts may be topping the A-list once again.

drunks on parade......
While the film was entertaining, I do not find anything in the least entertaining about the subject matter of drug addiction. In Gwen's book it was booze and Vicodin......a killer combo.....Alcoholics are often seen as hilarious, but in reality most of the time they leave a trail of tragedy not only for those who are closest to them, ie families and their friends, but they create pain in the lives of total strangers.....witness Gwen's destruction of a limo and a residence when she left her sister's wedding reception. I suppose we should be happy she did not end up on the freeway with the limo.
I found the characters in this film just too cute.....From what I have seen on COPS, they don't appear to be that cute in reality, or maybe if you have the 50K, which rehabs centers like Gwen was staying at cost, perhaps you see a different bunch of addicts.

Good movie with some strong performances
I liked this one- am finally adding it to my video collection.
Sandra Bullock is a believable drunk who has a very tough time relating to anyone and everyone. Was nice seeing someone who is not overly likeable in movie like this.
Nice performance by a clean cut and hunky Viggo Mortenson livens this up.
For a double downer line up of sobering drama
see Meg Ryan and Andy Garcia in When a Man Loves a Woman.

Santa Cruz & Gum Wrapper Chains
Sandra Bullock's character goes to rehab. She hates it at first then sees she should be sober. Its a funny movie thats not very preachy and it has good characters. The dvd has cool features like how to make that gum wrapper chain thing, and actual scenes from Santa Cruz. ... Read more

Reviews (209)

A Christmas Classic!
The film that inspired a whole generation of exterior illuminators! Subsequent to the release of this film, houses soon began Christmas-light makeovers, which I think really adds to the atmosphere of the season! Chevy Chase and Beverly D'Angelo are superb in this John Hughes classic Christmas comedy - as is Randy Quaid. Clark W Griswold Jnr is anxious to have the 'perfect' old fashioned, fun, family Chritmas. But, as usual, nothing goes according to plan: Getting stuck under a truck in the opening minutes... becoming psychotic over the failing of the thousands of lights he's added to the building... ruining the Christmas of Tod and Margo (their yuppie, bourgesois next door neighbours)...Eddie (Quaid) kidnapping Clark's boss because Clark didn't recieve his bonus cheque, needed to pay for a swimming pool...a storm sewer exploding (and the poor cat!)...the tree getting burnt...etc...Leading to the house teetering on 'the threshold of Hell'! There are many great moments in this movie. My personal favourite is when he takes Eddie and the kids sledging: a silicone-based kitchen lubricant Clark's company invented is smeared onto his sledge, propelling him like a rocket! The scenery is so Christmassy here. I have a selection of Christmas movies I stack around the video at this time of year. Christmas Vacation takes prime position. I have seen it *so* many times yet I am still not bored with it. Note: There is mild bad language in the PG version, but for those with younger children, some versions have worse. I really don't know why Hughes had to do this; this film could be accessible to all, as with Miracle On 34th Street (Hughes' remake). As is usual with John Hughes, those typical huge mansions (as with Home Alone, Ferris Bueller and Uncle Buck) feature. The photography is very Christmassy and it just might get you in the mood... The DVD has the trailer (including the other Vacation trailers), different language options, production notes etc... I am glad to have found a site that sells those reindeer egg nog glasses too!

At Long Last!!!!!!!!!!
Finally, after all this time, Warner Brothers have come to their senses. On October 7th, we will be treated to a heftly helping of one of the greatest Christmas films to ever grace the silver screen............in WIDESCREEN.

I was extremely disappointed with the previous DVD release of this film which contained a pan & scan presentation and nothing more than a theatrical trailer in the extras department.

What we have here is a special edition of this great movie, which will contain audio commentary from both Beverly D'Angelo and Chevy Chase, a "making of" featurette, as well as other stocking stuffers which have yet to be disclosed at this present time.

Being a huge fan of this movie, I honestly can't wait for this release. "National Lampoon's Christmas Vacation" has become a holiday tradition in my home, and to be able to see it the way it was intended to be seen is truly a treat for me.

Aside from the features of the disk, the film itself is the true gift. One of the funniest movies today which still withstands the test of time even 15 years later. The premise is simple. Clark W. Griswold (Chevy Chase) is hell bent on having an old-fashioned family Christmas in his home, relatives and all. Of course, the hilarity kicks in when things start to go awry. There are so many hilarious scenes in this movie, it would be difficult to list them all. You have everything from an electrocuted cat, to a house with the brightest Christmas light display known to man. Let's not forget the dried up turkey, the saucer sled and the dog/squirrel chase! There's so much more I could say to praise this movie, but if you haven't already seen it, [I won't say more]

The Griswalds are great
The group at national lampoon have a real winner in this one. It is the christmas from hell, and about the greatest christmas comedy there is. It is decided to have an old fashion christmas... all the family on both sides gathering together to celebrate christmas, and the joy of family. Well, it is national lampoon, so you know thats not all together whats going to happen. When you mix in-laws, snooty neighbors, alcohol, and the less desirable part of any family, you get something great! It's 97 minutes of National Lampoons best!

Phenominal
This has to be one of the best "Vacation" movies made yet. I cannot express this enough. It's definitly on my list of all time Christmas Classics, and you can still watch it throughout the year!

The "Vacation" movies really dig into almost any typical American's search to make the perfect vacation, life, experience for their family. Chevy Chase and Beverly DiAngelo just highlight it and make it all funny. I have had many friends and neighbors we could dub "the Grizwolds" over the years because of the bumbling things they've tried to do and these movies hit home, especially Christmas Vacation.

Buy it, love it!

The Griswold Family's Christmas From Hell
It's amazing that Chevy Chase wasn't maimed or killed during the making of this movie. I know, there were plenty of stunt players who fell off the roof, crashed through the attic, were flung about into brick walls, etc.---but still! Chevy, who had a well-publicized stint in the Betty Ford Clinic for addiction to painkillers (due to extreme back pain caused by, of all things, his numerous falls on "Saturday Night Live" in the 1970's while spoofing then-President Gerald Ford---how ironic is that???), certainly took on a certain level of risk in reprising his role as the perpetually clumsy, but good-intentioned, WASP patriarch Clark Wilhelm Griswold, Jr. in this, the third installment of the VACATION series by Chase's old comedy troupe, National Lampoon.

Having not seen (as of yet, believe it or not) either VACATION or EUROPEAN VACATION, I was a bit unfamiliar with the main characters; however, CHRISTMAS VACATION got me to know them real fast. I have to admit, I have not been a Chevy Chase fan since the '70's, during and immediately after his SNL days. (Let's face facts, the show made him an instant star, but he was never really one of the funniest members of the Not-Ready-for-Prime-Time Players.) However, I believe that he gives a truly inspired comedic performance in CHRISTMAS VACATION. I'm not even referring to the copious physical comedy he displays. I'm actually talking about his comedic acting! I love the manic energy with which Chase infuses his role, and the crazed look in his eye when his character is pushed over the edge. Beverly D'Angelo, as patient but frequently unamused wife Ellen, provides a good low-key foil for his over-the-top antics. She's well-cast and, I must say, beautiful.

As far as acting talent goes, this film has no shortage in this department. A pre-stardom Juliette Lewis is welcome as Griswold daughter Audrey, and a very young Johnny Galecki is engaging as her kid brother Russell (three years before he was cast as Darlene's lazy boyfriend David on the hit TV show "Roseanne"). We also get memorable performances from E.G. Marshall, Doris Roberts, an unrecognizable Dianne Ladd, and a hysterically funny William Hickey. Rounding out the mix is Randy Quaid as filthy slob Cousin Eddie (who parks his trailer in the driveway), Nicholas Guest and Julia-Louis Dreyfus as the bland and stuck-up neighbors next door, and Brian Doyle-Murray who serves up good moments as Clark's old crabby boss.

The problem with CHRISTMAS VACATION is that, while it does contain some very funny scenes with lots of great, memorable one-liners, it is marred by inferior direction on the part of first-time director Jeremiah Chechik. He tends to interlace the fast-paced physical scenes with long, slow ones that grind the movie to a dead halt every time. While I didn't expect the level of non-stop, lightning-paced zaniness a la AIRPLANE!, these extended slow breaks (that usually focus on a character staring dreamily into the sky) are awkwardly placed and paced, and thereby create an uneven viewing experience. However, John Hughes' smart and wickedly funny script pretty much saves the day. I wouldn't add this to the list of perennial must-see Christmas films (such as A CHRISTMAS STORY or IT'S A WONDERFUL LIFE), but CHRISTMAS VACATION does offer a lot of fun for the whole family (except for kids under the age of 10, as the language is well-seasoned with four-letter words). If it does nothing else, this film should make you feel a lot better about your Christmas!

MODERATELY RECOMMENDED ... Read more

Amazon.com

Billy Bob Thornton's white-trash comedy has loads of appeal, beginning with a delightful cast playing the most dysfunctional Southern family outside a Faulkner novel. Thornton and Laura Dern play married couple Claude and Ruby Montgomery, whose true love is stymied by petty jealousies over her old boyfriends and his long-ago romance with Ruby's sister, Rose (Kelly Preston). When Claude's Uncle Hazel (Jim Varney) is arrested, the duo join their extended clan in Little Rock to provide support for him and his defense team (a stormy couple sharply played by Jamie Lee Curtis and Ben Affleck). But cooperation is an alien concept to this family; in no time they're bickering, drinking, and deflating dreams. Typical of Thornton, this is serious yet funny stuff, and the actors--including Andy Griffith, John Prine, Diane Ladd, and Brenda Blethyn--work that fine line between drama and comedy with admirable inspiration. --Tom Keogh ... Read more

Reviews (8)

Don't waste your time on this turd!!!
This movie was god awful from start to finish. Don't get me wrong, I'm a big fan of Thornton's other movies, especially "Bad Santa." But this flick is a piece of crap. I don't even think there was a script. They just said what came to mind. The only 2 things worth watching are Andy Griffith's un-Andy Griffith like portrayal of a man worried about his brother(Jim Varney) getting "cornholed" in jail and the first theatrical appearance of phone prankster Roy D. Mercer. Otherwise, the movie just plain sucks.

a finely crafted southern movie
I had been wondering if this would ever be released,and thankfully it happened.I don't know how Billy Bob Thorton assembled this great cast, but it was quite a feat to have this many greats on a picture.John Prine was a real treat in his first acting debut, and It's the last wink from Jim Varney you'll get to see.This picture is a hilarious look at things southern that will make you take note of simpler places in life and re-acess whats important in our everyday worlds.

Originally funny!
I gave this movie four stars because I laughed almost throughout. When I sit down to watch a comedy, I don't care about plot so much as I care about being entertained in an original way. Daddy & Them is funny because it echoes real life... not my life, but some people I've had the misfortune of getting trapped next to for seemingly unending periods. This movie has some of the most stupid conversation I've ever heard, played with flawlessly straight faces - and that's what's funny. I wish I could go over all the wonderfully funny parts, but that would spoil it for you :). It's definitely worth at least one viewing. I'm adding it to my DVD collection.

a must
This is an excellent movie-very funny. If you like the Big Lebowski, check this out.

If you're looking for laughs, give it a try.
I watched this film when it appeared on TV, with NO expectations, since I'd never heard of it. (It had a miminal theatrical release, mainly in a few film festivals where it won some rave reviews and high rankings in the audience-favorite votes.) Actually, I had negative expectations since Showtime's description made it sound like yet another "Hollywood Makes Fun of Hillbillies" movie. But I thought the cast listing made it worth a try, and I ended up laughing out loud repeatedly while watching it. I taped it and hesitantly showed it to a group of friends, all very sensitive to hillbilly stereotyping -- they all loved it. It's quirky enough that you'll probably love it or hate it, but I bought the DVD as soon as it was released, and plan on buying several more as gifts. Granted, it's not Shakespeare, but it has a wonderful set of characters, all very well acted, and just enough of a plot to let them shine. If you're looking for laughs, give it a try. And, as another reviewer noted, be sure to catch John Prine's song, "In Spite of Ourselves," during the credits at the end. It's such a hoot that I bought the Prine album on which it appears, even though I generally hate country music and it's a country album. ... Read more

Description

Based on the novel by William Faulkner, THE REIVERS tells the story of a young boy who leaves home and sets out on a journey with his best friend and Boon Hogganbeck (McQueen), his family’s handyman.During the trip from Jefferson to Memphis, the trio learns some valuable life lessons. ... Read more

Reviews (6)

The Reivers
In 1969 I was introduced to a movie that changed me.I wasn't sure what I wanted to be when I grew up and at 16, having the imagery and music of the Reivers wash over me convinced me that I wanted to become a filmmaker.
The Narration of Burgess Meredith, the superb acting of Will Geer, the side of Steve McQueen that we hadn't seen often enough and the introduction of new young actor Mitch Vogel make this a well rounded movie experience.The supporting cast of Sharon Farrell, Michael Constantine and Oscar nominated Rupert Crosse give the characters and story true life.Add the souring yet folksy score of John Williams, the stunning cinematography of Richard Moore and you have the complete experience that takes you back to Mississippi in the early 1900s and reminds you why you go to the movies in the first place.

A Great Faulkner Classic
William Faulkner was one of America's greatest authors.His Pulitzer Prize winning works are renowned for his ability to capture, with affection and fascination, the culture and people of Mississippi...Southerners of allcolor, class, and gender.Many of Faulkner's stories evoke a somber toneof Southern Gothic tragedy based on his observations of racial intolerance,and the decline of traditional Southern values before the forces of greedand modernization.In contrast to his more serious works, "TheReivers" is light-hearted, comic, and thoroughly entertaining.

Themovie captures, with rich authenticity, the colorful characters ofFaulkner's Mississippi.The cinematography and music evoke the sites andsounds of a picturesque South in 1905.The cast, includingnarration byBurgess Meredith, is impeccable.The movie centers on the joyridingadventures of 11-year old Lucius McCaslin, his cousin Boon Hogganback(Steve McQueen) and their black relation (Rupert Crosse).The storyinvolves a stolen car, a 4-day odyssey from northern Mississippi to the`red light" district of Memphis, a horse race, and the life-changingexperiences of young Lucius.Will Geer, as Lucius' grandfather"Boss," offers a memorable performance when he confronts theyoung boy with his misdeeds, proving again that the word is mightier thanthe hand.William Faulkner would be proud of this movie.

Don't Forget John Williams' Best Ever Score
Like the cinematography, the beauty and details are exquisite.While you're at it try the book too, Faulkner's sweetest.

Poignant, coming of age film to delight audiences all ages.
The Reivers is a purely entertaining film about a young boy who is introduced to an adult world at the turn of the century.Perfectly cast and well- written, this film is sure to delight all audiences. SteveMcQueen is at his best, and Mitch Vogel will win your heart.Pureenjoyment!

Wonderful movie
Very well casted. Cinematography is great and so is sound track. Strong performances from all actors. I especially liked Will Geer as the grandfather. The story is always engaging and never drags. Greatentertainment for all ages. ... Read more

Amazon.com

Embittered by his experience working with 20th Century Fox on The St. Valentine's Day Massacre (1967), and weary of the Poe films for American International Pictures, Roger Corman was in dire need of inspiration for his next production. He found it in Life magazine, which featured a photo of the funeral of Mother Miles, head of the Sacramento, California, Hell's Angels. From this picture came both The Wild Angels and the biker-movie genre itself. Peter Fonda, who replaced George Chakiris, stars as brooding Angels chieftain Heavenly Blues. When his pal Loser (Bruce Dern) is shot by police, Blues attempts to bury him in a small town, but the locals resist, and a brawl ensues. Audiences and critics were alternately appalled and thrilled by the extensive drug use and violence, but beneath Angels' leathery hide beats the heart of a Western, especially in its ruminations on personal freedom. Charles Griffith's script (cowritten by Peter Bogdanovich, who also cameos in the film) helped make Angels the sole U.S. entry for the 1966 Venice Film Festival, which irked the State Department enough to try and revoke the honor. Corman's direction, freed from AIP's period pieces, is lean and exuberantly active, aided by Monte Hellman's editing. The film helped give Fonda the counterculture clout to later make Easy Rider, and boosted the careers of Dern and then-wife Diane Ladd; Nancy Sinatra, however, renounced the picture, fearful of its effect on her image. Mike Curb's score features Davie Allan and the Arrows' fuzz-tone-soaked hit "Blues' Theme." --Paul Gaita ... Read more

Reviews (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

Amazon.com essential video

Based on the novel by Anonymous (a.k.a. political reporter Joe Klein) and released when the Monica Lewinsky scandal was in full swing, Primary Colors may have been a case of too much, too soon for many moviegoers, who preferred the real-life Clinton crisis over the movie's thinly disguised "Clintonesque" comedy. The general public felt that the film was exploiting the president's indiscretions, and as a result one of the most critically acclaimed movies of 1998 was a box-office disappointment. But when considered apart from the Clinton scandals and judged on its own considerable merits, this superb comedy-drama provides an illuminating, insightful, and frequently hilarious look at the harsh realities of presidential politics. John Travolta stars as Jack Stanton, a presidential hopeful whose campaign is challenged by dual dilemmas: how to squelch a scandal involving the candidate's alleged sex with an underage girl, and how to handle information that could potentially ruin Stanton's opponent (superbly played by Larry Hagman). Stanton's wife (Emma Thompson) stands by her man despite awareness of his infidelities, but his loyal campaign planners (played by Billy Bob Thornton, Maura Tierney, and promising newcomer Adrian Lester) experience a crisis of conscience. So does one of the Stantons' oldest friends (Kathy Bates, in an Oscar-nominated role), whose sense of betrayal and lost idealism proves too much to bear. Masterfully adapted by director Mike Nichols and his former-comedy-partner-turned-screenwriter, Elaine May, Primary Colors plays like a sophisticated comedy with loads of memorable scenes and dialogue, but it sneaks up on you with devastating dramatic impact. Anchored by Travolta's superb performance (which is reminiscent of Clinton without being a cheap impersonation), the movie presents a story of great moral complexity and leaves viewers to contemplate their own reactions to the volatile and ethically complicated game of modern politics. --Jeff Shannon ... Read more

Reviews (62)

Be Not Deceived- This is a GREAT Film
Forget Bush and Gore! The more interesting race for the presidency took place in "Primary Colors," an all-around outstanding movie which sank into obscurity, unfortunately, thanks to the Lewinsky scandal. Yes, it's loosely based on the Clintons, but if you put that aside and just focus on the movie in its own right, it's not as hard of a pill to swallow.

To start, seasoned vets Nichols and May provide sharp direction and writing, respectively. Even though this movie is about politics (which, as all of us now know, can get pretty gruesome), they make it interesting and intriguing by going behind the scenes, showing the feelings and emotions of the people involved in a presidential campaign, feelings and emotions that don't come through in press conferences and interviews.

The vision of Nichols and May is turned into fine art by a superb cast. Travolta is surprisingly charismatic, and Emma Thompson deserves much more praise than she has received as his patient but driven wife. Billy Bob Thornton gives a hilarious supporting performance, and Larry Hagman also does a great job as Travolta's opponent who's unwillingly thrust into the spotlight (Rob Reiner also has a humerous cameo as the host of ... call-in radio show in Florida).

But the two stars that outshine the rest are Adrian Lester and Kathy Bates. Lester is absolute dynamite as the campaign manager who yearns for "the real thing," a candidate who actually practices what he preaches. His performance is dramatic and heartfelt. As great as his performance is, Bates is the unsung hero of the movie, and without question, deserved to win Best Supporting Actress (she was robbed by Judi Dench and her 5-minutes-of-fame in "Shakespeare in Love"). She is outrageously funny at times and humble and vulnerable at others, but always comes through with an endearing sincerity.

So, if you want to see an all-around great movie or, more specifically, if you've become disillusioned by the political process and the (so-called) leaders it has produced, there has never been a better time to watch "Primary Colors."

BITTERSWEET ENTERTAINMENT
The machinations of a presidential campaign in "Primary Colors" is presented through the eyes of Henry Burton (British actor Adrian Lester). Henry is a privileged young African American feldgling politician whose grandfather was a civil rights legend. While trying to find out who the candidate is, Henry is virtually kidnapped by the presidential campaign of an obscure Southern governor, Jack Stanton (played flawlessly by John Travolta). Stanton's politically savy, smart lawyer wife Susan (amazingly played by Emma Thompson) is often the brains of the campaign. The parody on Bill and Hillary Clinton is obvious.

Of course, the idealistic Henry and aging Stanton loyalist, Libby Holden (Kathy Bates who possibly hands in the film's best supporting performance) keep hoping that Jack and Susan are as good as they seem. Inevitably, the Stantons compromise everything to win the campaign and power, leaving without much integrity as the campaign progresses.

The movie is very funny and works as a Clinton parody without being offensive. Indeed, the magical collaboration between director Mike Nichols and screenwriter Elaine May produces a very clever and entertaining political melodrama. After three viewings, I'm not tired of this movie. At the end, I gained even more respect for the talents of Travolta, Thompson, Bates, Billy Bob Thornton et al.

This is a must see film.

the story of Bill
basically the story of the evilness of Bill Clinton America's worst president/murderer/rapist/womanizer/drug user/drug dealer/basically you name something that's a crime and he did it

a very good representation of the Clinton's evilness

Is It Real or Just Fiction?
I watched this film recently while reading Bill Clinton's book, "My Life," and after watching another DVD, "The War Room," and I have to say it's hard to tell if this "story" is fiction or a factual summary of Clinton's original run for the Presidency.

Regardless of the story behind the story this movie stands on its own as an excellent political film. John Travolta is fantastic (amazingly close to the real Clinton!) as Stanton the Southern candidate running for office. He leaves behind all hints of his normal sexiness and turns himself into a slick, conniving out of shape politican beant on winning his campaign. He pulls off this role with amazing ability as an actor, tearing up when necessary and showing anger without any brutality, he held it all in his eyes.

Kathy Bates plays a crazy campaign manager who tries to keep Stanton out of the dog house one too many times. She is brilliant in this role as a tough lesiban who succumbs to the reality of politics. She rants, she raves and she delivers great ethical speeches as her character attempts to right all of Stanton's wrongs (which are amazingly similar to Clinton's!).

I believe this film will open up a new level of awareness as to what actually occurs during a presidential campaign. An interesting film with a slow growing message and quite appropriate for political followers. I just wish Stanton/Clinton would finally show his TRUE colors!

"Wow" is the only phrase that comes to mind
When I first stumbled across a very very late night airing of Primary Colors on television, I was hesitant to sit back and enjoy the show. Political films just don't float my boat, since I find the actual politics somewhat uninteresting. However, within about forty-five seconds, I was hooked on this compelling comedy-drama. The story is superb, even though it isn't anything we haven't heard or joked about before. The acting is beyond superb, with every character given a voice and a story, so that you feel that nothing that is said or done is out of place. Although the comedic moments are great, what is really surprising is how, by the end of the film, you are deeply affected by the outcome of each character's story. And although the film is about politics, it is completely non-partisan and leaves the viewer to draw his or her own conclusions.

I feel that I cannot say enough good about Primary Colors. It is a surprisingly wonderful film that I would recommend to everyone. ... Read more

Amazon.com

Having scored a critical triumph with Mean Streets, Martin Scorsese accepted Alice Doesn't Live Here Anymore as his first big-studio assignment, proving his versatility and further advancing his promising career. Hot off The Exorcist with her choice of projects at Warner Brothers, Ellen Burstyn sought a hot young talent (Scorsese was recommended by Francis Coppola) to direct Robert Getchell's fine, sensitive screenplay about Alice Wyatt, a newly-widowed 35-year-old lounge singer with a bratty 12-year-old son (Alfred Lutter) and a very uncertain future. Her pursuit of broken dreams lands her a waitressing job in an Arizona diner, where she befriends foul-mouthed Flo (Diane Ladd) and meets and falls in love with a divorced farmer (Kris Kristofferson).With absolute authenticity of emotion and incident, Alice--which earned Burstyn a well-deserved Oscar® and features supporting roles for future Taxi Driver costars Jodie Foster and Harvey Keitel--conveys a then-timely sense of strength and endurance from a single mother in desperate times. There have been several similar dramas made since 1974, but Alice (which inspired the popular TV sitcoms Alice and Flo) is still the best. Trivia buffs: Look closely for Ladd's daughter--a very young Laura Dern--and Scorsese as background extras in the diner scenes. --Jeff Shannon ... Read more

Reviews (8)

Mean Deserts
Although a stop-gap movie for Martin Scorsese, 'Alice Doesn't Live Here Anymore' proved to be the pinnacle of Ellen Burstyn's career. Her academy award winning performance in this film crosses back and forth between careful tenderness and passionate intensity with intelligent ease. In most of his best work Scorsese encourages the actors in his films to play around with the script and improvise extensively. In 'Alice' he allows Burstyn's instincts about her character to come to the fore in the scene in the kitchen with Kris Kristofferson where she talks of her early showbiz career with her brother. Practically all of the dialogue was improvised by Burstyn herself, so much so that Scorsese had to cut the scene down to 3 minutes from 15! In fact there seems to have been a lot of cutting going on in this film. Alice's husband comes across as a totally unsympathetic character until you realize that much of his more tender scenes with Alice were cut in order to make the film move faster.

And move faster it does, for with Scorsese's deep aversion to static shots and his use of a hand-held camera in the small claustrophobic environments in which Alice and her son are confined, all the characters in this film look deeply unsettled in personality as well as in geography.

Ironically, filming had to be stopped on this movie for a couple of days because Ellen Burstyn had to go to the Oscars as she was nominated for her role in 'The Exorcist' that year. She returned unawarded to the work that would eventually reward her.

They Don't Make Movies Like This Anymore!!
This movie is the ultimate single mom movie..she faces abuse, tragedy and a life alone raising her child and she doesn't know how she is going to do it. I thought the acting (especially by Jodie Foster) was awesome and true to life. This movie has everything, it's funny, sad and in depth in what life is all about. This movie is for everyone who is just trying to survive life.

One Of Scorsese's Very Best. Time Will Tell...
Do you notice how little one hears about "Raging Bull"
lately? Well, there's a reason--it's not so hot. There is a
lot of repetition, a lot of improvisation, a lot of falsity in
that movie. And in "Alice Doesn't Live Here Anymore"?
There's a lot of truth and humor.

This was Scorsese's first studio picture; it was a hit,
and Ellen Burstyn got the Oscar for Best Actress. (In
England, the movie won Best Picture, Best Actress, Best
Supporting Actress, Best Newcomer, and Best Screenplay,
but--inexplicably--not Best Director). The movie was so
popular in America that CBS made a series out of it, and
the series ran for nine full years--the second longest
hit series ever made from a feature film (next to MASH).

I notice that some of the people who have visited this
site have downed the movie, but I also notice that the
one who downed it most didn't even know how to spell
the director's name correctly. (It's Scorsese).

Anyway, time will tell. This heartfelt, true little movie will
work its way very close to the top of Scorsese's ouevre.
It's hilariously funny and also touching and, at times,
harrowing. A well directed, well acted, well written
movie. What a rarity. Watch it and enjoy it.

She now lives on Nick At Nite.
Martin Scorcese's 2nd major feature, *Alice Doesn't Live Here Anymore*, involves a thirty-something widow (Ellen Burstyn, brilliant per usual) and her 12-year-old kid as they find themselves suddenly thrust into the world without a safety net. From the cozy enclave of Monterey, CA, they wind up in Phoenix, AZ, where, after failing to make it as a lounge singer due primarily to her involvement with a maniac (Harvey Keitel), they're forced to push on to Tucson. There, she sensibly gives up her dream to be a singer and ends up as a waitress at a roughneck diner. At the diner, she meets a fading hippie / farmer / cowboy / musician (Kris Kristofferson -- who else?) who's currently divorced and seems to be a better bet than the [people who] surrounds her. Though he's breezy about his divorce ("She up and left, and I held the door open for her"), it's soon revealed why he's alone and hasn't seen his kids in some time: he's got a definite edge, a my-way-or-the-highway approach that extends to Burstyn's kid as well as herself. She must decide if he's worth the effort required to shape him up. Meanwhile, her son is giving her headaches by getting into trouble with his new girlfriend, a butch but cute Jodie Foster (her first film?). I don't know this kid's name, but what a performance: annoying as hell, but in a real-life way (as opposed to the *Home Alone* way). I've taken the trouble to describe all this exposition because it does seem odd, at first glance, that this is a Martin Scorcese film, with its Western setting, feminist subtext, so forth. Some have said that it's an anomaly in the Scorcese oeuvre . . . but the tendency for this movie's characters to go into theatrical screaming fits, often accompanied by near-murderous violence, and the overuse of the shaky, joggling, "cinema verite"-style camera-work, puts us in all-too familiar territory. *Alice* really shouldn't be this flashy. Scorcese's penchant for projecting to the peanut gallery harms the film. But the characterizatons, the abundant humor, and the sense of everything hanging by a fragile thread, somewhat alleviate the director's excesses. [Quick note for those too young to remember: not long after this slice-of-life dramedy's release in 1974, someone in Hollywood thought that this material would be a great idea for a TV sitcom. Hence *Alice*, starring Linda Lavin ("What a falling off was there!" to quote *Hamlet*) that was inexplicably popular throughout the entire decade. America thought "Kiss my grits!", a phrase often used by a brassy waitress on the show, was hilarious.]

Simply brilliant; beautifully acted, written, and realized
I saw this movie when I was very young (at least 16 years ago). To me it was just a comedy film that launched "Alice" (which was one of my favorite shows at the time). I now saw it after all these years and was amazed by all that I saw this time around.

This is one of the best-acted films I've ever seen. Nothing more needs to be said about Ellen Burstyn here other than she still remains in my mind as one of the luminary, top-drawer actresses in American cinema these past 30+ years. She is flawless here; even breathtaking! And the performance by Alfred Lutter as her son Tommy was one of the finest performances I've seen by a teen/pre-teen. And of course there's Diane Ladd as the infamous Flo, who revels (and excels) in a small meaty role that usually wins Best Supporting Actress Oscars (she unfortunately lost). And Jodie Foster (as butch as can be) is a riot. And Kris Kristofferson gets his part just right, as do Harvey Keitel and the late Vic Tayback as the overbearing but lovable Mel.

I don't know if the perfect acting in this film is a tribute to the actors or to Martin Scorsese (or both). But this film shows that Martin Scorsese is truly a monumental talent. High praise also goes to Robert Getchell for a screenplay that is as hilarious as it is moving. The purity and spirit of this film is obvious and very affecting.

I think this is one of the great films of the 1970s. Be sure to put it on your list if you're a student of cinema. I think it is a landmark film in the human comedy/drama genre. ... Read more

Reviews (12)

Solid, attractive suspenser
Okay, the story is preposterous and technologically dated, and some of the dialogue is melodramatic in a retro kind of way. That said, BLACK WIDOW still makes good viewing because it remains true to itself and the premises it has set up, and Debra Winger and Theresa Russell do a smashing job on their characters. It also has an interesting style, managing a noir atmosphere even while filming a considerable portion of the story in the bright sunshine of Hawaii and dressing the leads in the blues and red-oranges of '80s fashions.

Debra Winger plays a bright young unattached woman in a drab, stultifying life as a statistics accountant for the federal government. She does not openly indulge in self pity, but when she identifies a wisp of a possible crime in the statistics she compiles, she sells all her possessions and quits her job to pursue the case on her own. The case surrounds Theresa Russell's character who Winger believes marries older men and somehow precipitates their deaths to reap their inheritances, what is called a black widow. This is all established with swift efficiency, as is the guilt of Russell's character. The suspense lies in if and how Alex will corner her black widow, who is equally intelligent. The two make a sensational pairing, circling around each other, getting closer and closer.

Leonard Maltin's movie guide says the film doesn't deliver the big pay-off. That depends upon what kind of pay-off you are looking for. I happen to think it did deliver.

Don't Miss the Kiss of the Spider
I caught this movie on HBO in 1988-15 years later, I can still sit through it from beginning to end with out being the least bored. It is one of my favorite great movies that few people seem to know about.
Debra Winger is perfect as feisty Government agent, Alex, who notices a pattern and sets out to find the Black Widow-Theresa Russell, who reminds me a lot of Kathleen Turner in "Body Heat".
I would like to see more of her movies, as her portrayal of the woman Alex hunts down, is complex and compelling.
There are enough twists and turns to always keep your attention, and as other reviewers note, the scenery is spectacular.
The peripheral actors are well cast, and you find yourself caring about every one in the movie...and wondering what makes the Black Widow tick.

Superb script!
A young woman (Theresa Russell) seduces , marries and murders all the men who appear in her life and selected for her to join in this undesirable club . Obviously the case becomes too suspicious and a female investigator (Debra Winger) is assigned to watch her . This plot will turn in a challenge . You will experiment the gradual transformation starting from intrigue to obsession .
A very well made script with high caliber performances . Unforgettable locations and dazzling direction.
Imagine this tour de force: the seductive Theresa Russell (Bad Timing) and the captivating acting of Winger.
A must for you.

A greedy widow spins one web too many
This fine thriller could have been much better if the currents between Alexandra [Debra Winger] and Catharine [Theresa Russell] were explored and developed by the film-makers instead of letting the moment pass. The electricity between the hunted and the huntress is obvious after Alexandra finally catches up with black widow Catharine and from their first shared moments it seems as though Alexandra is spellbound by the woman she has set out to capture. Although Alexandra spends most of the film chasing after Catharine, she has a deer-in-the-headlights look when they spend time alone, whether in a hotel room, on a beach, or at a party, because she isn't as sure of herself as she was before she finally tracks down her dangerous prey. Catharine's seductive, flinty green eyes and sidelong glances at Alexandra suggest that this beautiful but ruthless killer is spinning her web to snare her pursuer before she can solve the mysterious deaths of her late husbands.

Dramatic Thriller
Debra Winger plays a detective who is on the trail of a psychopathic woman. She quickly meets, "falls in love" and then marries her man, but soon kills him before moving onto the next man repeating the process all over again. When the detective finally locates her in Hawaii, she meets her and the two become friends. As she investigates the woman's web of lies and murder, the woman becomes suspicious of her. When she finally discovers that her friend is a detective, it becomes a deadly rollercoaster ride as she repeatedly tries to kill her. Some of the best scenes were... poisoning the wine scene, the scuba-diving scene, the scalding shower scene, and the end scene. ... Read more

Description

Screen legends Gene Hackman and Barbra Streisand star as the oddest couple ever to beat the odds in this offbeat comedy that proves a man can lose everything and still love happily ever after. After successful executive, George Duplier (Hackman), is demoted to managing a seedy all-night drugstore, he decides to totally change his life. Leaving his wife, he takes up with Cheryl (Streisand), a sexy but ditsy neighbor - who's already had an affair with his son (Dennis Quaid)! Now his hands are full with his wild new woman by day and his weird and crazy customers by night and this screwball romantic comedy. ...